CIMCIM CIMCIMAppendix A: Meetings
Appendix B: Presidents of CIMCIM
Appendix C: Executive Board members
Appendix D: Publications of CIMCIM
References
When the war started, museums were closed in the occupied countries and the remaining personnel packed the objects to bring them safely in what they called bomb-free shelters. The occupying authorities "saved" important paintings from churches in order to find better places. Some of them were even transported to Germany in the salt mines, joining the private collections of Hitler, Goering and others. One of the striking examples is the world famous painting by the Van Eyck brothers, the "Adoration of the Lamb" that was removed from the St.-Baafs cathedral in Ghent where it had been since it was created. It was luckily recovered from one of the salt mines, but before returning to its home it was exhibited in Brussels where many citizens and of course schoolchildren admired this masterpiece.
Other objects were not so lucky: they were simply destroyed by bombs. Many musical instruments were lost in Berlin. Destruction went even further in occupied countries, since war cost money and all efforts were pointing towards the final victory, food became scarce and was rationed. Of course, no imported goods were available. This was also the case for raw materials necessary for warfare because the "Blitzkrieg" lasted longer than expected and finally countries were no longer invaded. The need for copper and bronze was felt very soon and many bronze and copper objects were collected, even from private homes. A good source for this material was the bells in churches and chapels; many of them were never seen again.
Claiming for war damage was a very busy occupation. Searching for prisoners and fighting soldiers was done by the Red Cross, centralizing all efforts done by volunteers. For many unemployed citizens, new jobs had to be created. One of the projects concerned inventories of art; no qualifications were necessary as long as lists could be made in order to have an idea of what was left. Museum curators were not professionals (for the Brussels museum the care of the collection was given as a reward for services rendered to the country). A more professional approach required certain qualifications and posts had to be created. Meanwhile inventories were made with temporary personnel, the projects were financed by war recovery schemes. It was only in the beginning of the fifties that everything started to return to normal.
As early as the 1950s it was felt that there was a need for an international organization where professionals involved with musical instruments could exchange their views on the maintenance of this particular part of our cultural heritage. Directors of the major European collections met informally at other international musicological meetings. In 1946 the Galpin Society was formed with the object of bringing together all those interested in research into the history of European musical instruments to commemorate the pioneer work of the late Canon Francis W. Galpin (1858-1945).
During a congress organised in 1953 in Bamberg by the Gesellschaft für Musikforschung, a committee for musical organology was formed to register musical instruments in German museums. By 1958 Alfred Berner of the Berlin museum and chairman of this committee, insisted that an international organization devoted entirely to musical instruments be created (BERNER 1981).
| The request, as raised in my Bamberg paper, for comprehensive inventories of surviving historic instruments, for their appropriate conservation and their systematic cataloguing in much the way that they are considered self-evident for printed source material, could only be successfully and exhaustively materialized in the framework of an international organisation. Something had to be created comparable to the International Music Library Association which also held its conference in Bamberg. With this model before my eyes, I talked to the congress participant Vladimir Fédorow about means of how to establish a similar organisation for musical instruments and the corresponding collections. |
Walter Nef kindly agreed to organize a meeting in Basel (Switzerland) but due to sudden illness this task was taken over by John Henry van der Meer who organized a first meeting at the Hague from 6 to 10 June 1959 as a "colloque des chefs de collections d'instruments de musique"'. This meeting followed the Joint meeting of the Galpin Society and the International Association of Music Libraries in Cambridge from 29 June to 4 July 1959. The meeting at The Hague was organized at very short notice by John Henry van der Meer as a round table conference without anybody presiding. Representatives of 19 collections were present from 13 countries. They gave a survey on the situation of their museums.
At that time five organizations were considered as possibilities for establishing an international working group. For different reasons inherent on the aims of the different associations they were gradually eliminated. Most votes went to the establishment of a separate section within the Société Internationale de Musicologie, giving valuable basis for scientific work, but since no material assistance could be offered by this organization an affiliation within ICOM would be more indicated.
An invitation had already been presented by Georges-Henri Rivière, Director of ICOM, following preliminary talks by Victor Luithlen, to form an international committee within or affiliated to ICOM. The result of this meeting at The Hague was a resolution drafted by Alfred Berner, Ernst Emsheimer, Victor Luithlen, Claudie Marcel-Dubois, Walter Nef and Klaus Wachsmann, deciding on the creation of an international organization promoting collaboration between collections of musical instruments. The working programme would consider all common problems: scientific, technical and artistic, based on the conservation of the instruments. Not only specialised museums were considered but also those general museums having European and non-European musical instruments. A provisional committee was formed with Alfred Berner (chairman), Roger Bragard, Claudie Marcel-Dubois and Walter Nef. The next meeting would be held in Paris.
Though arranged at short notice, this well-organized meeting at The Hague was the occasion not only of very important discussions, but also visits to exhibitions and concerts.
| In agreement with the resolutions adopted by the Conference of Heads of collections of musical instruments at its meeting in the Hague, in July 1959 and following a meeting of the Provisional Council in Paris in November 1959, a constitutive meeting and International working Conference was held in Paris. Delegates represented 14 countries. The German Democratic Republic, Ireland, New Zealand, Poland and the USSR were unable to attend and sent their regrets. Unesco, the International Music Council and ICOM sent representatives. |
Among the 31 members present the first board was elected with Victor Luithlen as chairman, Ernst Emsheimer and Emanuel Winternitz, as vice-chairmen, Claudie Marcel-Dubois as secretary general, Alfred Berner as technical advisor and Jeannine Douillez as treasurer. The following motions were unanimously adopted:
These motions, published in ICOM News (ICOM News XIII), outlined the three major goals: inventory of collections, recommendations for conservation, standards for cataloguing. This first official meeting gave the opportunity of bringing together scholars with a common interest. During previous meetings they usually had to gather in the corridors of the official meetings. During working sessions familiar names as Mahillon, Sachs, Hornbostel, Bessaraboff and Galpin were mentioned in the discussions. The methods and future activities were discussed on the occasion of informal meetings during receptions, concerts and evenings on the "terrasses" of the Paris cafés.
The election of the officers was a delicate matter. So many people had already been involved and very active for several years. Everybody regretted that Alfred Berner was not elected but it was unanimously agreed to consider him as technical advisor. Having been the chairman of the provisional committee it must have been very painful but he stayed with CIMCIM and his advice was always appreciated.
Regarding the Repertory this first meeting considered mainly the questionnaire that was submitted and discussed the following points: the working group, the title, the language, the schedule and financing. One of the motions was to set up a working group with Alfred Berner, Alexander Buchner, Henrik Glahn and Sibyl Marcuse; Alexander Buchner and Sibyl Marcuse never replied so that it was decided that Robert Conant would join the remaining two members. The first questionnaire was considered far too complicated and amended based on the experience of the repertory of Arms and Armour done by an affiliated association of ICOM. For West Germany the work had been done four years previously, and it was clear that three groups of museums had to be considered: 1. specialized museums of musical instruments, 2. general museums with a department of musical instruments, 3. museums with musical instruments integrated in the general collections.
The new questionnaire was adopted and the title was determined to be Répertoire in French, Repertory and not Directory in English, in German Verzeichnis. The questionnaire would be sent to the different museums by the end of 1962 through the Secretariat in Paris, thanks to the information obtained through the UNESCO-ICOM documentation centre. A very open discussion followed regarding the languages to be adopted. The official languages of UNESCO being English, French, Spanish, Russian and Chinese the meeting agreed that languages involved in research in this particular field should also be considered, so English, French, Spanish, German and Italian would be most appropriate. Finally the schedule was set, the manuscript to be ready by July 1964 for the ICOM meeting of the Executive Board, provided that no technical or financial difficulties slowed down the activities of the Working Group. This was indeed a very careful addition. Another interesting initiative was to grasp this opportunity of asking the main collections to survey the situation of organs and bells in churches. It was not the task of this working group to consider situations in churches but the conservation of organs and bells was (and is) still in great danger. Another difficulty seemed to be the instruments in the then so-called developing countries. CIMCIM had about 50 members at this time; their main interest was European musical instruments but they were aware that beyond that field many instruments were in danger.
The Recommendations for Conservation and Restoration group presented a report by John Henry van der Meer. He was not able to attend a 1961 meeting in Barcelona that was attended by Mme de Chambure. Both Mme de Chambure and Alfred Berner agreed to formulate their experiences so that a document could be ready for printing in 1963 if ICOM could provide the necessary funds. As this document was only meant to be provisional the working group would continue to draft a more complete treatise.
The report on Standards for Cataloguing Musical Instruments considered the different drafts and decided to collect more information through the UNESCO-ICOM documentation centre.
This first meeting was very typical for all future meetings; the three working groups would have much to do since they met with primary needs for keeping collections in good conditions within museums. It was a very important task for such a small group. Initially, by ICOM rules only two members per country could be "invited" to become a member of an international committee. With the different fields and tasks it was clear that a way would have to be found in order to involve more colleagues with different interests in separate fields.
Naturally my memories of her are very vivid. I will never forget collecting the material and archives of CIMCIM and the grand hospitality she gave to individual visitors and CIMCIM meetings alike in her castle-like house in Neuilly. The first edition of the International Directory of Musical Instrument Collections was mainly prepared by her and Jean Jenkins. She carried the manuscript - "the elephant" - with her everywhere, till her untimely death in Strasbourg in 1975, on her way to the CIMCIM meetings in Amsterdam. In co-operation with a new Dutch publisher the Directory finally appeared in 1977 with support of ICOM - after fifteen years of preparation.
Thanks to the Musikmuseet in Stockholm and many contributors, several issues of the newsletter appeared, developing itself from an IAMIC to a CIMCIM journal.
Although overshadowed by the decease of Madame de Chambure, the meeting in Amsterdam at the Royal Tropical Institute was a honour for the acting chairman. The themes were closely related to the activities of the Tropenmuseum and the Soeterijn theatre. Proposed and discussed were plans for the exhibition of "collections of musical instruments in new or newly restored buildings and their audio-visual presentation". Stockholm and Amsterdam were at that time both preparing these new exhibitions, while the Musée des Arts et Traditions Populaires in Paris had just finished such a discipline. Live concerts of predominantly Asiatic music in the newly build intimate Soeterijn theatre supplemented the sessions with concerts showing the cross-cultural use of musical instruments.
Finally, it is not fair that only past presidents give their memories of CIMCIM: all the activities are the result of the joint efforts of the big family which CIMCIM was and still is. Therefore to conclude a vote of thanks to all friends (whose names should, but cannot be mentioned) - members of the board and others alike - who gave their time and energy to CIMCIM in those three years.
One of the personalities most admired, yet at the same time provoking contradiction from the younger members because of her seemingly out-of-date style of leading CIMCIM was Madame de Chambure. One anecdote, and I do not doubt its authenticity, describes how Madame showed a Japanese visitor round the Paris Conservatoire collection. She fell on the stairs and continued the tour. It was only when the visitor had left that she called Hubert Bédard, then restorer at the Conservatoire: "Vite, vite, Hubert, call the ambulance, I have broken my foot". Self-discipline was certainly one of her strengths.
Another member of the old generation was Emanuel Winternitz, then keeper of the musical instruments at the Metropolitan Museum of Art New York. He was very language-minded and a virtuoso certainly not only in his native language but also in English. During a meeting he listened to Jean Jenkins who commented in length on a paper that had just been read. She also brought in her own thoughts on the subject in such a manner that it prompted Winternitz to ask her: "Miss Jenkins, is this a question or an objection?"
One of the most successful CIMCIM events, at least in my recollection, was the visit to Oslo, Trondheim, Stockholm and Copenhagen in 1982, abbreviated to "The Scandinavian tour". The participants enjoyed the journey through wonderful landscape, comfortably relaxing in trains. In Trondheim, at Peter-Andreas Kjeldsberg's home museum, we received the most friendly reception culminating in an evening gathering in one of the charming old buildings of the Ringve Museum. Wine and other alcoholic drinks are exceedingly highly taxed in Norway, yet a strong brandy, called Line Aquavit because it had crossed the equator in a ship's stomach, was offered in unbelievable quantities. Jan Voigt, then the museum's director, found a thousand reasons to request the company to drink in honour of present or absent persons and this drinking contributed much to the participants' feelings that CIMCIM formed a large family of friends. Indeed, CIMCIM has created friendship between many of its members across many borders (not only on this occasion), and this certainly is one of the positive aspects of this committee.
One thing I did not succeed in during my chairmanship was reducing the members' desire to report on results of their organological research during the committee meetings. I have always taken the position that CIMCIM is a museological committee and that papers read during the meetings should take that into account. In my opinion, research on instruments is the matter of AMIS, the Galpin Society and other groups while there are a great number of questions relating to the museological problems in musical instrument collections that hardly receive the attention they deserve. There are other projects that were unsuccessful, amongst them the big and the small "fish", the fiches that should provide a thesaurus of types of instruments and thus facilitate cataloguing. A number of members passed away over this project that kept going for at least two decades. I regret the failure of this project particularly in view of the computer age that calls for a more systematic approach to cataloguing.
Scott Odell of Washington DC, Cary Karp of Stockholm, Robert Barclay of Ottawa, and I formed the "gang of four", we preferred to see ourselves as the "young turks". For many years we were the only conservators in CIMCIM, forming a group often opposed to the more traditional views of restoration to playability. Contact with conservators from other fields of specialization led us four to the conviction that instruments do not form a special group of objects but rather are cultural property that should follow the generally accepted guidelines of preservation of all cultural heritage. The four were always open to technological questions and so it happened in the early eighties that the four raised their fingers upon the question of participation in a new working on the use of computers in organology. From behind I heard a female voice saying: "Oh no, again the conservators". I have long wondered what was meant by this remark. I believe it showed the reluctance of many curators at that time to get acquainted with this complex tool while conservators have always had the need to use and even build machinery for their field of work. Anyway, CIMCIM has managed to keep curators and conservators in close cooperation and this is a rare achievement amongst ICOM international committees.
Summing up, I find CIMCIM has an ongoing task to fulfil. And it does it sometimes very well, at other times less effectively. Yet is always offers a good opportunity of meeting colleagues and friends and of exchanging professional and personal matters.
Theories are important but in museum's every day life one is sometimes compelled to take immediate decisions that cannot be found in books. I was very happy that my report read in 1980 in Mexico city was amended and rephrased by a working group. Recommendations for Access of Musical instruments was published in ICOM News in French, English and Spanish; later on German, Italian and Japanese versions was added. It proved to be a good tool not only for the benefit of colleagues in musical instrument collections, but also to other colleagues in charge of delicate collections where the same approach was necessary. Thanks to my predecessor we could publish a Special Issue of the CIMCIM Newsletter in 1986 dedicated to what was called the Scandinavian Tour in 1982 "Musical Instrument exhibitions in Scandinavia". This is another practical tool for everyone having to face setting up an exhibition of musical instruments.
My fondest memories were when we visited the Reichstag in Berlin in 1988 and the concert we had with the Berliner Philharmoniker. Other highlights in 1985 were the delicious meals in New York, the Big Apple with fantastic private collections situated sometimes in the middle of huge skyscrapers, and of course the visit to Washington where the Mayor proclaimed that particular day "the" day of music in honour of our visit.
To me CIMCIM has been very important for different reasons. The first one remains professional, as a curator having an important task and an urgent need to save our international heritage. Writing this history of CIMCIM made me recall the cordiality of the founding members whose biographies tell us what amazing people they were. The motions they adopted at the constitutive meeting are still up to date. I have been very impressed by the quality of professionals I met and I am grateful for all they taught me but finally I became aware, that wherever we live and whatever language we speak, we are citizens of one world and that friendship has no borders. In difficult moments in my private life CIMCIM gave me the courage to go on... and even when being retired from the museum it is still necessary to fight for the maintenance of musical instruments. They deserve the same treatment as paintings, sculpture and other collections because they belong to mankind its past and future.
He was from 1928-1931 a student in Musicology, Philosophy, Art History and Arabic at the Berlin University. His main teachers were Arnold Schering, Curt Sachs, Erich M. von Hornbostel and Johannes Wolff. From 1931-1933 he studied Arabian music theory and practices in Cairo and finished University in 1935 with a thesis Studium zur arabischen Musik auf Grund der gegen wärtigen Theorie und Praxis in Ägypten.
During the following years he worked with different State Institutions, later as freelance researcher up to his military service in World War II. From 1945-1948 he was the Music representant at the Magistrat of Gross-Berlin and started teaching in 1947/1948 at Humboldt University. Acquainted with Staatliches Institut für deutsche Musikforschung he began in 1948 to collect what had survived the War in and around Berlin. With 500 objects and 200 pieces, mostly heavily damaged, from the former Collection of more than 4000 musical instruments he started to build up the Institut für Musikforschung with its Museum as well as the Library under very difficult circumstances.
He published various books and articles. In 1967 he became Professor and Director of the Museum. In 1975 he retired and now lives in Endingen/Kaiserstuhl in Southwest Germany.
Dagmar Droysen-Reber, Berlin.
Ernst Emsheimer was appointed director of the Musikhistoriska museet/Musikmuseet in Stockholm in 1949. He had a thorough background for his new duties: a socialist son of a Jewish family of bankers and lawyers, he had had to give up his wish to become a farmer, and so he graduated with a Ph.Dr. in musicology in 1927. In 1932, he moved to Leningrad, where he got several official assignments, that raised his interest in ethnic music and musical instruments. Five years later, he moved on to Stockholm, and was immediately employed by the Ethnographic museum working with musical material from Mongolia.
As a museum director, Emsheimer gradually increased the collection of instruments, not least with non-European and with traditional European instruments. The museum library reached a very high standard through his work.
Among Emsheimer's many contributions as a museum director, the most important one probably was the development of the concerts; the museum became a forum for highly qualified Swedish and international musicians and musicologists, studying early music and performing practices on old instruments. In the spirit of his time, Emsheimer also had original instruments carefully restored for demonstration purposes, for concerts, radio programmes and recordings. This, undoubtedly, lead to an increasing interest and knowledge in older music in Sweden, however critical we are of restoration today.
Even after his retirement in 1973, until shortly before his death at the age of 85, Emsheimer continued his ethnomusicological work, at his desk at the museum or at adventurous exploration excursions to various countries. His scientific production is limited in quantitative terms, but it is distinguished by meticulous source criticism and wide-ranging perspectives.
As an employee of the Musikmuseet since 1964, the author of these lines remembers Emsheimer as a man of extensive reading, always ready to share his knowledge, in an friendly, unobtrusive way, with his collaborators and with other scholars as well as with students or school children. Even after his retirement, he followed our exhibition work and other activities with great interest and with a youthful interest in new solutions.
Birgit Kjellström, Stockholm.
He made his scholarly career as a professor at the University of Copenhagen, Institute of Musicology, and his main research has been concentrated on hymnology. As an organist at more than one of the main churches in Copenhagen his theoretical insight was supported by an active position in Danish musical life. This, however, did not prevent him from engaging himself in many other sectors, among those also the development of Musikhistorisk Museum Copenhagen, where he was employed as an assistant in 1953 and as the director from 1955 to 1980. At the same time, he became the leader of the Carl Claudius collection, and he actually insisted on this combination, aiming at a fusion of these two independent collections of musical instruments.
Glahn accomplished his project step by step: first he created a full time position of an assistant keeper in 1964, then the museum got its own premises where the opening took place in 1966. The day after this happy event, he set out to convince the Ministry of Cultural Affairs that it would be an obvious advantage to concentrate the capacity at hand in one united and important museum. The result was Musikhistorisk Museum og Carl Claudius' Samling which opened its exhibition to the public in 1979.
In the meantime, he had secured a stimulating environment for the increasing staff, and he saw to it that the performances of live music were intensified with first rate ensembles on an international level. His studies in organology are relatively few. His achievement in this respect has been to further the creativity of the staff and to invite scholars from outside the museum as well.
When finally, a full time position for a director was established, Glahn did not want to leave the university, but combined his efforts for the museum, now as a dynamic chairman of the board, until his retirement in October 1994. His importance for the Copenhagen collection and for the foundation of CIMCIM is due to his power of administration combined with a remarkable sense of quality.
Mette Müller, Copenhagen.
She started her career at the museum Vleeshuis in 1953 and retired in 1990 as Curator Emeritus of the Archaeological Museums of the city of Antwerp. In 1945 Belgium returned to normal life again after being occupied by German troops for five years, when collections were stored in safe places, especially during the continuous daily attacks by flying bombs from September 1944 to March 1945. Museums had to be reorganized making inventories of what was saved from war damage. This was her first museum task with special care for the musical instruments. The Ruckers instruments had been put way in a storeroom as uninteresting items. She studied at the University in Ghent from 1948 to 1952 and showed her interest for musical instruments in her doctoral dissertation (1957) on The Music at the Burgundian Habsburg Court in the Netherlands, during the second half of the 15th and beginning of the 16th century (1467-1506). In 1956 she published a catalogue of the collection of musical instruments in the museum Vleeshuis and had discussed the various problems of terminology with John Henry van der Meer at Den Haag; he remained ever since a dear friend. She contributed with the description of all musical instruments to the Flemish Encyclopaedia edited in 6 volumes (1957-1963) with a second edition in 10 volumes (1979-1984). She became in 1960 the youngest founding member of CIMCIM and has served as Treasurer from 1960 to 1976 and Chairperson from 1983 to 1989. She was founding member of the Ruckers Genootschap in 1969 and organized symposia on Restoration problems of Antwerp harpsichords in 1970 and on Copies of Antwerp harpsichords as tools for a better understanding of the music from Rubens's time. From 1982 she published new documents from archival records concerning the Ruckers-Couchet workshop in Antwerp, volume VIII on other harpsichord makers besides the Ruckers is to printed next. She was member of the Advisory Council for Museums in Flanders from 1960 to 1968 and of the Koninklijke Commissie voor Monumenten en Landschappen (Royal Commission for Monuments and Sites) from 1984 to 1993 where she was involved in the problems with historic organs. In 1994 she organised the CIMCIM Meeting and Conference Copies of Historic Musical Instruments in Antwerp.
After his study of musicology and history at the university of Vienna and after having fulfilled functions at the "Gesellschaft der Musikfreunde" and in the music department of the Austrian National Library, he was appointed director of the collection of historic instruments of the Art History Museum in 1938. The department consisted of a collection of rare and unique documents of instrumental music making in the 16th and 17th centuries, as it contained the collection of the Archduke Ferdinand II of Tyrol from the castle of Ambras, of which an inventory exists dated 1596, and the collection of the family Obizzi at Cataio (between Padua and Este), of which the nucleus dates back to at least 1669. Luithlen enlarged the collection by means of loans -- the most important loan was that of a large part of the instrument collection of the "Gesellschaft der Musikfreunde", by which it became possible to show the development of musical instruments in the 18th and 19th centuries -- and by acquiring a large number of objects as documents of piano making at Vienna from the 1770s until far into the 19th century, and in other parts of Europe. Thus the collection was able to show not only keyboard instruments from the possession of the emperors Leopold I and Josef II, but also from the estates of Beethoven, Schubert, Schumann, Wolf and Mahler.
On 15 November 1958, Luithlen gave a lecture about the Viennese collection at Mme de Chambure's house at Neuilly, and on that occasion a meeting with George Henri Rivière and some other colleagues took place, in which the concept of an international committee for musical instrument collections and museums was developed. Luithlen was also present at the meeting in the Gemeentemuseum at The Hague from july 6 to 10 1959, and at that at the Musée des Arts et Traditions Populaires at Paris from June 27 to July 1st 1960. Here he was unanimously acclaimed as first president of CIMCIM. In spite of some friction during the first years of CIMCIM's existence Luithlen presided the meetings at The Hague and Lisbon (both in 1962) with supreme elegance. During the meeting at New York in 1965 the presidency of the committee was transferred to Emanuel Winternitz and the honorary presidency was conferred to our Viennese colleague. Victor Luithlen died on November 18, 1987, in his home town of Vienna.
John Henry van der Meer, Nürnberg.
Il n'est pas exagéré de dire que Claudie Marcel-Dubois a voué sa vie aux instruments de musique. Dirigée, dès l'enfance, vers une carrière pianistique, elle reçoit, au Conservatoire National Supérieur de Musique de Paris puis auprès de Marguerite Long, une formation musicale de haut niveau tout en menant de front des études universitaires à la Sorbonne; en ethnologie d'une part et en Civilisation indienne d'autre part. Sa thèse sur Les instruments de musique de l'Inde ancienne, qui fera l'objet d'un ouvrage publié ultérieurement, marque, d'entrée de jeu, le champ de son orientation.
Elle entre, en 1934, au Département d'ethnologie musicale du Musée de l'Homme dirigé par André Schaeffner et où les aléas de l'Histoire ont conduit également Curt Sachs. Pendant trois ans elle va travailler aux côtés de ce dernier, en particulier sur les collections d'instruments de musique de Madagascar, et bénéficier, jour après jour, de son incomparable expérience; trois années qui ont pesé de manière décisive sur l'évolution de ses travaux.
Lorsque se crée, en 1937 à Paris, le Musée National des Arts et Traditions Populaires, Claudie M-D, est chargée d'y organiser une section consacrée à l'étude de la musique populaire française. Avec l'énergie et la compétence qui la caractérisaient, elle va mettre sur pied un Département à structure bipolaire: à la fois organe de recherche et de conservation, où, pendant de longues années, elle développera des programmes systématiques de recherche sur le terrain qui, outre leurs apports au domaine de la connaissance seront, pour le Musée, pourvoyeurs de collections, sans cesse accrues, de documents musicaux enregistrés et d'instruments de musique. Simultanément elle oeuvre sans relâche pour affermir la légitimité scientifique de l'ethnomusicologie et obtient, en 1961, l'inscription de cette discipline dans les programmes de l'Ecole des Hautes Etudes en Sciences Sociales de l'Université de Paris. Elle inaugure et poursuivra durant vingt ans cet enseignement, réservant une large place à l'instrument de musique avec le souci constant de dépasser l'approche strictement organologique de l'objet pour appréhender l'instrument dans la globalité de son contexte culturel et de ses finalités sociales.
Son attachement à la cause des instruments de musique amena Cl. M-D, tout au long de sa carrière, à s'engager dans des entreprises novatrices telles, par exemple, le création du CIMCIM, à laquelle elle a pris une part prépondérante en organisant, en 1960 à Paris, dans le cadre de son Département au musée des Arts et Traditions Populaires. Elle y délivera, dans une perspective anthropologique, une synthèse de son vaste savoir, fut l'une de ses dernières productions et clôtura brillamment un demi-siècle d'activité incessante au service de la musique et des médiateurs à travers lesquels elle prend vie: les instruments de musique.
Maguy Pichonnet-Andral, Directeur de recherche honoraire du CNRS, Paris.
Personnalité d'une puissance et d'une diversité hors du commun, parfois irritante, mais toujours fascinante, elle alliait les qualités humaines aux dons artistiques et littéraires. S'étant spécialisée dans le domaine de la musique ancienne, elle réunit patiemment en parallèle une exceptionnelle bibliothèque musicale, qui devait devenir célèbre dans le monde de la musicologie et une collection raisonnée d'instruments de musique, d'une qualité équivalente.
Ses compétences en matière de musicologie et d'organologie l'amenèrent à la direction du Musée Instrumental du Conservatoire National Supérieur de Musique de Paris(1961-1973), auquel elle apporta, par son dynamisme et le modernisme de ses conceptions, des innovations et un développement jusqu'alors inconnus dans cette Maison. Elle sut mener de front et susciter les recherches dans les domaines de l'organologie et de l'iconographie musicales, dans le cadre d'une équipe de recherche du Centre National de la Recherche Scientifique. Très vite, elle en vint, sur le conseils de Georges Henri Rivière, Directeur de l'ICOM, à l'ambitieux projet du Musée de la Musique, qui fut exposé dans des réunions du CIMCIM, mais dont elle ne devait jamais voir la réalisation.
Elle avait toujours participé au plus haut niveau aux travaux de plusieurs sociétés musicologiques, mais, dès sa nomination à la tête du Musée, elle consacra beaucoup de temps au CIMCIM, qu'elle présida de 1968 à 1974. Elle fit bénéficier les membres des résultats de son expérience au Musée, notamment en ce qui concerne la restauration - éthique, méthode, constitution de dossiers - et développa la communication entre les musées spécialisés.
La dernière de ses actions d'envergure fut la mise sur pied d'une exposition itinérante et internationale d'instruments de musique du XVIIIe siècle comportant une partie iconographique et accompagnée de démonstrations musicales et de concerts au sein même de l'exposition.
Une partie de ses livres de musique a rejoint la Bibliothèque Nationale de France, tandis que sa collection d'instruments est entièrement réunie aux fonds du Musée Instrumental, devenu depuis 1992 Musée de la Musique à la Cité de la Musique du Parc de Villette.
Josiane Bran-Ricci, Conservateur en chef honoraire du Patrimoine, Paris.
The son of a Dutchman and an English mother, at the age of six or seven he began receiving piano lessons. In 1938 he became a student of jurisprudence and musicology. On his 23rd birthday he was arrested by the German occupants as a hostage in connection with the murder of a Dutch SS-general. He was freed in April 1945. In 1946 he received his PhD in law. Soon he became a teacher at Utrecht Conservatoire and later at the Royal Conservatoire in The Hague. He became head of the music department at the Gemeentemeseum in 1954. Two years later, John Henry van der Meer did his doctorate in musicology with a thesis on Johann Josef Fux als Opernkomponist.
In 1963, van der Meer was appointed curator of the musical instrument collections of the Germanisches Nationalmuseum Nürnberg, recently augmented by the Rück collection. In 1968 the collection grew further through the acquisition of the Neupert collection. In Nürnberg, van der Meer published a great number of articles and books dealing with a wide variety of topics from the field of musical instruments and the music written for them. He made the collection of the Germanisches Nationalmuseum an internationally renowned place of comprehensive knowledge and the worldwide interchange of ideas. The series of Musica Antiqua concerts brought many excellent musicians to Nürnberg and helped launch many recordings of fine musicianship.
In January 1984, van der Meer retired. He is still very actively touring Italy and other countries, cataloguing, examining, writing, helping with exhibitions. In November 1995 we celebrated his 75th anniversary, and a good number of colleagues and friends from Austria, Belgium, Germany, Italy, Norway, Switzerland, and even the United States came to congratulate.
I had the privilege to work together with John Henry van der Meer practically all his time in Nürnberg, my task having been the conservation and restoration of the instruments. I look back at the times we had together with great pleasure.
Friedemann Hellwig, Köln.
An outspoken Jewish critic of Nazi policies, Winternitz escaped Vienna in 1938 with few possessions and emigrated to the United States, where he lectured at various schools and museums before being appointed "associate in music" at the Metropolitan Museum of Art in 1941; there, during the war years, he organized concerts of early music and prepared temporary displays of the Museums' musical instruments. As a result of this work, in 1949 he became curator of the musical instruments department, a position he held until retirement in 1973. Shortly before retiring, Winternitz worked with Edwin Ripin to design a permanent installation of part of the Crosby Brown Collection in the new André Mertens Galleries for Musical Instruments at the Museum. After leaving the Museum, Winternitz continued for several years to teach organology and iconography at the City University of New York.
Winternitz returned often to Europe where he maintained contact with curators of several important instrument collections. This contact, and the scarcity of colleagues in America who shared his specialized interests, evidently led Winternitz to become involved with CIMCIM.
Laurence Libin, New York.
The prehistory of CIMCIM has been written up in much detail by Alfred Berner in CIMCIM Newsletter IX (1981), the prehistory and history in the article above by Jeannine Lambrechts-Douillez. I cannot write on the subject more competently than these authors, for which reason the following remarks will be no more than a few glosses on the articles by Alfred Berner and Jeannine Lambrechts.
In 1954 I became curator of The Hague Gemeentemusum, consisting among other things - a library, archives and iconographic collection - of a musical instrument collection. I had studied musicology at the State University of Utrecht, but I had no specialized organological training. Therefore, I had to work unspeakably hard to build up a certain preparation, however primitive, for the task that lay before me. At an early date the international contacts presented themselves that were to become so important to all those whose task it was and is to look after a collection of musical instruments. The first contact was still in the framework of the Benelux: Jeannine Douillez (still unmarried), just appointed curator of the Museum Vleeshuis at Antwerp, came to see me at The Hague in 1955 in order to learn the nomenclature of musical instruments and their part in the Netherlandish language, a term which is the common denominator between the Flemish and the Dutch versions of this language, which are no further apart than Oxford and Bostonian English. I am afraid that I was still wrestling with the linguistic problem of nomenclature myself, so that I could not be of very great help to Jeannine, but her visit was the beginning of a life-long friendship.
In the ensuing years I felt the need of an international organization, as it already existed for libraries in the AIBM, more and more strongly. In 1956 or 1957, while spending a month working on my dissertation in Vienna, I made the acquaintance of Victor Luithlen, later to become a dear friend, too; I made the proposal to organize some musical instrument committee within the framework of AIBM; as there were obviously no signs of a committee for musical instruments being founded. Victor was not enthusiastic, because - as he rightly pointed out - the necessities of an instrument collection were quite different from those of a library.
In 1958 Alfred Berner - whom I had not known beforehand - invited me to participate in a meeting of the working group for organology, founded by him in 1953 in the framework of the German Gesellschaft für Musikforschung, during the congress of the International Society for Musicology at Cologne. The colleagues present (inter alia Ernst Emsheimer, Henrik Glahn, Walter Nef, Luisa Cervelli and Emanuel Winternitz) agreed unanimously that it was necessary to found some kind of international committee for musical instruments. Walter Nef accepted the task to invite the colleagues to a symposium at Basle in 1959, but unfortunately Nef fell ill, after which the task of inviting such a symposium was shifted onto my weak shoulders.
The symposium took place in July 6 to 10 in the Gemeentemuseum at The Hague. It was, I suppose, a success; in the first place I met with far less administrative difficulties in organizing it than I had met in my organizational work beforehand; in the second place the weather gods belied the traditional definition of the Dutch climate ("mild and humid winters, especially in summer"). In fact, the weather was so sunny and warm that we often fled into the Museum's garden. I had also organized an exhibition of the instruments of New Guinea, of which the Western part at that period was still a Dutch colony ("Het muzikale hart van Nieuw-Guinea") and an excursion to Amsterdam, where the Christian Vater 1724 organ in the Oude Kerk (old church) was visited, and to Utrecht, where a performance was given by the carillon player Chris Bos on the beautiful beiaard by François and Peter Hemony in the tower of the "Domkerk" (still with that name, although the Dutch reformed church does not have an episcopal organization).
For the meeting at Paris from June 27 to July 1st 1960 we can largely follow Alfred Berner's and Jeannine Lambrechts' articles. After the sessions of June 30 and after the wonderful reception at Mme de Chambure's house in Neuilly, George Henri Rivière, Director of ICOM invited a number of members to an unofficial meeting at Claudie Marcel Dubois's house. I think that those present were, apart from George Henri Rivière and Claudie Marcel-Dubois, Ernst Emsheimer, Henrik Glahn and myself. In any case NOT present Alfred Berner, Roger Bragard, Mme de Chambure, Jeannine Douillez, Victor Luithlen and Emanuel Winternitz. George Henri Rivière made the observation that on the final day of the meeting there was to be an election of the board; therefore, said George Henri Rivière, in order not to lose too much time in endless discussions, it might be useful to make concrete proposals, which could be voted upon.
This seemed a good idea. We were all agreeable that Victor Luithlen should be our first president, as he had four languages at his disposal - among which the two ICOM languages - and was the curator of the oldest collection of musical instruments still in existence (Ambras and Catajo). As secretary Alfred Berner was proposed, who had done more work than others for the formation of an international committee for musical instruments. This was heatedly opposed by Claudie Marcel-Dubois: "On ne peut pas avoir le secrétariat à Berlin!" When asked, why not, the answer was: "Puisqu'ils ont tué mon père". I was so flabbergasted by this answer - after all, we were trying to create a mode of international cooperation - that I missed the next few minutes, in which Georges-Henri Rivière's proposal of Claudie Marcel-Dubois as "secrétaire général", as she in the coming years titulated herself, was accepted. I always found the "général" for a club of about 70 members was slightly ridiculous, however. I was proposed as treasurer, which I declined on the grounds of the terrifically complicated administrative structure of the Gemeentemuseum. I proposed Jeannine Douillez, always with four languages at her disposal, among which the ICOM languages, which was accepted. George Henri Rivière finally pointed out that it would perhaps be practical to have a few vice-presidents in case the president in future should be prevented; so the eldest colleagues Emsheimer and Winternitz were elected for this function. After all this Henrik Glahn in his humane way remarked: "Poor Berner". So in the end Berner was proposed as "conseiller technique", felt by all those present to be a kind of a consolation prize.
Thus the first board of CIMCIM came into being. Unfortunately, it did not always function too well. The reasons for this would require an article at least as long as the present one is up to now, and I have already exceeded the limits imposed on me.
I emigrated from the Netherlands to Germany in January 1963; for a number of years I worked at and for the Germanisches Nationalmuseum. The management of the department of musical instruments has entailed a large amount of hackwork, which also goes for the period before the official inauguration of the musical instrument hall on 7 July 1969. I am thankful that my esteemed co-worker from 1964 onwards, Friedemann Hellwig, often took upon himself elements of hackwork in order to alleviate my task.
In 1965 I was elected secretary during the congress at New York. It goes without saying that, as the election took place in my absence, I could have refused, but I thought that I should have a try, as my CIMCIM colleagues had obviously put their trust in me. Indeed, the cooperation with many colleagues was generous and from time to time I was able to pocket some small satisfaction. At that period I often visited the annual Händel festival at Halle (Saale) in the bygone German Democratic Republic. I had a very good contact with the late director of the Händel house at Halle, Konrad Sasse. One day I pointed out that it was a shame that not one of the four important instrument collections of the DDR (Leipzig, Halle, Eisenach, Markneukirchen) was represented in CIMCIM, to which he answered that the decision to have the DDR represented would be a political one and that there was very little money. During the performance of Händel's operas Konrad Sasse introduced me to Mrs Gysi, who worked at the ministry and shortly after the Händelhaus was allowed to become a CIMCIM member.
The reverse of the medal was that in all three years my letters to France remained unanswered. I am still not a subject of the German Federal Republic, but, of course I represented a museum in this country and Germany had lost two world wars... This attitude of unwillingness to cooperate on an international basis exasperated me and in Cologne I resigned the position of CIMCIM secretary.
Since 1972, after an unspeakable offense by the then "secretary general" for which no excuses was begged, I left CIMCIM, which does not mean that I lost contact with my generally very dear colleagues. For the friendship offered me by those of my generation and those that came after - especially of this last category - I am more thankful than I can express. I am old, but nostalgic after former decades. On the contrary, I have the impression that with the present members the situation of CIMCIM has changed for the good. I wish CIMCIM a series as long as possible of peaceful and productive years.
Dates and venues are given below, also the occasion of the meetings. ICOM international committees are required to hold a meeting in conjunction with each ICOM general assembly. No meetings were held in 1963, 1966, 1976, 1978 and 1987.
| 1960 | June 27 - July 1 | Paris | ICOM General Conference. | |
| 1961 | September 10 | New York | Société Int. de Musicologie | |
| 1962 | November 22-28 | Lisbon | Fundaçao Calouste Gulbenkian | |
| 1964 | September 3 | Salzburg | Société Int. de Musicologie | |
| 1965 | September 22-25 | New York | ICOM General Conference | |
| 1967 | September 4-7 | Ljubljana | Société Int. de Musicologie | |
| 1968 | July 29-31 | Cologne | ICOM General Conference | |
| 1969 | January 27-31 | Kampala | Nigerian Training Center at Jos | |
| May 6-8 | Nürnberg | |||
| August 11-13 | Edinburgh | International Folk Music Council | ||
| 1970 | May 8-9 | Antwerp | Ruckers Genootschap | |
| 1971 | August 30 - September 2 | Paris | ICOM General Conference | |
| 1972 | August 19-21 | Copenhagen | Société Int. de Musicologie | |
| 1973 | August 29 - September 3 | Neuchâtel | ||
| 1974 | June 5-8 | Stockholm | ICOM General Conference | |
| 1975 | September 1-5 | Amsterdam | ||
| 1977 | May 19-22 | Moscow, Leningrad | ICOM General Conference | |
| 1979 | August 20-25 | Leipzig | National Museum Council DDR | |
| 1980 | February 14-17 | Burgdorf | ||
| October 28 - November 4 | Mexico City | ICOM General Conference | ||
| 1981 | April 3-5 | Vancouver | American Musical Instrument Society | |
| 1982 | June 11-19 | Copenhagen, Stockholm, Trondheim | ||
| June 21-23 | Antwerp | Ruckers Genootschap | ||
| 1983 | July 25 - August 2 | London, Oxford | ICOM General Conference | |
| 1984 | May 17-23 | Dolna Krupa (Czechoslovakia) | ||
| 1985 | May 23 - June 2 | Washington, New York, Boston | American Musical Instrument Society, Galpin Society | |
| 1986 | October 28-31 | Buenos Aires | ICOM General Conference | |
| 1988 | April 10-17 | Berlin | ||
| 1989 | August 27 - September 6 | The Hague | ICOM General Conference | |
| 1990 | May 9-14 | St Paul, Vermillion | American Musical Instrument Society | |
| 1991 | May 5-21 | Osaka, Nara, Kyoto, Tsumagoi, Tokyo | ||
| 1992 | September 21 - October 2 | Quebec, Ottawa, Toronto | ICOM General Conference | |
| 1993 | July 8-15 | Antwerp | Antverpiano | |
| 1994 | June 1-9 | London, Edinburgh | Galpin Society, Historic Brass Society | |
| 1995 | July 1-12 | Stavanger, Trondheim, Stockholm | ICOM General Conference | |
| 1996 | September 19-26 | Vienna, Bratislava, Budapest | ||
| 1997 | May 11-14 | Washington | American Musical Instrument Society | |
| 1998 | October 8-16 | Sydney, Melbourne | ICOM General Conference | |
| 1999 | June 10-17 | Paris, Montluçon, Mirecourt | ||
| 2000 | September 14-22 | Leipzig, Markneukirchen, Prague | ||
| 2001 | July 1-6 | Barcelona, Madrid | ICOM General Conference | |
| 2002 | September 8-16 | St Petersburg, Russia | ||
| 2003 | August 3-9 | Oxford, London, Edinburgh | Galpin Society, American Musical Instrument Society | |
| 2004 | October 1-8 | Seoul | ICOM General Conference | |
| 2005 | May 8-15 | Michaelstein, Freiberg, Halle, Leipzig | ||
| 2006 | May 17-23 | St Paul, Mason City, Vermillion | American Musical Instrument Society, Galpin Society | |
| 2007 | August 20-23 | Vienna | ICOM General Conference |
| 1960-1965 | Victor Luithlen |
| 1965-1968 | Emanuel Winternitz |
| 1968-1974 | Geneviève de Chambure |
| 1974-1977 | Félix van Lamsweerde |
| 1977-1983 | Friedeman Hellwig |
| 1983-1989 | Jeannine Lambrechts-Douillez |
| 1989-1995 | Cynthia Adams Hoover |
| 1995-1998 | Sumi Gunji |
| 1998-2004 | Eszter Fontana |
| 2004-2010 | Kenneth Moore |
| Adams Hoover, Cynthia | U.S.A. | 1986-1995 | President, 1989-1995 |
| Barclay, Robert | Canada | 1989-1995 | Secretary-Treasurer, 1989-1995 |
| Bégin, Carmelle | Canada | 1998-2004 | |
| Berner, Alfred | Germany | 1960-1968 | Conseiller technique 1960-1965, Vice-President, 1965-1968 |
| Birley, Margaret | U.K. | 1995-2001 | Secretary-Treasurer, 1995-1998; Treasurer, 1998-2001 |
| Bran-Ricci, Josiane | France | 1983-1989 | Secretary-Treasurer, 1983-1989 |
| Chambure, Geneviève de | France | 1965-1974 | Vice-President, 1965-1968; President, 1968-1974 |
| Eliason, Robert | U.S.A. | 1980-1983 | |
| Elste, Martin | Germany | 1995-2001 | |
| Emsheimer, Ernst | Sweden | 1960-1968 | Vice-President, 1965-1968 |
| Fontana, Eszter | Hungary - Germany | 1992-2004 | President, 1998-2004 |
| Geiser, Brigitte | Switzerland | 1977-1983 | Editor 1977-1983 |
| Griffin, Bronwen | Australia | 2004-2010 | |
| Gunji, Sumi | Japan | 1986-1992; 1995-1998 | President, 1995-1998; Vice-President, 1998-2001 |
| Hellwig, Friedeman | Germany | 1977-1986 | President, 1977-1983 |
| Henkel, Hubert | Germany | 1982-1983 | |
| Jenkins, Jean | U.K. | 1968-1974 | Secretary, 1968-1974 |
| Karp, Cary | Sweden | 1974-1977 | Treasurer-Editor, 1974-1977 |
| Kjeldsberg, Peter-Andreas | Norway | 1977-1983; 1992-1998 | Secretary-Treasurer, 1977-1983 |
| Kjellström, Birgit | Sweden | 1986-1992 | |
| Knast, Alicia | Poland | 2001-2007 | |
| Koster, John | U.S.A. | 1995-2001 | |
| La Rue, Hélène | U.K. | 1983-1992 | Editor, 1983-1989 |
| Lambrechts-Douillez, Jeannine | Belgium | 1960-1974; 1983-1989 | Treasurer 1960-1974; President, 1983-1989 |
| Lamsweerde, Félix van | Netherlands | 1974-1977; 1983-1986 | President, 1974-1977 |
| Larson, Gunnar | Sweden | 1974-1977 | Secretary, 1974-1977 |
| Lea, Michael | Australia | 2001-2007 | |
| Luithlen, Victor | Austria | 1960-1965 | President, 1960-1965 |
| Marcel-Dubois, Claudie | France | 1960-1965 | Secretary, 1960-1965 |
| Martin, Darryl | U.K. | 2007-2010 | |
| Mataga, Jesmael | Zimbabwe | 2004-2010 | |
| Moore, J. Kenneth | U.S.A. | 2001-2010 | Vice-President, 2001-2004; President, 2004-2010 |
| Müller, Mette | Denmark | 1983-1986 | |
| Myers, Arnold | U.K. | 1992-1998 | Vice-President, 1992-1998 |
| Nakamizo, Kazue | Australia | 2004-2010 | |
| Nwachuku, Chinyere | Nigeria | 1980-1983 | |
| Rausa, Carlos | Argentinia | 1989-1995 | |
| Rieche, Christane | Germany | 2007-2010 | Treasurer, 2007-2010 |
| Rossi-Rognoni, Gabriele | Italy | 2004-2007 | Secretary, 2004-2007 |
| Sasse, Konrad | Germany | 1980-1982 | |
| Torp, Lisbet | Sweden | 2001-2010 | Vice-President, 2004-2010 |
| Van der Meer, John Henry | Germany | 1965-1968 | Secretary, 1965-1968 |
| Verrier, Patrice | France | 2001-2007 | Treasurer, 2001-2007 |
| Weinheimer, Corinna | Norway | 1998-2004 | Secretary, 1998-2004 |
| Winternitz, Emanuel | U.S.A. | 1960-1968 | Vice-President, 1960-1965; President, 1965-1968 |
Ethnic Musical Instruments: identification - conservation = Instruments de musique ethnique (parallel English and French text).
Edited by Jean Jenkins.
Published for ICOM-CIMCIM by Hugh Evelyn, London, 1970 [Out of print]
Instrumentos musicales étnicos [translation into Spanish by Carlos Rausa of Ethnic Musical Instruments by Jean Jenkins, 1970].
Published by the Argentine National Committee of ICOM.
International directory of museums and collections of musical instruments.
Edited by Jean Jenkins.
Published for ICOM-CIMCIM by Frits Knuf, Buren, Netherlands, 1977 [Out of print]
IAMIC and CIMCIM Newsletters I - XIV 1973-1989
Recommendations for Regulating the Access to Musical Instruments in Public Collections (1985, published in English, French, Spanish, German, Italian and Japanese)
Newsletter Special Issue: Musical Instruments in Scandinavia (1986)
Contributions to the Study of Traditional Musical Instruments in Museums CIMENT: Uniform Procedures for Data Element Description in CIMCIM Database Systems.
World-Wide Web publication (1991)
Publications Series 1 - 3
Newsletter I
Newsletter II
Newsletter III-IV
Newsletter V
Newsletter VI
Newsletter VII
Newsletter VIII
Newsletter IX
Newsletter X
Newsletter XI
Newsletter XII
Newsletter XIII
Newsletter XIV
Recommendations for the conservation of musical instruments in collections; an annotated bibliography. 1993 (Publication No. 1)
Training in Musical Instrument Conservation. 1994 (Publication No. 2)
Copies of Historic Musical Instruments. 1994 (Publication No. 3)
Regional Traditions in Instrument Making: Challenges to the Museum Community. 1998 (Publication No. 4)
Technical Drawings of Musical Instruments in Public Collections of the World. Edited by Rob van Acht. Published by Moeck, Celle and on the CIMCIM website (1996, 2000)
International Directory of Musical Instrument Collections. Joint publication of CIMCIM and the American Musical Instrument Society. World-Wide Web publication. In course of publication, 1997-
The Care of Historic Musical Instruments
. Edited by Robert L. Barclay. Published by the Canadian Conservation Institute, Ottawa; The Museums and Galleries Commission (UK), London; and CIMCIM, Edinburgh (1997)ICOM News: news bulletin published by the International Council of Museums, XIII, nr 4-5, pp.17-20 for the French version, p.39-41 for the English.
A Survey of Musical Instrument Collections in the United States and Canada. Music Library Association, 1974.
Address for further information
Text © CIMCIM, 1998-2003, 2004.
This page updated: 19.10.04