Musical instruments are collected for many reasons – for use in performance, as objects of veneration or visual art, to furnish ethnological and historical evidence, to illustrate technological developments and serve as models for new construction, for financial investment and sale, and merely to satisfy curiosity. Amateur and professional musicians, wealthy aristocrats, religious and municipal bodies, schools and museums are among those who amass instruments for one reason or another. Criteria distinguishing successful modern collections include not merely size, but also quality and accessibility of holdings, condition and documentation of individual objects, and integrity or coherence of the whole. This article outlines the history of instrument collecting with attention to the motives and conditions that influence collectors, and deals with assemblages of musical instruments gathered intentionally and more or less permanently. Instruments awaiting dispersal (e.g. in a dealer’s or maker’s shop) or accumulated apparently by chance are considered only in passing.
LAURENCE LIBIN, ARNOLD MYERS (1–4), BARBARA LAMBERT, ALBERT C. RICE (5)
Assemblage and deliberate preservation of groups of instruments is an ancient but not a universal practice. Little evidence exists of large-scale collecting outside urban centres; nomads, subsistence-level tribes and those occupying hostile environments may not save instruments at all. Though Amerindians seldom preserved collections of instruments, descendants of the Aztecs still occasionally hoarded specimens of the teponaztli and huéhuetle in the 1950s. Elsewhere, particularly in settled societies where ensemble performance predominates, collections associated with worship or venerated in their own right are not uncommon; notable examples include New Guinean slit-drums, East African royal drums, and ceremonial instruments in Himalayan monasteries. Such groups may be of substantial size: the Tibetan monastery at Tin-ge owned at least 12 bone trumpets, four long trumpets, and hundreds of cymbals, drums, small bells, and other ritual noisemakers. Special ceremonies, taboos and skills connected with their manufacture and use reinforce the instruments’ extra-musical connotations among non-literate societies; revered collections may thus be said to express a people's history and beliefs. But largely because of political factors and the greed of Western collectors many native assemblages have been dispersed, injuring continuity of traditional practices in affected areas such as central Java, where late 18th- and early 19th-century rulers of some principalities maintained three complete gamelans. Although national pride and affluence have led to re-establishment of collections in some former colonies, the most extensive repositories occur today in urbanized, literate societies with long histories of instrumental art music.
The oldest extant groups of instruments, dating back some 6000 years, do not represent consciously preserved collections. Late Roman and early medieval instrument groups, usually fragmentary and found in northern European mounds, may similarly be coincidental. Since relatively few ancient instruments survive, however, such small archaeological assemblages demand attention. Archaeological departments of art and history museums often include instruments that are not catalogued with the institutions' main instrument collections, but are accompanied by excavation data without which the objects might be valueless to scholars. A major responsibility of modern collectors is to obtain accurate documentation of their instruments and to transmit this information with the instruments should they change ownership; in this respect archaeological and ethnographic collectors generally have been conscientious.
Quite apart from accidental accumulation, the thoughtful collection of instruments is an ancient practice. History records the jealous guarding of many individual instruments, including even a fake ‘lyre of Paris’ that Plutarch mentioned as being kept in Troy in 334 bce; references to collections are less common, but although well-known passages in 2 Chronicles and Daniel may be late and unreliable there is no reason to doubt that collections of instruments formed part of the sacred property both of Solomon's temple and of Nebuchadnezzar's band. The Second Temple seems to have owned a small orchestra of lyres, harps, horns, trumpets, oboes and cymbals, and there is much evidence of earlier collections used in ritual and entertainment.
Besides collecting instruments for ensemble performance, many ancient peoples hoarded apotropaic (evil-averting) and votive instruments for inclusion at burials. Cult instruments brought together to be entombed constitute the oldest extant true collections. Tutankhamun's tomb (c1352 bce) yielded pairs of trumpets and sistra, but most Egyptian burial collections consist only of jingles or votive clappers. Of greater interest to musicians is an assemblage excavated in 1972 from the 2100-year-old tomb of a Chinese noblewoman near Changsha, Hunan province. This includes models of performers playing miniature instruments, as well as real instruments in a state of fine preservation. The Elgin auloi and fragmentary lyre now in the British Museum, from a 5th-century bce Athenian tomb, were likewise once playable. Despite topical inscriptions such as occur on bronze ceremonial instruments excavated in 1955 from the 5th-century bce tomb of the Marquis of Cai, Shouxian county, Anhui province, such interred collections were probably never intended to be seen again in this world.
After the destruction of instruments ordered by Emperor Qin Shihuang (221–210 bce) China again became the home of remarkable collections intended for use in performance. Unlike Indian courts, where small ensembles predominated despite the wealth of instruments available, Tang court ministries and conservatories of music involved hundreds of musicians playing about 50 kinds of instruments, often in large orchestras. The cosmopolitan Tang court conservatory (established 714 ce) collected not only the finest Chinese instruments but also foreign ones brought from trade centres as far west as Bukhara, gifts to the music-loving Emperor Xuan Zong (712–56). In quality and quantity, as well as in geographical scope, his repositories dwarfed any known in Europe for nearly the next 1000 years. Some idea of those holdings may be gained from the dozens of superbly decorated instruments still preserved at the Japanese Imperial Treasury of Shōsōin at Nara; many of these were played by foreign musicians at the unveiling of a Buddha at Tōdaiji temple in 752.
Under the Song dynasty (960–1280) some Chinese shrines employed as many as 120 qin, 120 se, 200 sheng, 20 oboes and percussion. In 1114 the emperor continued the practice of instrument exchange on a grand scale by sending to Korea a collection that included ten sets each of stone chimes and bells.
Despite ample iconographic evidence of the many types of instruments assembled at medieval European music centres and despite extant descriptions of occasional large ensembles, we know of no permanent instrument collections of the Middle Ages that approached in size those of contemporary east Asia. Those European instruments that were held in highest regard were complex, rare and probably outside the mainstream of musical activity. There seem to have been no significant collections as such during the earlier Middle Ages. Instrumental music had been discouraged for religious reasons, but even in Islamic Spain, where by 755 Córdoba under the caliphate had become an important music centre, instruments appeared only in small groups except on extraordinary occasions. Since solo and small ensemble music predominated there was no reason to assemble large numbers of instruments for use in performance as in China, and few medieval nobles could afford to employ more than a handful of musicians. While the Church Fathers' censure of secular musical pleasures might not have been taken too seriously, little energy was spent in preserving what could be considered mere tools. Apart from such things as church bells, only those few instruments that found their way to treasuries among other objects valued for appearance, precious materials, or historical associations were saved intentionally. It is likely that the musicians' plain, perishable tools, of which itinerant players seldom owned more than they could carry, simply wore out.
Gradually the rise of polyphony created a demand for more and better-blending instruments. Ceremonial performance called for loud wind instruments like those owned by London's Goldsmiths' Company band, enriched in 1391 by purchase of new trumpets, clarions, shawms, a bombard and a bagpipe – perhaps, with some drums, a guild's typical collection. Domestic music required softer instruments; in 1425 the Parisian Jacques Duchié owned ‘harps, organs, vielles, gitterns, psalteries and others, all of which he knew how to play’. Contemporary writers frequently mentioned amateur virtuosos; Sollazzo in Simone Prodenzani's Il Saporetto (c1400), who could play any instrument, may have had authentic counterparts who owned a variety of instruments. The court musician's status had much to do with the formation of collections, for example at the Burgundian court where noble children took lessons on richly decorated instruments from Philip the Bold's 28 musicians (1367). Yet there is no evidence that groups of the loveliest instruments were set apart from ordinary use to be appreciated as art objects.
The flourishing of instrument collections during the Renaissance, especially in Italy, is best understood in the context of collecting in general. With increasing wealth and ease of travel, collectors gathered great numbers of exotic objects both for amusement and instruction. Competition led to ostentation, since according to Matarazzo ‘it belongs to the position of the great to keep horses, dogs, … court jesters, singers and foreign animals’, and the largest number of different specimens was most impressive. The contemporaneous development of idiomatic instrumental music elevated the status of instrument makers, who in some towns were protected by professional guilds. Growth of instrument families in all pitch ranges made it desirable to obtain complete consorts, adding new varieties as they became fashionable. Fulfilling aristocratic demands for instruments of utmost magnificence, makers produced art objects worthy of display in private musei and Wunderkammern; an impression of these studios survives in the intarsias that lined Federigo da Montefeltro's studios at Urbino and Gubbio. By commissioning elegant instruments towns and churches joined the nobility and rich merchants in demonstrating prosperity and good taste. All these factors encouraged instrument collecting.
With important exceptions noted below, most of the Renaissance and Baroque collections have become dispersed. Some idea of their contents can be gained from various published inventories and descriptions. A 1503 inventory of Isabella of Castile's royal alcázar reveals about 20 instruments, some old and broken, a modest assemblage used mainly in performance. A century later Philip II's royal palace in Madrid boasted not only 136 wind, 44 string and 11 keyboard instruments, but also ten Chinese instruments (1602 inventory; the collection, part of which Philip inherited from his aunt, Queen Mary of Hungary, was dispersed through sale a few years later). Wind instruments likewise far outnumbered strings at Henry VIII's Westminster (1547 inventory), where Philip van Wilder had in his charge about 320 instruments (not counting gilt horns, drums and the like), including 40 keyboards. Raymond Fugger's music chamber in Augsburg held (in 1566) nearly 400 instruments, including over 100 flutes and recorders, about 140 lutes and many violins and harpsichords by famous makers, gathered from all over Europe. The Berlin court orchestra owned (in 1582) 72 instruments, 60 of them wind, while Archduke Ferdinand II of the Tyrol's collections (1596) comprised over 230 costly instruments, nearly 80% wind. Ferdinand's personal collection, now at the Vienna Kunsthistorisches Museum, was kept at his Ambras residence near Innsbruck. French 16th-century collections were far less impressive, but Jean de Badonvilliers, councillor to François I, left a number of string and keyboard instruments at his death in 1544. A 1603 inventory of the Hengrave Hall collection survives; in that year the royal collection provided violins for Queen Elizabeth's funeral.
Woodwind instruments usually outnumbered strings in Renaissance repositories, but have not survived in such profusion. Wooden flutes and reed instruments, being cheaper and offering less opportunity for decoration than strings, were considered less worth preserving when they became obsolete; they were also harder to modernize (ivory ones were more precious and often elaborately carved, but less useful in performance; hence they survive in relatively high numbers). Wind instruments in sets often belonged to repositories heavily drawn on by professional performers. The Kassel Hofkapelle inventories of 1573, 1613 and 1638 record loans to the count's musicians; there and elsewhere it appears that valuable, decorated keyboard instruments seldom left their usual chambers (hence more harpsichords and organs occur in inventories than one might expect since one or more might have had to be kept wherever music was often performed). These stationary, seldom loaned instruments are more likely than most to have become ‘collectors’ items’.
Only gradually did connoisseurs evolve the concept of a collection as a work of art, capable of displaying internal harmony and of expressing its owner's taste. Private collectors rather than institutional buyers were mainly responsible for developing this attitude, and Italy in particular was full of collectors. Venice boasted Agostino Amadi, Luigi Balbi, Marco Contarini (whose collection passed to the Correr family and parts of which came to the Paris and Brussels conservatory collections), Leonardo Sanudo and Catarino Zeno; in Bologna lived Ferdinando Cospi; in Ferrara, Antonio Goretti; in Florence, Ridolfo Sirigatti; in Padua, Enea degli Obizzi (whose collection is now in the Vienna Kunsthistorisches Museum); in Rome, Michele Todini and Athanasius Kircher; and in Milan, Manfredo Settala. Finally, there were the more renowned d'Este, Sforza and Medici families. According to Bottrigari, Isabella d'Este's nephew Alfonso II kept his collection in two great chambers where his musicians played; the instruments were arranged by category, and separated according to whether they were played or ‘different from those … usually made today’, and included Vicentino's arcicembalo and a set of crumhorns (possibly those now in the Musée des instruments de musique, Brussels).
In Spain and Portugal, noteworthy collections belonged to the Duke of Calabria at Valencia and to Queen Mary of Hungary. Northwards were the private holdings of Jean Baptiste Dandeleu, Caspar Duitz, Hendrick van Brederode, and Constantijn Huygens. Hans Burgkmair's Triumphzug illustrates instruments from Maximilian I's Hofkapelle. A certain Felix Platter owned instruments in Basle.
In 1659 Elias Ashmole received a Guinea Coast drum from Johan Tradescant the younger, whose 1656 Musaeum Tradescantianum catalogue records several African and Indian drums under the heading ‘Warlike Instruments’ (a Guinea drum and a fragment of a side-blown horn remain in the Ashmolean collection, Oxford); similar instruments had been illustrated by Praetorius (Theatrum instrumentorum, 1620). Athanasius Kircher's museum at Rome contained instruments discussed in his Musurgia universalis (1650); and Filippo Bonanni, curator of Kircher's collection from 1698, drew on Kircher's text as well as Marin Mersenne's Harmonie universelle (1636–7) for his own Gabinetto armonico (1722). Michele Todini's Dichiaratione della galleria armonica (1676) describes his own idiosyncratic collection, which included curious instruments of his own design; his extraordinary harpsichord flanked by figures of Polyphemus and Galatea survives in the Metropolitan Museum of Art, New York. Todini exhibited his collection publicly, and Winternitz believed that it might have constituted ‘the first museum exclusively devoted to musical instruments’.
Of particular interest later in the Baroque era were the keyboard instruments in collections of Cosimo III and Ferdinando de' Medici (supervised by Bartolomeo Cristofori after 1716), Cardinal Ottoboni and Queen Maria Barbara de Braganza. In England Sir Samuel Hellier assembled a distinguished collection in the mid-18th century including the Stradivari violin now known by his name; the greater part, however, he sent to his country house so that his estate workers could enjoy orchestral music-making – an early example of the provision of sets of instruments for workers' recreation which became common with 19th-century industrialists. By that time it was common for collectors to obtain antique instruments at public sales.
Some outstanding 18th-century musicians were collectors. The celebrated castrato Farinelli owned several precious keyboard instruments (nicknamed ‘Coreggio’, Rafael’, ‘Titian’ and so on), some inherited from Queen Maria Barbara; his testament (1782) specifies that his collection, formed for playing domestic music, should be perpetually preserved in good order along with his music library for the exclusive enjoyment of devoted musicians. Bach at his death owned 19 instruments estimated at nearly a third of the entire value of his estate. Curatorial responsibilities may have stimulated other notable composers of instrumental music. In 1673 Henry Purcell was apprenticed to John Hingeston, Charles II's instrument keeper, as an unpaid ‘keeper, maker, mender, repayrer and tuner of the regalls, organs, virginalls, flutes and recorders and all other kind of wind instruments whatsoever’; ten years later Purcell succeeded Hingeston. One of Haydn's contractual responsibilities as Vice-Kapellmeister to the Esterházys was to look after the instruments and order new ones for the prince's orchestra. Vivaldi's duties at the Pio Ospedale della Pietà included the purchase of instruments.
The French Revolution sounded the death-knell of aristocratic hoarding. From then on middle-class utilitarian ideals underlay the evolution of public collections, first shown by the ambitious ‘collection of antique or foreign instruments and also for those in present use which by virtue of their perfection may serve as models’ proposed for the new Paris Conservatoire by the 1795 National Convention. Regrettably, most of the treasures inventoried for the Commission temporaire des arts perished as firewood during the winter of 1816, and it was not until 1864 that the Conservatoire's museum began with the acquisition of 230 instruments from Louis Clapisson. In Edinburgh John Donaldson, holder of the University Chair of Music, assembled a collection of old and unusual instruments and acoustical apparatus (perhaps the first to be brought together for scholarly study and academic teaching) and built a museum (1859) still in use for this purpose. This was followed in the 1870s by the creation of the Brussels Conservatory's museum from the private collections of F.-J. Fétis, Victor-Charles Mahillon and others; then in 1888 came the acquisition of Paul de Wit's first collection by the Berlin Königliche Hochschule für Musik. Perhaps the oldest institutional collection still thriving is that of the Gesellschaft der Musikfreunde in Vienna, begun in 1824 with the acquisition of F.X. Glöggl's instruments and administered in trust since 1938 by the Kunsthistorisches Museum; this repository holds both the Ambras and Obizzi collections, combined by Julius Schlosser in 1916 to form the Sammlung alter Musikinstrumente.
By the 18th century the notion of musical progress had become tied to technical improvement in instrumental manufacture. Growing concern with design standards for mass-produced goods led in the 19th century to the founding of museums of decorative arts in which old instruments occupied an honoured place; London's Victoria and Albert Museum is an example. Loan exhibitions encouraged competition among makers and confirmed the importance of exposing foreign models; one instance is the gamelan that so impressed Debussy at the 1889 Paris Exhibition. Temporary loan exhibitions enjoyed much popularity in England, where an important pioneering display took place in 1872 at the South Kensington (now the Victoria and Albert) Museum. Others followed, some producing useful catalogues: Milan (1881), London (Royal Albert Hall, 1885), Bologna and Brussels (1888), Vienna (1892), Chicago (1893), London (Crystal Palace, 1900), Boston (Horticultural Hall, 1902), and again London (Fishmongers' Hall, 1904). The Fishmongers' Hall catalogue explained the motive for such exhibitions: ‘to enable all interested in music under its various aspects to contrast, as a fruitful means of instruction, its past with its present condition – to estimate its growth and development, and to observe what progress has been made in the work of the instrument maker’.
Darwinian theories of evolution, scientific interest in acoustics, easy contact with colonial areas and abundant funds encouraged 19th-century collectors whose holdings became the nuclei of many museum collections. Some museums emphasized educational objectives while catering for middle-class tourists with a taste for the exotic; others became archival, veritable Noah's arks of primary source material for research. Many institutions inherited problems as well as benefits from the acquisition of instrument hoards offered by amateurs whose wealth and enthusiasm usually offset their understandable lack of discernment. Most private collectors were rich dilettantes with little musical knowledge; others were professional performers or instrument manufacturers; only a few were music scholars of the first rank. Yet so readily available were fine antiques during the ‘golden age’ of collecting (up to World War I) that, whether through careful search or mere luck, collectors of every level of sophistication accumulated and eventually gave to museums many significant instruments (as well as many fakes).
By the early 20th century the pace of acquisition had slowed, and museums did not always have clear objectives. Some important public collections were established, for instance in Leipzig, when thanks to the magnificence of with Henri Hinrichsen the state of Saxony was able to purchase the collection of Wilhelm Heyer of Cologne to create the Leipzig University Musikinstrumenten-Museum in 1926. In Berlin Curt Sachs (Director of the Collection at the Hochschule für Musik from 1920 to 1933) exploited the collection in his pioneering organological work. On the other hand, the cleric, collector and scholar Francis Galpin could find no museum in Britain that would accept his collection of 560 instruments – one of the first truly systematic organological collections – and it was acquired in 1917 by the Museum of Fine Arts, Boston, USA. Some museum collections stagnated, or in some cases added haphazardly to their holdings.
After World War II collections public and private found a new sense of direction, fostered by the early music movement hand-in-hand with flourishing research and publication in organology. The discovery of the novel sounds of period instruments in early music gave collections a new and vital purpose, either by directly providing instruments for performance, or indirectly by supplying the information needed by players and instrument makers to reconstruct new instruments giving the sounds it was believed the old would have produced. Measurements, drawings and organological publications now found a growing market.
The Galpin Society was formed in 1946, followed by the Gesellschaft der Freunde alter Musikinstrumente, the American Musical Instrument Society, the Association des Collectionneurs d'Instruments de Musique à Vent, and other societies. The impetus for these was provided by collectors; the main activity of the largest of these has been the production of scholarly journals.
In the second half of the 20th century private collections sprang up and flourished, held in check only by increased prices for historic instruments. As time passed, instruments of later periods were considered to be collectable, reflecting the fact that instrument designs have continued to evolve. Some private collections have since been dispersed at auction, some taken over by institutions. The better managed private collections have standards of care and documentation quite up to professional museum standards, and some private collections have been of outstanding importance, assembled with well-informed connoisseurship.
Public collections of instruments (as with other museum sectors post-World War II) placed a new importance on communication with wider audiences using improved display techniques and, latterly, the Internet. The emphasis on interpretation led to thematic rather than taxonomic displays. Towards the end of the 20th century, museums installed sound or multimedia systems, and exploited computer interactive techniques.
At the same time, there was more thorough documentation, with catalogues becoming more analytical, seeking to distinguish between original material and design and later repairs and adaptations, and considering the cultural and social contexts of the original production of instruments, rather than just the technical means. Museum documentation increasingly recorded knowledge about provenance, former use, and the circumstances surrounding the making of instruments. Recognizing the importance of research and of reliable provenance data, some museum staff undertook field trips, acquiring sound recordings and information of kinds often lost when instruments are purchased through dealers or at auction.
Collectors, especially museums with a mission to preserve artefacts for posterity, became increasingly aware that the actual use of historic instruments in performance is not sustainable. In many cases playing and restoration resulted in damage or other loss of integrity. It was also realized that historic instruments as they have come down to us are not in the condition their makers left them, wood having shrunk and warped and metal having corroded and undergone changes in structure, and that the best contribution of early instruments is to serve as models for copying or to contribute data for new instruments based on the study of many originals. Specialist museums and some private collectors made instruments available for study by makers or published technical drawings.
The establishment of the formal teaching of organology and academic research at university collections in Edinburgh, Yale, Leipzig, South Dakota (Shrine to Music Museum, Vermillion) and Oxford (Ashmolean Museum, Bate Collection, Pitt Rivers Collection) took place in the second half of the 20th century. Some of the more important collections which were originally attached to conservatories have become state musuems. In these cases new buildings were often provided, including the impressive new museums in Berlin (1984), Paris (1997) and Brussels (2000).
The second half of the 20th century also saw a significant increase in co-operation, not only in exhibitions but also in professional activities. The Comité international des musées et collections d'instruments de musique (CIMCIM) was formed with members from 14 countries in 1960, becoming part of the International Council of Museums. In 1971 CIMCIM gave birth to the International Association of Instrument Collections, reabsorbed in an enlarged CIMCIM in 1975. The organization provides a forum for the exchange of professional experience and has produced publications of value to public and private collectors of instruments alike.
See also Instruments, conservation, restoration, copying of.
This list includes collections containing 30 or more musical instruments, and occasionally those with smaller numbers of particularly significant instruments or with a specific theme. More archaeology and ethnography museums and mechanical instrument collections are cited than in previous Grove publications. Collections, whether institutional or private, are always in a state of flux: they grow and shrink, are bought and sold or absorbed wholesale into other collections, and they are sometimes dispersed. Information for this article was gathered between 1990 and 2000, and comes from several sources: from questionnaires answered between 1990 and 1995 for the International Directory of Musical Instrument Collections (IDMIC), sponsored by the Comité international des museés et collections d’instruments de musique (CIMCIM), and from a variety of published sources (see bibliography, below). In those instances where collections still known to exist did not respond to the IDMIC survey, the entry has been repeated from Grove6.
Detailed information about collections is also available from organizations such as the Galpin Society (Britain), the Gellschaft der Freunde alter Musikinstrumente (Switzerland), the Kommission für Instrumentenkunde der Gesellschaft für Musikforschung and the American Musical Instrument Society. The IDMIC is published and maintained on the worldwide web.
Musée du Bardo, Centre de Recherches Anthropologiques, Préhistoriques et Ethnographiques: 65 North African and Sarahan
Museu do Dundo, Missão de Recolha do Folcloro Musical: 100 Central African, mainly from the Luanda district.
J. De Vilhena: ‘A Note on the Dundo Museum of the Companhia de Diamantes de Angola’, JIFMC, vii (1955), 41–3
Museu Nacional de Antropologia: 40 Angolan
Museo de Instrumentos Indigenas y Folclorico, Instituto Nacional de Musicologia ‘Carlos Vega’: 300 South American, esp. Argentine.
Museo Nacional del Hombre: 130 Latin American.
Museo Teatro Colón: 40 Western art, many string, incl. I.F. Blanco collection.
‘Isaac Fernández Blanco Collection’, Violins, xi (1950), 100
Museo de Ciencias Naturales de la Plata: 200 South American.
M.E. Vignati and M.Y. Velo: ‘Los instrumentos musicales del Museo de ciencias naturales de la Plata’, Primeros Jornados Argentinos de Musicologia (1984)
Museo Instrumentos Musicales ‘Emilio Azzarini’: 750 Western, native South American, and musical boxes.
Perfil de un museo musical: exposicion (1987); C.E. Rausa: Instrumentos musicales Museo Azzarini, Universidad nacional de la Plata (1994)
Museo ‘Carlos Darwin’: 1500 archaeological, ethnological
Queensland Museum: 420 Australian, Asian and from the Pacific Rim.
L.M. Bolton: Oceanic Cultural Property in Australia (Sydney, 1980); M.J. Kartomi: Musical Instruments of Indonesia (Melbourne, 1985); L.M. Bolton and J. Specht: Polynesian and Micronesian Artifacts (Sydney, 1984–5)
Department of Music, University of Western Australia: many Asian, and European incl. J. Payton collection.
D. Casson: Collection of Musical Instruments (1974)
Powerhouse Museum (formerly Museum of Applied Arts and Sciences): 600 European, some Chinese and Japanese; Australian violins.
B. Griffin and M. Lee: ‘A Brief History of the Musical Instrument Collection of the Powerhouse Museum, Sydney’, CIMCIM Bulletin, no.21 (1994)
Musikarchiv Stift Göttweig: 50 European, on loan from Benedictine Abbey, Göttweig.
Abteilung Kunstgewerbe, Landesmuseum Joanneum: c220 European art and traditional.
Diozesanmuseum: c40 European art and traditional.
Institut fur Afführungspraxis, Musikhochschule: bowed string instruments and pianos.
Landeszeughaus, Landesmuseum Joanneum: c240 military and accessories.
G. Stradner: ‘Die Musikinstrumente im Steiermärkischen Landeszeughaus in Graz’, Trommeln und Pfeifen, vi (1976), 7–36
Steierisches Volkskundemuseum, Landesmuseum Joanneum: c85 European art and traditional.
H. Sowinski: ‘Steirische Volksmusikinstrumente’, Das Joanneum, iii (1940), 188–102; G. Stradner: ‘Volksmusikinstrumente in Steirischen Sammlungen’, Vorträge Graz und Seggau 1973–1977 (1977), 141–8; G. Stradner: Musikinstrumente in Grazer Sammlungen (1986)
Kunsthistorische Sammlungen, Schloss Ambras: 11 16th- and 17th-century European art and traditional, 4 non-European.
L. Luchner: Kunsthistorische Sammlungen, Schloss Ambras (1959); A.P. Larson: ‘Visit to Innsbruck’s Schloss Ambras’, AMIS Newsletter, xiv/1 (1985); Für Aug’ und Ohr: Musik in Kunst und Wunderkammern (1999) [exhibition catalogue]
Tiroler Landesmuseum Ferdinandeum: c240 European.
F. Waldner: ‘Verzeichnis der Musikinstrumente in der Sammlung des Museum Ferdinandeum’, Zeitschrift des Ferdinandeums für Tirol und Vorarlberg, lix (1915); W. Pass: ‘Die Instrumentensammlung des Tiroler Landesmuseums Ferdinandeum’, ÖMz, xxv (1970), 693–8; ‘Die Musiksammlung’, Tiroler Landesmuseum im Zeughaus (1973)
Oberösterreiches Landesmuseum: c250 mainly European, incl. early string instruments and winds from Benedictine Abby, Kremsmünster.
O. Wessely: Die Musikinstrumentensammlung des Oberösterreichen Landesmuseums (1952); B. Wied-Heinzel: ‘Die Musikinstrumentensammlung des Oberösterreiches Landesmuseums, eine Ergänzung zu Othmar Wessely’ Jb des Oberösterreichen Landesmuseums, cxvi (1981), 149–70; P.T. Young: Die Holzblasinstrumente im Oberösterreichischen Landesmuseum (1997) [catalogue]
Museum Carolino Augusteum: c450 mainly European.
K. Geiringer: Alte Musik-Instrumente im Museum Carolino Augusteum Salzburg (Leipzig, 1932); J.H. van der Meer: ‘Die Kielklavier im Salzburger Museum Carolino Augusteum’, Salzburger Museum Carolino Augusteum Jahresschrift, xii–xiii (1966/7–8), 83–96; K. Birsak: ‘Die Holzblasinstrumente im Salzburger Museum Carolino Augusteum: Verzeichnis und entwicklungsgeschichtliche Untersuchungen’, Salzburger Museum Carolino Augusteum Jahresschrift, xviii (1972); K. Birsak: ‘Anmerkungen zu den Volksmusikinstrumenten im Salzburger Museum Carolino-Augusteum, besonders zur Bundanordnung der alpenländischen Zither’, Die Volksmusik im Lande Salzburg: Salzburg 1975, 199–217; K. Birsak: ‘Die Blechblasinstrumente im Museum Carolino Augusteum’, Salzburger Museum Carolino Augusteum, Jahresschrift, xx (1976); K Birsak and G. Walterskirchen: ‘Die Orgelinstrumenten im Salzburger Museum Carolino Augusteum’, Salzburger Museum Carolino Augusteum, Jahresschrift, xxiii–xxiv (1977–8), 57–85; K. Birsak: ‘Klaviere im Salzburger Museum Carolino Augusteum’, Salzburger Museum Carolino Augusteum, Jahresschrift, xxxiv (1988); K. Birsak: Salzburger Museum Carolino Augusteum: Museumsführer (1996)
Kunsthistorisches Museum Musikinstrumente Sammlung: 1000 16th- to 19th-century European, incl. Innsbruck, Archduke Ferdinand of Schoss Ambras, Este-Obizzi, and Gesellschaft der Musikfreunde (loan) collections.
Gebäude der Kunstsammlung der Gesellschaft der Musikfreunde in Wien und ihres Conservatorium (1872); Geschichte der K.K. Gesellschaft der Musikfreunde in Wien (1912); J. von Schlosser: Die Sammlung alter Musikinstrumente (1920/R); V. Luithlen: Saiteninstrumente (Klaviere, Streichinstrumente, Zupfinstrumente) (1941); V. Luithlen: Katalog der Sammlung alter Musikinstrumente, i: Saitenklaviere (1966/R); G. Stradner: ‘Die Geige in Wien’, Wiener Geschichtsblätter, xl/2 (1985), 41–8; G. Stradner: Sammlung alter Musikinstrumente (1988); G. Stradner: ‘Musik in Mantua’ Fürstenhöfe der Renaissance: Giulio Romano und die klassische Tradition (1989), 266–73; Die Klangwelt Mozarts (1991); G. Stradner and others: Klangführer durch die Sammlung Alter Musikinstrumente (1993); W. Seipel, ed.: Die Botschaft der Musik: 1000 Jahre Musik in Österreich (1996) [exhibition catalogue, Palais Harrach]; R. Hopfner: Streichbogen: Katalog (Tutzing, 1998)
Museum des Gesellschaft der Musikfreunde: c100 on loan since 1938 to the Kunsthistorisches Museum, Vienna.
Museum für Völkerkunde: 7000 non-European, incl. part of Tagore (Indian), and Duke Franz Ferdinand d’Este collections.
A. Janata: Aussereuropäische Musikinstrumente (1961); A. Mais: Volksmusikinstrumente der Balkanländer (1969); A. Janata: Musikinstrumente der Völker: Aussereuropäische Musikinstrumente (1975)
Österreichisches Museum für Volkskunde: 200 mainly Austrian and alpine.
K.M. Klier: Volkstümliche Musikinstrumente in den Alpen (Kassel, 1956); K. Beitl: Volksmusikinstrumente Neuerwerbungen der Sammlung Georg Kotek (1979)
State Museum of Azerbaijan Musical Culture
Etnografisch Museum: 300 African, Asian, Australian and Oceanian.
Museum Vleeshuis: 500 mainly European esp. keyboards, incl. Steen Museum and Koninklijk Vlams Muziekconservatorium, Antwerp, collections.
P. Génard: Catalogue du Musée d’antiquités d’Anvers (1894); J. Douillez: Stad Antwerpen: Oudheidkundige musea, Vleeshuis, v: Muziekinstrumenten (1956), J. Lambrechts-Douillez: Muziekinstrumenten van het Koninklijk Vlaams Muziekconservatorium te Antwerpen (1967); J. Lambrechts-Douillez: Antwerpse klavecimbels in het Museum Vleeshuis (1970); J. Lambrechts-Douillez: Catalogus van de Muziekinstrumenten uit de verzameling van het Museum Vleeshuis (1981)
Volkskundemuseum: 120 traditional.
Gruuthusemuseum
Checklist, Glareana, xxiii/2 (1974), 25–8; M. Awouters, I. de Keyser and S. Vandenberghe: Catalogus van de muziekinstrumenten: Brugge Gruuthusemuseum (1985)
Bibliotheca Wittockiana: 500 worldwide rattles.
I. Cammaert: Le hochet à travers les âges et les continents (1991)
Musée des Instruments de Musique, Conservatoire Royal de Bruxelles: 6000 worldwide esp. European art and traditional, incl. part of Tagore (Indian), and Fétis, Contarini-Correr (17th-century Italian) and Snoeck (Low Countries) collections.
V.-C. Mahillon: Catalogue descriptif & analytique du Musée instrumental du Conservatoire royal de musique de Bruxelles (1880–1922/R); C.C. Snoeck: Catalogue de la collection d’instruments de musique anciens ou curieux (1894); C.C. Snoeck: Catalogue de la collection d’instruments de musique flamands et néerlandais de C.C. Snoeck (1903); V.-C. Mahillon: Catalogue abrége du Musée instrumental du Conservatoire royal de musique de Bruxelles (1912); Exposition des instuments de musique des XVIème et XVIIème siècles (1969) [exhibition catalogue]; The Brussels Museum of Musical Instruments Bulletin (1971–87); Instruments de musique: XVIème et XVIIème siècles (1972) [exhibition catalogue]; Images de l’univers (1974) [exhibition catalogue]; N. Meeùs: Musical Instruments (1974) [exhibition catalogue]; A. Caufriez: La collection indonésian du Musée instrumental de Bruxelles (1980); M. Haine and I. de Keyser: Catalogue des instruments Sax au Musée instrumental de Bruxelles (1980); M. Haine: ‘Le Musée instrumental de Bruxelles: de prestigieuses collections’, Musique/Musiques, iii (1983), 3–10; P. Mardaga, ed.: Instruments de musique anciens à Bruxelles et Wallonie (1985); A. Caufriez: L’instrument de musique traditionnel ibérique (1988); M. Awouters, J. Timans and A. Meurant: Koninklijke instrumenten (1991)
Bylokemuseum: 55 mainly wind.
Y. Hollebosch-Van Reck and I. de Keyser: Catalogus van de muziekinstrumenten (1978)
Seminarie voor Etnische Kunst: 100 from Africa, the Americas and Asia.
J. Vandenhoute and H. Burssens: De Ethnographische verzamelingen (1968)
Ontmoetingscentrum “De Cam” [Cultural Center for Traditional Music]: 300 Flemish.
H. Dewit: Muziek op hakkebord en klompviool, volksmuziek te kijk (1986); J. Baeten and H. Dewit: Muziek van bij ons (1993)
Musée de la Vie Wallonne: 400 mostly Walloon traditional.
Les instruments de musique à Bruxelles et en Wallonie: inventaire descriptif (1992)
Musée Royal de l’Afrique Centrale: 8000 mainly from former Belgian Congo.
E. Coart and A. De Haulleville: Notes analytiques sur les collections ethnographiques du Musée du Congo (1902); ‘Enquête sur la vie musicale au Congo Belge, 1934-35’, Archives d’Anthropologie, xi–xiii (1934–5); O. Boone: Les xylophones du Congo Belge (1936); O. Boone: Les tambours du Congo Belge et du Ruand-Urundi (1951); J. Laurenty: Les cordophones du Congo Belge et du Ruanda-Urundi (1960); J. Laurenty: Les sanza du Congo (1962); J. Laurenty: Les tambours à fente de l’Afrique central (1968); J. Laurenty: La systématique des aérophones de l’Afrique centrale (1974); M Brandily: Instruments de musique ... chez les Teda du Tibesti (1984); J. Gansemans: Les instruments de musique du Rwanda (1988); J. Gansemans: Volksmuziekinstrumenten, getuigen en resultat van een interetnische samenleving (1989); J. Laurenty: La répartition géographique des aérophones de l’Afrique centrale (1990); L. Verbeek: Initiation et mariage dans la chanson populaire des Bemba du Zaïre (1993); J. Laurenty: Organologie du Zaire, i: Introduction et bibliographie, ii: Les sanza, le xylophones, les tambours à fente, iii: Les membranophones (1995–6)
Musée Ethnographique ‘Alexandre Senou Adande’: 150 Beninese
Museo Nacional: Bolivian
Museu Paraense Emílio Goeldi: 400 Brazilian.
E. Galvão: Guia das exposições de antropologia (1962, 4/1978)
Museu Histórico Nacional: 50 Brazilian.
J. Camêu: Instrumentos musicais dos indígenas brasileiros (1979) [exhibition catalogue]
Museo do Indio: 300 native Brazilian.
Museu Nacional: 1300 Brazilian.
Museu Folclorico
O. Alvarenga: Catálogo ilustrado do Museum Folclórico (1950)
Museo Paulista da Universidade de São Paulo: 200 Brazilian.
Revista do Museu Paulista
Okrǎžen Istoričeski Muzej [Regional Historical Museum]: 75 Bulgarian.
Okrǎžen Istoričeski Muzej [Regional Historical Museum]: 80 Bulgarian.
Institut za Muzika: 130 European art and traditional, African, Asian.
Nacionalen Etnografski Muzej na Bǎlgarskata Akademija na Naukite [National Ethnographic Museum of the Bulgarian Academy of Sciences]: 130 ethnological
Musée Provincial du Poni: 60 traditional.
Musée de la Musique: 100 Burkina Fasoan.
Art et artisanat Voltaíques (n.d.); Dernières acquisitions (n.d.); Objets culturels voltaíques (n.d.); Témoignages culturels Voltaíques à Loudun (n.d.); ‘Exhibitions: Burkina Faso’, CIMCIM Bulletin, no.40 (1999)
Musée National de Gitega: Central African
Musée National de Phnom Penh: Cambodian
Musée de Bamenda: 95 Cameroon.
Musée du Palais Royal: c100 Cameroon.
C. Geary: Les choses du Palais (1983); N.A. Njiasse: ‘Funérailles traditionnelles du Munchili’, Revue Science et Technique (1985); N.A. Njiasse: L’ensemble artistique royal de Foumban (1990); Sonidos de America (1995)
Musée de la Danse et de la Musique
Henry Meredith collection: c1800, mostly brass winds.
Calgary Keyboard Center: 210 incl. Enedy and Garlick collections.
Glenbow-Alberta Institute: 950 Western and ethnological.
Provincial Museum and Archives of Alberta: c540 European, North American, Asian and African.
Musée de l’Amérique Française: c200 mostly Henri Dorion collection.
Ethnology Division, Canadian Museum of Civilization (formerly National Museum of Man): c1325 (1150 Native North American, remainder Latin American, Aisan, South Pacific and African).
B. Cavanagh: Music of the Netsilik Eskimo: a Study of Stability and Change (1982) [incl disc]; M.M. Lutz: Musical Traditions of the Labrador Coast Inuit (Ottowa, 1982); R. Witmer: The Musical Life of the Blood Indians (Ottowa, 1982)
Ethnomusicology Programme, Canadian Museum of Civilization: c650 Western art, popular, traditional; Latin American, Western Asian, many Southeast Asian, Middle Eastern and African.
R. Carlisle: Folk Music in Canada (1974); R.W. Gibbons: The CCFCS Collection of Musical Instruments: Canadian Centre for Folk Culture Studies (1982–4); C. Bégin and C. Nebel: Opus: the Making of Musical Instruments in Canada (1992) [exhibition catalogue]
History Division, Canadian Museum of Civilization: c115 Western art, several non-Western.
Doon Heritage Crossroads (formerly Doon Pioneer Village): c40 Western.
Simcoe County Museum: c35 Western art.
Redpath Museum, McGill University: c170 mainly Central African, also Middle Eastern, Asian, Oceanian and South American.
New Brunswick Museum: c75 Western (North American and European), African and Asian.
Royal Ontario Museum: over 300 European art incl. Richard Sugden Williams collection.
L. Cselenyi: Musical Instruments in the Royal Ontario Museum (1969); ‘A New Gallery of Musical Instruments’, CIMCIM Newsletter, no.12 (1985); C. Rogers: ‘Early Instruments at the Royal Ontario Museum’, Musick, xiii/2 (1991), 21–2
Museum of Anthropology, University of British Columbia: c660 worldwide, half Northwest Coast Native American.
Vancouver Museum (formerly Vancouver Centennial Museum): c207 worldwide ethnological, half Native North American.
Royal British Columbia Museum (formerly Provincial Museum): c420 Native North American.
Yarmouth County Society Museum: c40 Western used locally
Musée Barthélémy Boganda: 65 Central African
Musée National Abéché
Museo Chileno de Arte Precolombino: 100 pre-Hispanic, 40 ethnological.
V.T. Mendoza: ‘Musica precolombino en América’, Interamericano de musica, iv (1938); J. Pérez de Arce: La música en América precolombina (1982) [exhibition catalogue]; J. Pérez de Arce: ‘Cronología de los instrumentos sonoros del área extremo sur andina’, Revista musical chilena, xl (1986), 68–124; J. Pérez de Arce: ‘Flautas arqueológicas del extremo sur andino’, Boletín del Museo chileno de arte precolombino, no.2 (1987); J. Pérez de Arce: ‘Organología prehispánica de Chile’, Culturas prehispánicas de Chile, ii (1993); Musica en la piedra: musica prehispanica y sus ecos en Chile actual (1995); Sounds of America (1995)
Ancient Bell Museum, Great Bell Temple
Exhibition Hall, Cultural Palace of Nationalities
Palace Museum
Hunan Provincial Museum
University Museum and Art Gallery
Gems of Ancient Chinese Zithers: Shum’s Collection of Antique Qin from the Last Millenium (1998) [exhibition catalogue]
Palace Museum
Xinjiang Uygur Autonomous Regional Museum
Hubei Provincial Museum
Chen Cheng Yi, Tan Wei-Si and Shu Zhi-Mei, eds.: Two-Tone Set-Bells of Marquis Yi (Singapore, 1994)
José Ignacio Perdomo Escobar Collection
E. Bermúdez: Catálogo: colección de instrumentos musicales ‘J.I. Perdomo Escobar’ (1986)
Museo Arqueológico y Ethnologico, Instituto Colombiano de Antropología: Colombian.
Museo Organilógico Folklórico Musical: 110 Colombian.
Museo Universitario: 80 Colombian
Musée National Congolais: Congoan
Etnografski Muzej u Splitu [Ethnographical Museum, Split]: c140 regional traditional.
Etnografski Muzej [Ethnographical Museum]: c750 Croatian, Serbian, Slovenian, and Bosnian Herzegovinan, European traditional and Non-European.
B. Širola and M. Gavazzi: Muzikološki rad Etnografskog muzeja u Zagreb (1931) [catalogue]; J. Bezic and others: Tradicijska narodna glasbala Jugoslavije (1975) [catalogue]
Muzej Grada Zagreba [Museum of the City of Zagreb]: 30 mechanical incl. Geresdorfer Foundation.
Automatofoni, muzicki automati (1963) [catalogue]
Muzej za Umjetnost i Obrt [Museum of Art and Handicrafts]: c250 European art and traditional, incl. the Hrvatski glazbeni zavod collection.
Zavod za Istraživanje Folklora [Institute of Folklore Research]: c120 Croatian
Museo Nacional de la Music Afro-Cuban
Literárne a Hudobné Múzeum [Literary and Music Museum]: 215 local art and traditional.
Etnografický Ústav Moravského Zemského Muzea [Ethnographic Division, Moravian Regional Museum]: 490 worldwide.
Moravský Zemský Muzeum [Moravian Regional Museum]: 350 Eastern European.
Technické Múzeum [Technical Museum]
A. Buchner: Průvodce expozicí hudebních automatofonu 19. století [Guide to the exhibition of mechanical instruments] (c1975)
Strědní Průmyslová Škola Výroby Hudebních Nástrojů v Kraslicích [Secondary School for Musical Instrument Making, Kraslice]: 400 European.
Slezské Zemské Múzeum [Silesia Regional Museum]: 200 European many bowed.
Muzeum České Hudby, Národní Muzeum v Praze [Museum of Czech Music, National Museum]: 2800 art, traditional.
Führer durch die Sammlungen des Museums des Königreiches Böhmen in Prag (1897); A. Buchner: Průvodce výstavou české hudební nástroje minulosti v brnovském klášteře sv. Markety [A guide to the exhibition of Czech musical instruments of the past in the monastery of St Marketa] (1950); A. Buchner: Průvodce sbírkami hudebního oddělení Národního muzea, Praha, Velkopřevorský palác [A guide to the collections of the music division of the National Museum, Prague, Velkopřevorský Palace] (1954); A. Buchner: Průvodce výstavou české hudební nástroje v Nelahozevsi [A guide to the exhibition of Czech musical instruments in Nelahozeves] (1959); Hudební nástroje v Národním muzeu [Musical instruments in the National Museum] (1970); E. Hradecký and others: Catalogue expozice: národní muzeum, Praha (1971); O. Oromszegi: ‘Bassoons at the Národní Museum’, GSJ, xxiv (1971), 96–101; Museum of Musical Instruments (1973); J. Keller: ‘Píštělníci a trubaři’ [Pipers and trumpeters], Sborník Národního Muzea v Praze, xxix/4–5 (1975), 161–243; M. Puklický: ‘Die Holzblasinstrumente des Nationalmuseums Prag’, Holzblasinstrumente des 17. und 18. Jahrhunderts: Blankenburg, Harz, 1985, 39–42; J. Keller: ‘Antique Trumpet Mutes’, HBSJ, ii (1990), 97–103; L. Kunz and V. Štajnochr: Nástroje lidové hudby ve sbírkách pražských muzeí [Folk musical instruments in the collections of Prague museums] (1990); B. Čížek: Klavichordy v českých zemích [Clavicords in the Czech lands] (1993); 300 Years with the Pianoforte (1999) [in Cz., Eng., Ger.]
Náprstkovo Muzeum: 730 Asian, Oceanian, African and American ethnological.
V. Kubica: ‘Al-Id-al-Kabir’, Náprstkovo muzeum annals (1973); V. Kubica: ‘Africké rytmy’, Náprstkovo múzeum annals (1979)
Národní Technické Muzeum [National Technical Museum]: 110 automatic.
A. Buchner: ‘České automatofony’, Sborník Národního muzea v Praze (1957)
Národopisné Oddělení [Ethnographical Department of the Historical Museum]: 400 Czech traditional.
Vojenské Muzeum [Military Museum]: 100 mainly European signal
Købstadmuseet ‘Den gamle by’ [The Old Town]: 70 mainly Danish.
H. Nyrop-Christensen: Klavier i ‘Den gamle by’ (1965); H. Nyrop-Christensen: Musikhistoriske Randbemaerkninger (1983)
Musikhistorisk Museum og Carl Claudius’ Samling: 2200 art, traditional, ethnological and archaeological.
A. Hammerich: Musikhistorisk Museum (1911); G. Skjerne: Carl Claudius’ samling af gamle musikinstrumenter (1931); M. Andersen: Supplement zum katalog von Angul Hammerich (1960); M. Müller: Classical Indian Musical Instruments (1969); M. Müller: From Bone Pipe and Cattlehorn to Fiddle and Psaltery (1972); M. Müller: Trak & tryk & pust & sug (1971); M. Müller: Keramik med musik (1974); M. Müller: Musik og mennesker i Thailands bjerge (1975); Meddelelser, i–iv (1980–94); A Norborg: Musical Instruments from Africa South of the Sahara (1982); Flauto traverso (1984); M. Müller: ‘Musikhistorisk Museum og Carl Claudius’ samling’, CIMCIM Newsletter (1986) [special issue]; Masser of messing (1990); Mandolin i Danmark (1991); The Power of the Harp (1993); M. Müller and L. Torp: Musikkens tjenere-instrument-forsker-musiker (1998)
Nationalmuseet, Etnografisk Samling: 2425 ethnological from all continents, incl. Lapland.
Nationalmuseet [prehistoric and medieval collections]: 40 incl. 15 lures.
Dansk Landbrugsmuseum: 250 mainly European and Asian cowbells
Museo de las Artes Populares de America: 120 Andean.
Museo de Instrumentos Musicales ‘Pablo Traversari’
Museo de instrumentos musicales ‘Pedro Pablo Traversari’ (1971); R. Rephann: Catalogue of the Pedro Traversari Collection (Wahington DC, 1978)
Mathaf al-Misri (Egyptian Museum): c90 ancient Egyptian.
H. Hickmann: Catalogue général des antiquités égyptiennes du Musée du Caire: instruments de musique (1949); L. Manniche: Ancient Egyptian Musical Instruments (Munich, 1975); R. Engelbach: Introduction to Egyptian Archaeology with a Special Reference to the Egyptian Museum (1988)
Museum of the Institute of Arabic Music: Egyptian art and traditional incl. historic ouds
Eesti Teatri-Ja Muusikamuuseum [Museum for Music and Theater]: c600 Eastern European art, traditional.
Muzeij teatra i muzyki (1971); Orelid ja osjapillid, pasunad ja parmupillid, muusikainstrumente Teatri-ja Muusika-muuseumis Tallinn [Musical Instruments in the Theatre and Music Museum: Catalogue] (1978)
State Ethnographic Museum of Estonian: c380 traditional.
J. Sööt: Kuuekeelne kanel (1990)
Institute of Ethiopian Studies, Department of Ethnography and Ancient Arts, Addis Ababa University: 200 Ethiopian.
Fiji Museum: 120 Fijian
Suomen Kansallismuseo: 800 European art, traditional and ethnological.
Kausanmusikki Institutti: 300 Finnish traditional.
Åbo Landskapsmuseum [Provincial Museum of Turku]: c75 Finnish traditional and European.
Sibelius-Museo: 850 European art and traditional, African.
The Swedish University of Turku/Åbo, Sibelius Museum: Guide (1963, many later edns)
Mechanical Music Museum: 250.
Musée Marcel Angot: 90 worldwide.
Musée Municipal: 225 prehistoric, African and from Madagascar.
Muséon Arlaten: 120 mostly Provençal.
Musée Calvet: 75 Provençal, European, African, and North and South American.
Musée Basque: 38 Basque.
Bulletin du Musée Basque
Musée d’Aquitaine: 145 from Landes and Gironde regions, prehistoric, African and Asian.
Musée d’Ethnographie, Université de Bordeaux
S. Fürniss: Instruments de musique et objets sonores (1994) [catalogue]
Musée de Brou: 30 hurdy-gurdies.
La vielle en Bresse (1985) [exhibition catalogue]; L. Moyret: ‘Les vielles de Jousé lo Ménétri’, Art et archéologie en Rhône-Alpes (1986)
Aristide Wirsta collection: 100 French bows.
Musée de la Castre et de la Mer: 300 European traditional, Central African, Asian, Polynesian and Central American.
Musée des Beaux-Arts: c10 keyboards, on loan from Kenneth Gilbert collection.
Musée Jaques Hotteterre (formerly Communal d’Instruments de Musique à Vent): 240 wind.
F. Gétreau: ‘Le Musée instrumental de La-Couture-Boussey’, Tourneurs sur bois et manufactures d’instruments à vents en Haute Normandie (Paris, 1980), 18–19, 31–33
Musée Nationale de la Renaissance: 20 Renaissance European transferred from Musée de Cluny.
E. du Sommerard: ‘Classe xvi: instruments de musique’, Catalogue et description des objets d’art, de l’antiquité, du moyen âge et de la Renaissance exposés (Paris, 1883); E.A. Grillet de Givry: Notice sur les instruments de musique exposés au Musée de Cluny (1914); E. Haraucourt: Musée des thermes et de l’hôtel de Cluny: catalogue des bois, sculptés et meubles (1925)
Musée International de la Chasse: c60 horns.
François Camboulive collection in Thibouville manufactory: 250 wind.
Les Amis de la Vielle de Jenzat, Centre de Recherche sur les musiques traditionnelles: from Berry-Bourbonnias and the Auvergne.
Jean Michel Renard collection: 250 cornemuses and related instruments.
Musée Regional de l’Hospice Comtesse (formerly the collection of Joseph and Pierre Hel, violin makers): c80 European art.
A. Cordonnier and others: La collection Hel, instruments de musique anciens réunis par deux luthiers lillois (1990) [exhibition catalogue]
Musée Pyrénéen: c40.
Musée Africain: 225.
Eric Montbel collection: 112 mostly French bagpipes.
E. Montbel and A. Ricros: Bouscatel, roi des cabretaires: les origines du bal-musette (1984) [incl. disc]
Musée des Ursulines: 35 African.
E. Montbel: Le roseau et la musique (1988)
Musée Grobet-Labadie: 60 mostly Provençal.
Musée de la Lutherie: stringed instruments and bows
Musée du Château: c70 prehistoric, European art, music boxes, African and Asian.
Musée du Vieux-Château: c400 French hurdy-gurdies, bagpipes and fanfare.
Musée Historique Lorrain: c40 incl. prehistoric, European art and traditional.
Musée du Château des Ducs de Bretagne: 68 worldwide.
Musée d’Art et d’Histoire, Palais Masséna: 300 Provençal and Italian.
M. Thomas: Clavecins et clavicordes: catalogue d’exposition (1978); M. Foussard: ‘Catalogue sommaire des guitares du musée instrumental de Nice’, Guitares: chefs-d’oeuvre des collections de France, ed. T. Evans and others (Paris, 1980), 271–94; ‘Un siècle de musique à Nice’, Nice historique, ii–iii (1994)
Villa Beau-Site: Paul and Gisèle Tissier collection.
R. Covington: ‘Musical Interlude’, Art & Antiques, xvi/2 (1994), 42–7
Bruno Kampmann collection: 350 wind, mostly brass, incl. some by A. Sax.
B. Kampmann: Catalogue de la collection d’instruments de musique à vent: I (1986); B. Kampmann: Catalogue de la collection d’instruments de musique à vent: II, Bulletin Larigot, no.1 (1991) [special issue]; B. Kampmann: Catalogue de la collection d’instruments de musique à vent: III, Bulletin Larigot, no.9 (1998) [special issue]
Département des Antiquités Egyptiennes, Musée du Louvre: c130 ancient Egyptian.
Département des Objects d’Art, Musée du Louvre: 20 European.
C. Ziegler: Catalogue des instruments de musique égyptienne (1979)
Kenneth Gilbert collection: c10 keyboards, most on loan to Musée des Beaux-Arts, Chartres.
Musée de l’Armée, Hôtel National des Invalides: c230 European military and accessories.
Musée des Arts Décoratifs: c110 European.
Musée de Cluny; see ECOUEN Musée Nationale de la Renaissance, above
Musée de l’Homme: 8000 worldwide, especially Asian, Central African and Indian.
C. Sachs: Les instruments de musique de Madagascar (1938); A. Schaeffner: Origine des instruments de musique (1938/R); G. Dournon-Taurelle and J. Wright: Les guimbardes du Musée de l’homme (1978); G. Dournon: Guide pour la collecte des instruments de musique traditionnels (1981); G. Dournon: ‘L’héritage muséographique d’André Schaeffner: les collections d’instruments de musique du Musée de l’homme’, RdM, lxviii/1–2 (1982), 215–20; P. Sallée: Musique de l’Afrique noire (Metz, 1982); A. Schaeffner: Le sistre et le hochet: musique, théâtre et danse dans les sociétés africaines (1990)
Musée de la Musique, Cité de la Musique, la Villette (formerly Musée Instrumental du Conservatoire National Supérieur de Musique): c4200 European and c300 extra-European; incl. Clapisson, part of Tagore (Indian), de Bricqueville, Tolbecque, André de Meyer and Geneviève Thibault de Chambure collections.
G. Chouquet: Le Musée du Conservatoire national de musique: catalogue raisonné des instruments de cette collection (1875, suppl. 1884/R, 1899, 1903); G. Thibault, J. Jenkins and J. Bran-Ricci: Eighteenth Century Musical Instruments: France and Britain/Les instruments de musique au XVIIIe siècle: France et Grand-Bretagne (London, 1973) [exhibition catalogue]; ‘La facture instrumentale’, Metiers d’art, x–xi (1980), 8–144; ‘La plastique des objets du son: la somptueuse collection Thibault de Chambure’, Connaissance des arts, no.345 (1980); F. Abondance [Gétreau]: ‘Catalogue sommaire des guitares du Musée instrumental’, Guitares: chefs-d’oeuvres des collections de France, ed. T. Evans and others (1980), 307–20; F. Lesure and others: Musiques anciennes: instruments et partitions donnés à l’etat en paiement de droits de succession (1980) [exhibition catalogue]; Les instruments de musique, 1750–1800 (Saintes, 1982) [exhibition catalogue]; Rameau: le coloris instrumental, Paris (1983) [exhibition catalogue]; La facture instrumental européenne: suprématies nationales et enrichissement mutuel (1985) [exhibition catalogue]; J. Bran-Ricci, ed.: ‘Instruments à archet de la collection G. Thibault de Chambure, entrés au Musée instrumental du Conservatoire national supérieur de musique de Paris’, Instruments et musique instrumentale (1986), 225–37; F. Gétreau: Instrumentistes et luthiers parisiens XVIIe–XIXe siècle (1988); Musée instrumental du Conservatoire national supérieur de musique de Paris: liste provisoire des pianos (1989) [typescript]; F. Gétreau: Inventaire descriptif des flûtes traversières: Musée instrumental du CNSM de Paris (1989) [typescript]; Musée de la musique: Handbook (1995); F. Gétreau: Aux Origines du Musée de la musique: le Musée instrumental du Conservatoire de Paris, 1793–1993 (1995); F. Gétreau: Aux origines du Musée de la musique: les collections instrumentales du Conservatoire de Paris, 1793–1993 (1996); Musée de la Musique: guide (1997); M-F. Calas: ‘Musée de la musique: a Museum in the Cité’, AMIS Newsletter, xxvi/3 (1997), 1–4; Violins, Vuillaume, 1798-1875, un maître luthier français du XIXe siècle (1998) [exhibition catalogue]
Musée National des Arts et Traditions Populaires: 3200 mainly French traditional.
Musée national des arts et traditions populaires (1969); C. Marcel-Dubois: ‘The Objectives of Music and Musical Instrument Collections in a National Ethnological Museum’, Die Bedeutung, die optische und akustische darbeitung und die Aufgaben einer Musikinstrumentensammlung: Nuremberg 1969, 98–102; C. Marcel-Dubois and M. Pichonnet-Andral: L’instrument de musique populaire: usages et symboles (1980) [exhibition catalogue]; C. Marcel-Dubois: ‘Le triangle et ses représentations comme signe social et culturel’, Imago musicae, iv (1987), 121-36; Musiciens des rues de Paris: Musée national des arts et traditions populaires [exhibition catalogue] (1997)
Musée National des Techniques, Conservatoire National des Arts et Métiers: c100 European incl. mechanical, tuning forks, metronomes and experimental sound objects.
Catalogue officiel des collections Conservatoire national des arts et métiers, ii: Physique (1905); Catalogue du Musée du Conservatoire national des arts et métiers, Z: Automates, et mécanismes à musique (1960)
Musée de Radio-France
Nelly Caron collection
N. Caron and D. Safvate: Musique d’Iran: collection des traditions musicales (1997)
Patrick Delile collection: c100 French and American cornets and trumpets.
Phonothèque Nationale: 400 instruments, music boxes, sound reproduction devices.
C. Cros and others: De fil en aiguille, catalogue d’exposition (1989)
Yannick Guillou collection: c20 mainly keyboards.
C. Mercier-Ythier: Les clavecins (1990); A. and M.-C. Anselm: ‘La collection Yannick Guillou’, Musique – Images – Instruments, no.2 (1997), 116–48
Musée du Périgord: 80 European, African, Near Eastern, Oceanian, Latin American and from Madagascar.
Musée de la Casa Pairal: 277.
Musée d’Art et d’Histoire: c80 French, African and Asian traditional.
Musée du Phonographie et de la Musique Mécanique: 800 mechanical.
Musée
M. Daubresse: La musique au musée de Saint-Germain-en-Laye (1912)
Bachet collection: c50 created by the Bachet Brothers.
Musée des Arts Décoratifs: c60 regional art.
Jacques Dudon [inventor] collection: 225 water, photosonic and acoustic.
J. Dudon: La musique de l’eau (1982); T. Nunn: ‘Water and Light’, Experimental Musical Instruments, iii/5 (1988); J. Dudon: ‘Musiques harmoniques’, 1/1 Just Intonation, v/3 (1989), 10, 14–15
Musée Paul Dupuy: c60 European art and traditional.
Musée du Cloître: c25 mostly free-reed, incl. P. Monichon collection.
P. Monichon: L’accordéon (Paris, 1971)
Musée et Domaine National de Versailles et de Trianon, Château: 2 harpsichords, J. Ruckers (1628 and 1706) and François Blanchet (1746)
Musée de Papeete: c25 from Pacific Islands, esp. Marquesan and Fijian.
A. Lavondes: Catalogue des collections ethnographiques et archeologiques (1966)
Musée de Tahiti et des Iles: c40 regional
Musée des Arts et Traditions du Gabon: c100 from Equatorial forest region.
P. Sallée: ‘Les arts musicaux au Gabon’, Gabon: culture et techniques, ed. L. Perrois and others (1969)
National Museum: c35 Gambian
State Museum of Georgia: 700 Georgian and other Caucasian.
D. Arakchishvili: Opisanie i obmer narodnykh muzylak'nykh istrumentov (1940)
Museum of Folk Instruments: 500 Georgian, other Caucasian, Eastern and Western European
Musikhistorische Sammlung [Martin] Jehle, Stauffenbergschloss: 120 European esp. keyboards, and extra-European.
Schloss Lautlingen: die Schenken von Stauffenberg musikhistorisches Sammlung Jehle (1985)
Glockenmuseum: c100 European and East Asian bells.
Städtische Kunstsammlungen Augsburg, Maximilianmuseum: 31 European incl. Augsburg Stadtpfeiferei 16th- to 17th-century winds.
R. Eikelmann, ed.: ‘Lautenschlagen lernen und leben’: die Fugger und die Musik, Anton Fugger zum 500. Geburtstag (1993) [exhibition catalogue]
Museum für Mechanische Musikinstrumente: 240 mechanical incl. Jan Brauers collection.
J. Brauers: Museum für mechanische Musikinstrumenten, Baden-Baden (Brunswick, 1982); J. Brauers: Von der Äolsharfe zum Digitalspieler: 2000 Jahre die mechanische Musikinstrumente (Munich, 1984); J. Brauers: Mechanische Musikinstrumente (1986)
Sammlung Historischer Tasteninstrumenten Fritz Neumeyer: c50 keyboards.
R. Junghanns: Historischen Tasteninstrumenten: Katalog der Sammlung Fritz Neumeyer, Bad Krozingen (Waldkirch, 1985)
Trompetenmuseum: c100 trumpets, incl. Ernst W. Buser (brass, woodwind and trumpet-subject images) collection.
E.H. Tarr: Trompetenmuseum Bad Säckingen: Katalog (1985)
Ägyptisches Museum: 90 ancient Egyptian.
C. Sachs: Die Musikinstrumente des alten Ägyptens (1921)
Museum für Völkerkunde: c7000 worldwide, founded by E.M. von Hornbostel.
Führer durch das Museum für Völkerkunde: die etnologische Abteilung (16/1914); C. Sachs: Die Musikinstrumente Indiens und Indonesiens (1915, 2/1923); K. Reinhard: Klingende Saiten: Musikinstrumente aus drei Kontinenten (1965) [exhibition catalogue]; K. Reinhard: Trommeln und Trompeten [exhibition catalogue] (1967); A. Simon: ‘100 Jahre Museum für Völkerkunde Berlin: musikethnologische Abteilung’, Basler Archiv, xxi (1973), 359–75; H. Nixdorff: Tönender Ton: Tongefässflöten und Tonpfeiffen aus Europa (1974); Volksmusik und Volksmusikanten (1979) [exhibition folder]; Musik in Afrika (1983); U. Wegner: Afrikanische Saiteninstrumente (1984); T. de Oliveira Pinta: Capoeira, Samba, Candomblé (1990); A. Simon: ‘The Department of Ethnomusicology at the Museum for Ethnography in Berlin’, The World of Music, xxxii (1990), 113–16; A. Simon: ‘Sammeln, Bewahren, Forschen und Vermitteln: die musikalische Traditionen der Menschheit in der Abteilung Musikethnologie des Museums für Völkerkunde’, JbSIM, xxvii (1991), 215–29
Musikinstrumenten-Museum: 2500 mainly European art instruments incl. Paul de Wit, C.C. Snoeck (Ghent), St. Wenzelkirche, Naumberg-an-der-Saale, Kaiser Wilhelm I, Fritz Wildhagen collections, and gifts from Meyerbeer, Weber, Mendelssohn, Joachim, Busoni, and other families.
O. Fleischer: Führer durch die Sammlung alter Musikinstrumente (1892); C.C. Snoeck: Catalogue de la collection d’instruments de musique anciens ou curieux (1894); C. Sachs: Sammlung alter Musikinstrumente bei der Staatlichen Hochschule für Musik zu Berlin (1922); C. Sachs: Das Klavier (1923); C. Sachs: Kleiner Führer (n.d.); A. Werner: ‘Die alte Musikbibliotek und der Instrumentensammlung an St. Wenzel in Naumburg a.d.S.’, AMw, viii (1926), 390–415; Füher durch das Musikinstrumentenmuseum (1939); A. Ganse, H.H. Draeger and K. Reinhard: Führer durch das Musikinstrumentenmuseum: Abteilung III des Instituts für Musikforschung (1939); A. Berner: Die Berliner Musikinstrumentensammlung: Einfürhung mit historischen und technischen Entwicklung (1952); I. Otto: Musikinstrumentenmuseum Berlin (1965) [exhibition catalogue]; I. Otto, ed.: Das Musikinstrumenten-Museum Berlin (1968); A. Berner: ‘Das Berliner Musikinstrumentenmuseum und seine Zupfinstrumente’, Zupfmusik, xxvii/1 (1974), 5–10; O. Adelmann and I. Otto: Katalog der Streichinstrumente (1975); D. Krickeberg, W. Rauch: Katalog der Blechblasinstrumente (1976); Das Musikinstrumentenmuseum des Staatlichen Institut für Musikforschung: eine Einführung (1978); D. Krickeberg: ‘Die alte Musikinstrumentensammlung der Naumburger St. Wenzelskirche im Spiegel ihrer Verzeichnisse’, JbSIM (1977), 7–30; G. Haase and D. Krickeberg: Tasteninstrumente des Museums: Kielklaviere, Clavichorde, Hammerklaviere (1981); Wege zur Musik (1984); D. Droysen-Reber: ‘The New Musical Instruments Museum: its Activities and Concepts’, CIMCIM Newsletter, no.12 (1985); D. Droysen-Reber and others: Musikinstrumentenmuseum Berlin (1986); D. Droysen-Reber, M. Elste and G. Haase: Handwerk im Dienste der Musik: 300 Jahre Berliner Musikinstrumentenbau (1987); D. Droysen-Reber and others: 100 Jahre Berliner Musikinstrumenten-Museum, 1888–1988 (1988); O. Adelmann: Die alemannische Schule: archaischer Geigenbau des 17. Jahrhunderts im südlichen Schwarzwald und in der Schweiz (1990, 2/1997); H. Rase, D. Droysen-Reber, J.H. van der Meer and others: Kielklaviere: Cembali, Spinetta, Virginals (1991); D. Droysen-Reber and others: Museum of Musical Instruments, Berlin (1996); D. Droysen-Reber: Harfen des Berliner Musikinstrumenten-Museums (1999)
Schloss Charlottenburg (formerly Schloss Leitzenburg)
Sophie Charlotte und die Musik in Leitzenburg (1987) [exhibition catalogue]
Musikhistorisches Museum Heckel-Biebrich: 150 winds, mainly bassoons.
W. Heckel: Der Fagott (1899, 2/1931); F. Groffy: Musikhistorisches Museum Heckel-Biebrich: Fagotte (1968)
Zisterzienserkloster Michaelstein, Museum des Instituts für Auffürungspraxis: 450 (two-thirds string instruments) in Markneukirchen tradition.
Symposia zu Fragen des Musikinstrumentenbaus Blankenburg, Harz (1979–) [series of annual conferences]
Städtische Musikinstrumentensammlung Grumbt, Haus Kemnade: c1500 European, traditional, and non-European.
F. Ernst: Catalogue in Glareana, xiv/1 (1965); Historisches Musikinstrumentensammlung der Stadtbücherei Bochum (1974); H. Grumbt and others: Musikinstrumenten der Völker (1976); Musikinstrumentensammlung Hans und Hede Grumbt, i: Idiophone (1993), ii: Klarinetten und Saxophone (1997); iii: Blechblasinstrumente (1999)
Beethoven-Haus: c200. Instruments owned by Beethoven (keyboards, quartet by Cremonese makers) and Josef Zimmermann (Düren) collection of early winds.
P. Mies: ‘Beethoven’s letzter Flügel’, Verein Beethoven-Haus Bonn 1889–1964 (1964); J. Zimmermann: Von Zinken, Flöten und Schalmeien: Katalog einer Sammlung historischer Holzblasinstrumente (Düren, 1967); R. Weber: Zur Restaurierung von Holzblasinstrumenten aus der Sammlung von Dr. Josef Zimmermann im Bonner Beethoven-Haus: Restaurierungsberichte mit Angaben zu Arbeitstechniken (1993)
Orgelmuseum
H. Reuter: Orgelmuseum Borgentreich (1985)
Übersee-Museum: 1365 worldwide.
A. Lüderwaldt: ‘Musikinstrumente im Übersee-Museum Bremen’, Musik und Unterricht, vi (1991), 60–62
Braunschweigisches Landesmuseum: c90 European art and traditional.
W. Flechsig: ‘Ostfalische Musikinstrumentenmacher des 18. und frühen 19. Jh’, Braunschweigische Heimat Zeitschrift, no.48 (1962), 46–9, 89–96, 110–14, no.49 (1963), 9–16, 42–8, 83–9, 109–13, no.50 (1964), 9–14, 53–9; W. Flechsig: 400 Jahre Musikleben in Braunschweiger Land (1974) [exhibition catalogue]
Museum der Mechanischen Musik: 250 automatic.
Städtisches Museum: c475 European and non-European, incl. donation from the Grotrian-Steinweg piano firm.
H. Schröder: Verzeichnis der Sammlung alter Musikinstrumente im Städtischen Museum Braunschweig (1928); D. Hecht: Katalog der afrikanischen Sammlung im Städtischen Museum (1968); G.-D. Ulferts: Führer durch die Sammlung Historischer Musikinstrumente (1997)
Uwe Bartels collection. c60 horns
Rund um das Horn (1982) [exhibition catalogue, Hamburg]; Das Jagdhorn (1985) [exhibition catalogue, Nuremberg]; ‘Vom Jagdhorn zum Waldhorn’, Musik verbindet (1988) [exhibition catalogue, Hannover]; Kulturgeschichte des Hornes (1989–1991) [exhibition catalogue: Recke-Westfalen, Rotterdam, Arnheim]
Butzbach Museum
P.T. Young: ‘Letter From Europe’, AMIS Newsletter, xxi/3 (1992)
Bomann Museum: c70 European art and traditional.
Hermann Moeck collection: over 1000 European and non-European. [See Göttingen, Musikinstrumentensammlung des Musikwissenschaftlichen Instituts, below, for Hermann Moeck Sr.’s collection.]
H. Sievers and G. Thembs: ‘Bemühungen um die Sammlung Moeck’, ZI, xvii (1962–3), 318–21
Kölnisches Stadtmuseum: c400 European art and traditional, incl. first Paul Kaiser-Reka collection.
H. Hoyler: Die Musikinstrumentensammlung des Kölnischen Stadtmuseums (1993)
Musikwissenschaftliches Institut der Universität zu Köln: c180 European, non-European, and keyboard mechanism models.
C. Dohr: ‘Die Instrumentensammlung des musikwissenschaftliches Instituts zu Köln’, Die Musikinstrumentensammlung des Kölnischen Stadtmuseums, ed. H. Hoyler (Kassel, 1993), 19–44
Rautenstrauch-Joest-Museum für Völkerkunde: c1450 non-European.
A. Richter: ‘... historische und ethnologische Ausstellung musikalischer Instrumente’, Zeitschrift für Musikinstrumentenbau, iii (1882–3)
Heimatmuseum: c100 string instruments and a few winds.
Musikinstrumentensammlung, Hessisches Landesmuseum: 110 mainly European incl. Hüpsch collection.
Grossherzoglisches Hessisches Landesmuseum: Führer durch die Kunst- und historischen Sammlungen (1908); W. Beeh, ed.: Musikinstrumente aus dem Hessischen Landesmuseum 16.–19. Jahrhundert (1980) [exhibition catalogue]
Bachhaus: 470 incl. the Obrist collection.
E. Buhle: Verzeichnis der Sammlung aler Musikinstrumente im Bachhaus zu Eisenach (Leipzig, 1913, 4/1964); H. Heyde: Historische Musikinstrumente im Bachhaus Eisenach (1976); I. Domizlaff: ‘Die Musikinstrumentensammlung im Bachhaus Eisenach’, Bulletin (1978); Siebzig Jahre Bachhaus Eisenach: Kleine Chronik (1977); W. Wenke: Historische Musikinstrumente im Bachhaus Eisenach (1988)
Geigenbaumuseum Bubenreuth: 140 string instruments, especially Bohemian.
Bubenreuth und Umland: interessengemeinschaft Streich- und Zupfinstrumentenbau (1987)
Museum für Völkerkunde: c400 non-European.
Sammlung die Historische Musikinstrumente des Musikwissenschaftlichen Instituts, Universität Erlangen-Nürnberg
T.J. Eschler: ‘The Collection of Historical Musical Instruments of the University of Erlangen: a Checklist’, GSJ, xxxvi (1983), 115–25; T.J. Eschler: Die Sammlung historischer Musikinstrumente des musikwissenschaftlichen Instituts der Universität Erlangen-Nürnberg (Wilhelmshaven, 1993)
Rolf Burseg collection: horns.
Rund um das Horn (1982) [exhibition catalogue, Hamburg]; Das Jagdhorn (1985) [exhibition catalogue, Nuremberg]; ‘Vom Jagdhorn zum Waldhorn’, Musik verbindet (1988) [exhibition catalogue, Hannover]; Kulturgeschichte des Hornes (1989–1991) [exhibition catalogue: Recke-Westfalen, Rotterdam, Arnheim]
Bengt Fosshag collection: 150 folk and traditional lutes.
Historisches Museum der Stadt Frankfurt-am-Main: c200 European.
P. Epstein: Katalog der Musikinstrumente im historischen Museum der Stadt Frankfurt am Main (1927)
Museum für Völkerkunde: 400 mainly non-European.
Peter Spohr collection: 300 transverse European and North American flutes.
K. Reichman and P. Spohr: Flöten aus fünf Jahrhundert (1982); P. Spohr. Kunsthandwerk im Dienste der Musik (1991) [exhibition catalogue]; K. Lenski and K. Ventzke: Das goldene Zeitalter der Flöte, Frankreich 1832–1932 (1993)
Staatliche Reka-Sammlung die Historische Musikinstrumente am Bezirksmuseum Viadrina: c400 incl. many bowed string instruments with original fittings.
Raritäten und Kuriositäten (1981); B. Kaiser-Reka: ‘Die Staatliche REKA-Sammlung historischer Musikinstrumente’, Bulletin, xiv (1978), 58–64; H. Heyde: Historische Musikinstrumente: Reka-Sammlung Museum Viadrina, Frankfurt/O. [1989]
Mechanisches Musik-Museum
Heimatmuseum: c40 regional string instruments.
R. Bletschacher: Die Lauten- und Geigenmacher des Füssener Landes (Hofheim, 1978); A. Layer: Die Allgäuer Lauten- und Geigenmacher (Augsburg, 1978); C. Kahle: ‘Die Instrumentensammlung des Füssener Heimatmuseums’, Jb des historischen Veriens Alt Füssen (1982), 95–8
Rolf Irle collection: 1300 worldwide sounding objects, incl. toys.
Museum für Regionalgeschichte und Volkskunde: c75 European.
Ethnographische Sammlung, Instituts für Völkerkunde der Georg-August-Universität Göttingen: 600 non-European, mainly African.
Musikinstrumentensammlung des Musikwissenschaftlichen Instituts, Georg-August-Universität Göttingen: 1400 European, African, ancient Egyptian, American and Oceanian incl. the Hermann Moeck Sr., Hans Hickmann, Kurt and Ursula Reinhard, and other collections.
K.-P. Brenner: Musikinstrumente aus den Beständen des musikwissenschaftlichen Seminars der Georg-August-Universität Göttingen (1986) [exhibition catalogue]; K.-P. Brenner: Musikinstrumente Europas, Asiens und Afrikas aus den Beständen des musikwissenschaftlichen Seminars der Georg-August-Universität Göttingen (1987) [exhibition catalogue]; K.-P. Brenner: Erlesne Musikinstrumente aus der Sammlung Beständen des musikwissenschaftlichen Seminars der Georg-August-Universität Göttingen (1989)
Musikinstrumenten-Museum Walter Erdmann: c1000 worldwide.
Händel-Haus: c600 mainly European art, esp. keyboards, incl. parts of the Neupert and Rück collections.
K. Sasse: Das Händel-Haus in Halle (1958); Katalog zu den Sammlungen des Händel-Hauses (1961–86); K. Sasse: ‘Die Musikinstrumentensammlung im Händelhaus Halle’, Bulletin (1978); K. Sasse: ‘Das Händelhaus in Halle’, Neue Museumskunde, xxii/2 (1979), 93–101; H. Heyde: Historisches Musikinstrumenten des Händel-Hauses: Führer durch die Ausstellungen (1983)
Manfred Hein Collection: c60 natural and hunting horns.
Rund um das Horn (1982) [exhibition catalogue, Hamburg]; Das Jagdhorn (1985) [exhibition catalogue, Nuremberg]; ‘Vom Jagdhorn zum Waldhorn’, Musik verbindet (1988) [exhibition catalogue, Hannover]; Kulturgeschichte des Hornes (1989–1991) [exhibition catalogue: Recke-Westfalen, Rotterdam, Arnheim]
Museum für Hamburgische Geschichte: 300 European art and traditional.
H. Schröder: Verzeichnis der Sammlung alter Musikinstrumente (1930); A. Pilipczuk: Musikinstrumente in Hamburg (in preparation)
Museum für Kunst und Gewerbe: c300 mainly European art emphasizing Hamburg provenance, some non-European, collection founded by Friedrich Chrysander with Hans von Bülow, and Johannes Brahms, incl. permanent loan of Andreas and Heikedine Beurmann (150 keyboards, other string instruments, wind, electronic) collection.
H. Nirrnheim: ‘Die hamburgischen Musikinstrumente’, Das Hamburgische Museum für Kunst und Gewerbe (1902), 163–7; ‘Bericht über Neuerwerbungen’, Jb des Museums für Kunst und Gewerbe, Hamburg (1983–) [annual]; A.E. Beuermann: ‘Tasteninstrumente aus der Zeit C.Ph.E. Bachs’, Der Hamburger Bach und die neue Musik des 18. Jahrhundert, ed. H. Marx (1988); A. Pilipczuk: ‘Instruments Old and New, Beaten, Plucked, Bowed, Blown: Catalogue of Musical Treasures in Hamburg’, German Research, no.1 (1989), 10–13; Bernard und François Baschet Klangskulpturen (1993) [exhibition brochure]; A. Pilipczuk: Automatenwelten: Frei Zeitzeugen des Jahrhunderts (1998) [exhibition catalogue]; Checklist of the Main Instruments of the Andreas E. Beuermann Collection at Hasselburg and Hamburg on the Occasion of the Visit of the Galpin Society, 1999; A. Pilipczuk: Musikinstrumente in Hamburg (in preparation)
Museum für Völkerkunde: European traditional and non-European.
Andere Völker verstehen lernen: Kurzführer durch das Hamburger Museum für Fölkerkunde (1986)
Schuknecht Musikwissenschaftliches Museum für Selbstspielende Instrumente: 600 mechanical.
Fritz Wrede und der Drehorgelbau in Hannover (n.d.); Mechanisches Singvögel (n.d.)
Fürstlich Oettingen-Wallersteinsche Bibliothek und Kunstsammlung, Schloss Harburg: 38 court art, central and south German, Austrian, also from Zisterzienserinnenklosters Kirchheim.
G. Hart: ‘Musikinstrumente auf Schloss Harburg’, Glareana, xxiii (1974), 38–9
Völkerkunde-Museum der J. und E. von Portheim-Stiftung: 100 African, Asian and Oceanian.
Deutsches Hirtenmuseum: 150 pastoral.
Bayerisches Armeemuseum: military and Ingolstadt Frauenkirche collection.
G. Hart: ‘Die Musikinstrumentensammlung im Schlossmuseum zu Ingolstadt/Donau’, Glareana, xvii/1 (1968), 2–7
Museum für Völkerkunde, Christian-Albrechts Universität zu Kiel: ethnological from Oceania, East Asia and Africa.
Neues Schloss: Willy Schneider collection.
M.H. Schmid: Musikinstrumentensammlung Willy Schneider, Gesamtverz (1990)
Museum für Völkerkunde: c300 non-European.
Musikinstrumentenmuseum der Universität Leipzig: 5000 mainly European art and traditional incl. Heyer, de Wit, Rudolf Ibach (keyboards), and Alessandro Kraus collections.
A. Kraus: Musée Kraus à Florence: catalogue des instruments de musique anciens et modernes du Musée Kraus (Florence, 1878); P. de Wit: Perlen aus der Instrumentensammlung von Paul de Wit (1892); P. de Wit: Kurzgefaszter Katalog aller im musikhistorischen Museum von Paul de Wit vorhandelen Musik-Instrumente (1893); A. Kraus, ed.: Catalogo della collezione etnografico-musicale Kraus in Firenze: sezione instrumenti musicali (Florence, 1901); P. de Wit: Katalog des musikhistorischen Museums von Paul de Wit (1903); G. Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Köln (1910–13); H. Schultz: Führer durch das musikwissenschaftliche Instrumentenmuseum der Universität Leipzig (1929); P. Rubardt: Führer durch das Musikinstrumentemuseum der Karl-Marx-Universität Leipzig (1955, 2/1964); W. Schrammek: Musikinstrumente aus dem Musikinstrumenten-Museum der Karl-Marx Universität: Einführung und Erläuterungen (1970); W. Schrammek: Museum Musicum (1976); H. Zeraschi: Geschichte des Museums (1977); H. Heyde: Flöteninstrumente (1978); H. Zeraschi: ‘Das Musikinstrumenten-Museum’, Bulletin (1978); W. Gerstenberg: ‘Souvenir of 30th May 1929: the Fiftieth Birthday of the Leipzig Museum of Musical Instruments’, CIMCIM Newsletter, no.7 (1979); H. Henkel: Kielinstrumente (1979); H. Henkel: ‘Musikinstrumenten-Museum der Karl-Marx-Universität, Leipzig: Geschichte und Aufgaben’, Neue Museumskunde: Theorie und Praxis der Museumsarbeit, xxii/2 (1979); H. Heyde: Trompeten, Posaunen, Tuben (1980); H. Henkel: Clavichorde (1981); W. Schrammek: Museum Musicum: historische Musikinstrumente (1981); H. Heyde: Hörner und Zinken (1982); K. Gernhardt, H. Henkel and W. Schrammek: Orgel-Instrumente, Harmoniums (1983); H. Heyde: Musikinstrumentenbau 15.–19. Jahrhunderts, Kunst-Handwerk-Entwurf (1986); A. Michel: Zithern: Musikinstrumente zwischen Volkskultur und Bürgerlichkeit (1995) [exhibition catalogue]; E. Fontana, B. Heise: Für Aug’ und Ohren gleich erfreulich: Musikinstrumente aus fünf Jahrhunderten (1998)
see berlin Schloss Charlottenburg, above
F.W. Kalina Collection: mechanical instruments.
Musik Museum, Karl Fischer collection: c80 mechanical instruments.
Musikinstrumentenmuseum Lissberg: c900 Western art, original and reproductions, incl. bagpipe collection.
Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck, St. Annen Museum: 150 mostly regional string and brass, incl. 17th- and 18th-century instruments from St. Marienkirche.
G. Karstädt: ‘Blasinstrumente des Barocks’, Musica, iv (1950), 460–62; G. Karstädt: Die Sammlung alter Musikinstrumente im St. Annen-Museum (1959)
Landesmuseum für Technik und Arbeit: harmoniums and mechanical, part of Jan Brauers collection.
Schloss der Prinzessin Ortrud von Hannover: c30.
G. Hart: ‘Musikinstrumente auf der Marienburg’, Glareana, xxiv (1976), 11–13
Musikinstrumenten-Museum: 3000 mainly European, esp. Saxon.
Katalog des Gewerbemuseums Markneukirchen (1908); E. Wild: Führer durch das Musikinstrumenten-Museum (1967, 10/1988); Musikinstrumenten-Museum Markneukirchen, Kreis Klingenthal, DDR (1974); Musikinstrumenten-Museum Markneukirchen (1975); H. Seidl: ‘Musikinstrumentenmuseum Markneukirchen’, Bulletin (1978); F. Kuntze: ‘Zum überlieferten Bestand an Blechblasinstrumente des 17. und 18. Jahrhunderts im Musikinstrumentenmuseum Markneukirchen’, Fragen der Streichinstrumente, Saiten und Stimmungen: Blankenburg, Harz, 1983, 54–6; H. Jordan: ‘Der Bestand historisches Holzblasinstrumente im Musikinstrumentenmuseum Markneukirchen’, Zupf- und Schlaginstrumente des 17. und 18. Jahrhunderts: Blankenburg, Harz, 1986, 6–17; H. Eichler: ‘Museum of Musical Instruments Markneukirchen’, CIMCIM Bulletin, no.40 (1999)
Musikgeschichtliche Abteilung, Staatliche Museum: c90 European art, mostly winds.
F. Weinitz: ‘Die lappische Zaubertrommel in Meiningen’, Zeitschrift für Ethnologie, xlii (1910), 1–4
Geigenbau- und Heimatmuseum: 50 string instruments.
‘Das Geigenbau- und Heimat-Museum in Mittenwald’, ZI (1929–30), 735–6; A.P. Larson: ‘Visit to the Geigenbaumuseum in Mittenwald’, AMIS Newsletter, ix/1 (1980); M. Seidel: Geigenbaumuseum Mittenwald-Bayern (n.d.); H.W. Klinner: 300 Jahre Mittenwalder Geigenbau (1983)
Bayerisches Nationalmuseum: 340 European art and traditional.
K.A. Bierdimpfl: Die Sammlung der Musikinstrumente des Baierischen Nationalmuseums (1883); A. Ott: Ausstellung alte Musik, Instrumente, Noten und Dokumente aus drei Jahrhunderten (1951); Musik im Bayern: Halbjahrreschrift der Geschichte für Bayerische Musikgeschichte, xviii–xix (1975); D. Smith: ‘Lutes in the Bavarian National Museum’, JLSA, xi (1978), 36–44, 40–55; S.K. Klaus: ‘Clavichorde, Kielklaviere und frühe Tafelklaviere im Musikinstrumentenmuseum im Münchner Stadtmuseum im Bayerischen Nationalmuseum und in der Bayerischen Staatsbibliothek, München’, Glareana, xli (1992); ‘Permanent Exhibition of Musical Instruments in the Bavarian National Museum, Munich’, AMIS Newsletter, xxviii/3 (1999); B. Wackernagel: Musikinstrumente des 16. bis 18. Jahrhunderts im Bayerischen Nationalmuseum (1999)
Deutsches Museum von Meisterwerken der Naturwissenschaft und Technik: 1400 European, some non-European incl. Hans Hahn, Otto Haake, Georg Steingraeber and Carl Anton Pfeiffer instruments.
F. Fuchs: ‘Der Aufbau der technischen Akustik [Musikinstrumente] im Deutsches Museum’, Deutsches Museum, Abhandlungen und Berichte, xxxi/2 (1963); Illustrated Guide through the Collections (5/1971); Deutsches Museum: Wegweiser durch die Sammlungen (1972); H. Siefers: Die Blasinstrumente (1976); F. Thomas: Musikinstrumente: Objekt und Demonstrationsverzeichnis (1978); H. Seifers: Katalog der Blasinstrumente (1980); F. Thomas: Musikinstrumente: Studiensammlung (1980); H. Henkel: Besaitete Tasteninstrumente (1994); B. Wackernagel: Europäische Zupf- und Streichinstrumente, Hackbretter und Äolsharfen ... Katalog (1997)
Musikinstrumentenmuseum Müchner Stadtmuseum: c5000 European art and traditional, non-Western incl. Georg Neuner and C.F. Colt (keyboard) collections.
A. Ott: Ausstellung alte Musikinstrumente: Noten und Dokumente aus drei Jahrhunderten (1951); C.F. Colt: The Colt Clavier Collection, Silver Jubilee 1944–1969 (1969); M. Dreesbach: ‘Das Münchner Stadtmuseum’, Bayerland, i (1970); C.F. Colt: Golden Jubilee 1944–1981 (1981); C.F. Colt and A. Miall: The Early Piano (1981); M.H. Schmid: Die Revolution der Flöten Theobald Boehm 1794–1881 (Tutzing, 1981) [exhibition catalogue]; J. Hornsteiner and M.H. Schmid: Katalog der Streichinstrumente (1985) [typescript]; M.H. Schmid: ‘Die Blockflöten des Musikinstrumentenmuseum München’, Holzblasinstrumente des 17. und 18. Jahrhunderts: Blankenburg, Harz, 1985, 18–39; R. Weber: ‘Liebesklarinetten im Münchener Musikinstrumentenmuseum’, Die Klarinette (1986), 36–41; G. Joppig and K. Ventzke: Hohes Holz: Oboen-Instrumente aus den Sammlungen Karl Ventzke und Gunther Joppig (1989); G. Joppig: ‘Fünfzig Jahre Musikinstrumentenmuseum in Münchener Stadtmuseum’, Das Musikinstrumente, xxxix/10 (1990), 50–55; 150 Jahre Václav František Cěrvený & Synové (1991) [exhibition catalogue]; S.K. Klaus: ‘Clavichorde, Kielklaviere und frühe Tafelklaviere im Musikinstrumentenmuseum im Münchner Stadtmuseum, im Bayerischen Nationalmuseum und in der Bayerischen Staatsbibliothek, München’, Glareana, xli (1992), 3–22; S.K. Klaus: Studien zur Entwicklungsgeschichte besaiteter Tasteninstrumente bis etwa 1830 under besonderer Berücksichtigung der Instrumente im Musikinstrumentenmuseum im Münchner Stadtmuseum (diss. U. of Tubingen, 1994); A. Varsány: Checklist des Gesamtbestandes der nichteurope Musikinstrumente (in preparation)
Staatliches Museum für Völkerkunde: non-European.
C. Sachs: Die Musikinstrumente Birmas und Assams im Kgl. Ethnologischen Museum zu München (1917)
Erbdrostenhof
H. Reuter: Historische Tasteninstrumente im Erbdrostenhof (1987)
Germanisches Nationalmuseum: 2500 European art, traditional and non-European, incl. the Rück, Neupert and Will Jansen collections.
‘Die Sammlung musikalischer Instrumente im germanischer Nationalmuseum’, Anzeiger für Kunde der deutschen Vorzeit (1860), 6–8, 44–6; H. Neupert: Das Musikhistorische Museum Neupert in Nürnberg (1938); F. Jahnel: ‘Die Sammlung historische Musikinstrumente Dr. Ulrich Rück dem Germanischen Nationalmuseum einverleibt’, Das Musikinstrument, xii/12 (1963); C.F. Colt: The Colt Clavier Collection, Silver Jubilee 1944-1969 (1969); J.H. van der Meer: ‘Die Klavierhistorische Sammlung Neupert’, Anzeiger des Germanischen Nationalmuseum (1969); J.H. van der Meer: ‘Curt Sachs and Nürnberg’, GSJ, xxiii (1970); J.H. van der Meer: Wegweiser durch die Sammlung historischer Musikinstrumente (1971, 3/1982); J.H. van der Meer: Der ‘alte’ Musikinstrumentenbestand des Germanischen Nationalmuseums (1972); J.H. van der Meer: ‘Germanisches Nationalmuseum Nürnberg, Erwerbungen, Geschenke und Leihgaben 1975, Sammlung historischer Musikinstrumente’, Anzeiger des Germanischen Nationalmuseums (1976); W. Jansen: The Bassoon: its History, Construction, Makers, Players, and Music (1978–84); J.H. van der Meer: ‘Historisches Musikinstrumente’, Das Germanisches Nationalmuseum Nürnberg 1852–1977, ed. B. Deneke and R. Kajsmitz (Munich, 1978), 814–32; J.H. van der Meer: ‘The Collection of Historic Musical Instruments at the Germanic National Museum, Nuremberg’, CIMCIM Newsletter, no.6 (1978); J.H. van der Meer: Verzeichnis der Europaischen Musikinstrumente im Germanischen Nationalmuseum, i: Hörner und Trompeten: Membranophone, Ideophone (1979); J.H. van der Meer: Verzeichnis der aussereuropäischen Musikinstrumente (1979) [typescript]; F. Hellwig: ‘Notes organologiques: les luths de la collection du Germanisches Nationalmuseum de Nuremberg’, Musique ancienne, no.7 (1979), 36–9; J.H. van der Meer: ‘Germanisches Nationalmuseum Nürnberg. Geschichte seiner Musikinstrumentensammlung’, JbSIM (1979–80), 9–78; C.F. Colt: Golden Jubilee 1944-1981 (1981); C.F. Colt and A. Miall: The Early Piano (1981); M. Kirnbauer and D. Krickeberg: ‘Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650-1750’, Anzeiger des Germanischen Nationalmuseums (1987), 245–81; K. Martius and K. Moens: ‘Wie authentisch ist ein Original? Untersuchungen an zwei alten Streichinstrumenten des Germanischen Nationalmuseums’, Concerto, vi/6 (1988), 15–21; R. Huber: Verzeichnis sämtlicher Musikinstrumente im Germanisches Nationalmuseum Nürnberg (Wilhelmshaven, 1989); M. Kirnbauer and D. Krickeberg: ‘Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650–1750’, Anzeiger des Germanischen Nationalmuseum Nürnberg (1989), 245–81; M. Kirnbauer: Die Holzblasinstrumente bis 1750: Katalog der europäischen Musikinstrumente in Germanisches Nationalmuseum (1991); M. Kirnbauer: Verzeichnis der European Musikinstrumente im Germanischen Nationalmuseum Nürnberg, ii: Flöten und Rohrblattinstrumente bis 1750 (Wilhelmshaven, 1994); J.-P. Schindler: Die Nürnberger Stadtorgelmacher und ihre Instrumente (1995) [exhibition catalogue]; Leopold Widhalm und der Nürnberger Lauten und Geigenbau im 18 Jahnhundert (1996) [exhibition catalogue]; M. Kares: Clavichord (1999)
Oberhaus Museum: c60 Bavarian, upper Austrian art and traditional.
H.K. Moritz: Das Oberhausmuseum Passau (Munich, 1962, 2/1984)
Museum der Stadt Regensburg: c50 European art and traditional.
Siegfrieds Mechanisches Musikkabinett: c300 mechanical.
S. Wendel: Das mechanische Musikkabinett (Dortmund, 1982)
Glocken-Museum Eiserfeld: c900 worldwide bells.
Fürstlich-Hohenzollernsches Museum: 65 mainly wind.
F.P. Bär: Die Sammlung der Musikinstrumente im Fürstlich-Hohenzollernschen Schloss zu Sigmaringen an der Donau: Katalog (Tutzing, 1994)
Auto & Technik Museum: c75 primarily mechanical.
Schlossmuseum Sondershausen: 54, incl. early keyboards.
Linden-Museum: non-European.
Württembergisches Landesmuseum: 500 European art, esp. keyboards, incl. gifts from founder Carl Anton Pfeiffer, Georg Steingraeber, Eugen Gärtner and Fabrik Schiedmayer & Söhne collection.
H. Josten: Württembergisches Landesgewerbemuseum: die Sammlung der Musikinstrumente (1928); H.J. Modrey: ‘Important Keyboards in Stuttgart Museum’, AMIS Newsletter, xiv/1 (1985); M.H. Schmid: ‘Kielklaviere und Clavichorde im Württembergischen Landesmuseum Stuttgart’, Clavichord und Cembalo: Blankenburg, Harz, 1985, 33–7; Musikinstrumentensammlung im Fruchtkasten Begleitbuch (1993)
Harmonikamuseum: mouth and hand harmonicas.
Thomas Reil collection: c500 clarinets.
Elztalmuseum: mechanical incl. musical clocks.
Kunst- und Kulturgesichte Sammlungen, Museum Wasserburg
F. Thomas: ‘Das älteste deutsches Virginal in Wasserburg am Inn: Restaurierung und Entdekkund der Signatur an lässlich der Restauration’, Musik in Bayern, xxv (1982), 53–6; F. Thomas: ‘Ein rätselhaftes Musikinstrument des 19. Jahrhundert’, Festschrift für J.H. van der Meer, ed. F. Hellwig (Tutzing, 1987), 416–65
Robert-Schuman-Haus
M. Schope: ‘Das Robert-Schuman-Haus in Zwickau’, Neue Museumskunde: Theorie und Praxis der Museumsarbeit, xxii/2 (1979), 102–8
Ghana National Museum: 275 African.
Institute of African Studies, University of Ghana: c90 Ghanaian.
K.M. Labi: Museum (1992)
Mouseio Laikon Organon: c1200 Greek traditional incl. the Fivos Anoyanakis collection.
F. Anoyanakis: Instruments de musique populaires grecs (1965); F. Anoyanakis: Greek Popular Musical Instruments (1979) [exhibition catalogue]; F. Anoyanakis: Greek Folk Musical Instruments (New Rochelle, NY, 1979)
Nicolas Papageorgiou collection: 300 worldwide traditional.
Research Center of Greek Folklore, Academy of Athens: c80 Greek traditional.
Peloponnesian Folklore Foundation: c250 Greek traditional
Museo Nacional de Arqueologia y Etnologia: over 50 pre-Columbian and traditional.
M.J.B. Camposeco: Téson, chinab' o k'ojom/The Marimba of Guatemala (1992)
Musée Regional de Nzerékoré
András and József Birinyi collection: c210 European and traditional.
J. Manga: Magyar nepdalok, nepi hangszerek [Hungarian folk songs and folk instruments] (1969; Eng. trans., 1969)
Iparművészeti Múzeum [Museum of Applied Arts]: c25 esp. keyboards.
Liszt Ferenc Zeneművészeti Főiskola [Ferenc Liszt Academy of Music]: c100 woodwinds and string instruments, and keyboards belonging to Liszt.
Liszt Ferenc Memorial Museum (1986) [catalogue]; G. Gábry: ‘Franz Liszts Klaviere’, Studia Musicologica, xvii (1978); G. Keeling: ‘The Liszt Pianos: some Aspects of Preference and Technology’, New Hungarian Quarterly, xxvii (1986), 220–32
Magyar Nemzeti Múzeum Hangszergyűjteménye [Hungarian National Museum, Collection of Musical Instruments]: c500 European, incl. Delahes (string and keyboard), Schunda (wind) and Cathedral of Győr (18th-century wind) collection.
G. Gábry: Régi hangszerek [Old musical instruments] (1969; Eng. trans., 1969); G. Gábry: ‘The Evolution of the Hungarian National Museum Music Collection’, SMH, xiv (1972); E. Gát-Fontana: ‘Die Musikinstrumentensammlung des Ungarischen Nationalmuseums’, CIMCIM Newsletter, no.7 (1979); E. Gát Fontana: ‘“Möly musica fiola gambának hivattatik”: Régi vonós hangszerek a Magyar nemzeti múzeumban’, Folia historica, ix (1981), 27–45; E. Gát: ‘Pest-Budai zongorakészítők’ [Keyboard-Instrument Makers in Pest and Buda], Tanulmányok Budapest Múltjából, xxiii (1991), 147–259
Magyar Néprajzi Múzeum Népzenei Gyűjteménye [Hungarian Ethnographic Museum, Music Collection]: 1600 traditional and ethnological incl. the Biró collection.
T. Bodrogi: Yabim Drums in the Biró Collection (1950); A Néprajzi Múzeum i: hangszerkiállításának hanglemezes katalógusa (1966)
Magyar Tudományos Akadémia Művészettörténeti Kuatatóintézet [Institute for Musicology of the Hungarian Academy of Sciences]. c110 traditional European
Magyar Tudományos Akadémia Zenetörténeti Múzeu [Hungarian Academy of Sciences, Music History Museum]: c200 European art and traditional.
Tibor Semmelweis collection: 40 Hungarian violins, 25 tárogátos.
Krahuletz Museum: European winds.
P.T. Young: ‘Letter from Europe’, AMIS Newsletter, xxi/3 (1992)
Leskowsky Hangszergyűjtemény [Leskowsky Collection of Musical Instruments]: c700 Hungarian traditional and Non-European.
Soproni Múzeum [Museum of Sopron]: c40 incl. Liszt’s 1864 piano
Maharaja Museum and Picture Gallery
Government Archaeological and Art Museum: c100 Indian.
Catalogue and Guide of Museum [n.d.]; Arms-Museum [n.d.]
Shri Girdharbhai Sangranalaya, Children’s Museum
S.K. Bhowmik and J. Mudrika: The Heritage of Musical Instruments: a Catalogue of Musical Instruments in the Museums of Gujarat (1990)
College of Indian Music, Dance and Dramatics: c150 Gujarat traditional.
S.K. Bhowmik and J. Mudrika: The Heritage of Musical Instruments: a Catalogue of Musical Instruments in the Museums of Gujarat (1990)
Museum and Picture Gallery: over 100.
‘A Brief Description of the Musical Instruments in the Museum & Picture Gallery, Baroda’, The Indian Journal of Society (1921); Exhibition of the Musical Instruments of India [folder] (1927)
Orissa State Museum: c100 string and percussion.
Rabindra-Bhavana
National Centre for the Performing Arts
Prince of Wales Museum of Western India: c50 Indian, Burmese and Tibetan.
Asutosh Museum of Indian Art, University of Calcutta
Central Museum, Calcutta
Cultural Research Institute
Government Industrial and Commercial Museum
Indian Museum: c100 Indian, Burmese and Tibetan, incl. Asiatic Society of Bengal, S.M. Tagore, and Verrier Elwin collections.
A.M. Meerwarth: Guide to the Collection of Musical Instruments Exhibited in the Ethnographic Gallery of the Indian Museum (1917
Marbel Palace Art Gallery and Zoo
Rabindra Bharati Museum
Madhya Pradesh State Tribal Museum
Anthropology Museum, University of Delhi
Lady Wilson Museum: c150, incl. tribal.
S.K. Bhowmik and J. Mudrika: The Heritage of Musical Instruments: a Catalogue of Musical Instruments in the Museums of Gujarat (1990)
State Museum
Anthropological Museum, Gauhati University: c75.
Assam State Museum, Musical Instrument and Ethnographic Sections: c50 Assamese.
Commercial Museum, Gauhati University
Municipal Museum
Maharaja Sawai Man Singh II Museum: 200 Indian art.
State Museum: c70 from Uttar Pradesh, Myanmar and Tibet.
Government Museum and National Art Gallery: c230 Indian.
P. Sambamoorthy: Catalogue of Musical Instruments Exhibited in the Madras Government Museum (1932, 2/1976)
Sangita Vadyalaya: 250 mainly Indian.
P. Sambamoorthy: Struti Vadyas, Drones (New Dehli, 1957); P. Sambamoorthy: Laya Vadyas (New Dehli, 1959)
Hazarduary Palace Museum
Museum of Art and Archaeology, University of Mysore
Central Museum: c50 tribal.
National Handicrafts & Handlooms Museum
National Museum of India
Sangeet Natak Akademi: over 600, mainly Indian traditional.
Indian Folk Musical Instruments [n.d.]
Sharan Rani Backliwal (sarod master) Gallery of Musical Instruments, National Museum: c400 Indian.
Sheesh Mahal Art Gallery
Government Museum
Raja Dinkar Kelkar Museum: c500 Indian art and traditional.
Tribal Welfare Museum
Watson Museum: c35 Indian.
S.K. Bhowmik and J. Mudrika: The Heritage of Musical Instruments: A Catalogue of Musical Instruments in the Museums of Gujarat (1990)
Meghalaya State Museum: Indian tribal.
Bharat Kala Museum, Benaras Hindu University
Museum Bali: Baleganjur gamelan, composite from I Made Gabeleran and Blahbatuh Gianyar.
A.C. McGraw: The Gamelan Semara Dana of Banjar Kaliungu Kaja, Denpasar, Bali, Indonesia (MA thesis, Tufts U., 1998); I.W. Rai: Balinese Gamelan Semar Pagulingan Saih Pitu: the Modal System (diss., U. of Maryland 1996)
Wayang Museum
B. Cuthbertson: ‘The Wayang Museum in Jakarta’, Arts of Asia, x/1 (1980)
Museum Negeri Sumatera Utara
S.S. Roskymawati and others: Pralatan musik tradisional Batak Karo [Traditional musical instruments of Batak Karo peoples of North Sumatra] (1992)
Indragiri Royal Family, Gengang Nobat Ensemble
M.J. Kartomi: ‘The Royal Nobat Ensemble of the Indragiri in Riau, Sumatra, in Colonial and Post-Colonial Times’, GSJ, l (1997)
Nobat (gamelan) ensemble [remnant]
Radyapostaka [Great Library]: Javanese.
Nobat (gamelan) ensemble [remnant]
Monument Pangeran Diponegoro: Javanese gamelan.
Edāre-ye Honarhā-ye zibā-ye Keshvar [National Bureau of Fine Arts]
Honarestān-e Āli-ye Musiqi-ye Melli [National Conservatory of Music]
Niavaran Palace Museum
Sabaz Palace Museum
National Museum of Ireland: c400 European art, traditional and non-Western
The Museum of Bedouin Culture: Bedouin.
Muzé’on ve-Sifriyyah le-Musiqah [Haifa Museum of Music and Ethnology, and Amli Library]: 1000 mainly worldwide ethnological and reconstructed Biblical instruments, incl. Moshe Gorali, and Charna and Avraham Galper (European wind) collections.
Y. Ben-Zvi: ha-Musiqah ba-‘olam ha-‘atiq [Music in the ancient world] (1971, 2/1979); M. Gorali: Music in Ancient Israel (1972, 3/1977); M. Gorali: Magic Sounds: Musical Instruments of the Far East (1989); Musical Instruments in Biblical Israel (1991)
Leon and Luisa Zeldis collection: c175 Central and South American incl. pre-Columbian and Asian.
Rubin Academy of Music: c450 European and ethnological, incl. the Koussevitzky and Bellison collections.
Musical Instruments Bequeathed by the Late Conductor Dr. Serge Koussevitsky to the State of Israel (1953); ‘Major Exhibit Held in Tel-Aviv, Israel’, AMIS Newsletter, xiv/3 (1985); C. Abravanel: ‘The Yocheved Dostrovsky-Kopernik Exhibition of Musical Instruments’, Music and Time (1990–91), 44–59
Amnon Weinstein [violin-maker] collection: worldwide string instruments.
Central Library for Music and Dance: c400 incl. Tova Ben-Zivi, Edith Gerson-Kiwi (permanent loan: 300 mainly African, Asian, Arabic and Persian), and Benjamin Wasserman (permanent loan: worldwide string instruments) collections.
E. Gerson-Kiwi: Permanent Exhibition of Musical Instruments: Catalogue and Classified Check-List (1963); ‘Major Exhibit Held in Tel-Aviv, Israel’, AMIS Newsletter, xiv/3 (1985)
Convento di San Francesco: Renaissance and Baroque mostly winds.
Museo Etnografico Africa-Mozambico: collected by missions in Africa.
G. Bartolomeo and M. Valerio: Museo etnografico: Africa-Mozambico (1982)
Museo Donizettiano: c20 many associated with Donizetti.
[V. Sacchiero:] Il Museo Donizettiano di Bergamo (1970)
Civico Museo Bibliografico Musicale: c20.
J.H. van der Meer: Strumenti musicali europei del Museo civico medievale di Bologna: con appendici dei fondi strumentali delle Collezioni comunali d’arte, del Museo Davia Bargellini e del Civico museo bibliografico musicale (1993)
Luigi Ferdinando Tagliavini collection: 16 string keyboards.
L.F. Tagliavini and J.H. van der Meer: Clavicembali e spinette dal XVI al XIX secolo: collezione L.F. Tagliavini (1987)
Museo Civico Medievale: over 200 mainly European art, esp. Bolognese and non-European.
Raccolta di antichi strumenti armonici (1880); P. Ducati: Catalogo-guida (1923); J.H. van der Meer: Strumenti musicali europei del Museo civico medievale di Bologna: con appendici dei fondi strumentali delle Collezioni comunali d’arte, del Museo Davia Bargellini e del Civico museo bibliografico musicale (1993)
Museo Chitarristico Bresciano (formerly Museo Strumenti Musicali Liuteria Bresciana, the Virginio Cattaneo Collection): c140 plucked and bowed string instruments emphasizing Brescian makers.
C. Amighetti: ‘Caratteristiche degli strumenti ad Arco Brescian’, Convegno Nazionale di Studi sulla Liuteria Bresciana (1988); Museo strumenti musicali Liuteria Bresciana (n.d.); Museo musicale chitarristico Bresciano (n.d.) [exhibition guide]; C. Amighetti: Caratteristiche degli strumenti ad arco Bresciani (1988)
Museo Miscellaneo [Fermo] Galbiati: 250 free-reed organs and accordions, 30 mechanical, 200 phonographs and gramophones.
F. Galbiati and N. Ciravegna: Fisarmoniche-Physarmonicas (1987); N. Ciravegna: Fonografi e Grammofoni (n.d.)
Civico Museum Internazionale della Fisarmoni: c200 free-reed.
Z. Frati, B. Bugiolacchi and M. Moroni: Castelfidardo e la storia della fisarmonica (1986)
Museo della Scuola Internazionale di Liuteria (formerly Insituto Professionale Internazionale per l’Artigianato Liutario e del Legno ‘Antonio Stradivari’): 100 bowed string instruments; also tools, drawings, models and the best work of the students.
G. Nicolini: The International School of Cremona: Two Score Years of Violin-Making (1978); ‘Cremona: liuteria e musica in una città d’arte’, Concorso internazionale de liuteria ‘Antonio Stradivari’, vii (1994)
Museo Stradivario: drawings, models, moulds, fittings, various tools documenting Antonio Stradivari’s work incl. the Cozio di Salabue collection; bowed and plucked string instruments.
F. Sacchi: Il Conte Cozio di Salabue: cenni biografici di questo collectore d’instrumenti ad arco (Milan, 1898); I.A. Cozio di Salabue: Carteggio, ed. R. Bacchetta (1950); P. Frisoli: ‘The Museo Stradivariano in Cremona’, GSJ, xxiv (1971), 33–50; S. Sacconi: I segreti di Stradivari, con il catalogo dei cimeli stradivariani del Museo (1972); L’esposizione di liuteria antica a Cremona nel 1937 (1987); C. Beare: Capolavori di Antonio Stradivari (1987); A. Mosconi and C. Torresani: Il Museo Stradivariano di Cremona (1987); E. Santoro: Geigensammlung im Rathaus von Cremona (1987); Stradivari e la liuteria cremonese dall’ U.R.S.S. [exhibition catalogue] (1988); C. Beare: Antonio Stradivari: the Cremona Exhibition of 1987 (1988); A. Mosconi and L.C. Witten: Capolavori di Andrea Amati (1991) [exhibition catalogue]; Strumenti di Antonio Stradivari (1991)
Palazzo Communale, ‘I Violini del Palazzo Comunale di Cremona’: 5 important Cremonese violins.
Musei a Cremona (1895); E. Santoro, A. Mosconi and E. Quiresi: I violini del Palazzo comunale (1982); A. Mosconi, M. Tanzi and M. Tiella: Il Palazzo comunale di Cremona (1992)
Societa Filodrammatica Cremonese: Neapolitan mandolins.
Museo Teatrale and Biblioteca Communale: 50 European and non-European.
Accademia Bartolomeo Cristofori Amici del Fortepiano: string keyboards.
D. Righini: ‘Un’ accademia per gli amici del “fortepiano”’, Toscanaoggi, xi (1991); L. Pinzauti: ‘Musiche e strumenti rari per riscoprire un’ epoca’, La nazione, v (1992)
Museo Bardini e Galleria Corsi: c30 17th- and 18th-century European art.
Museo degli Strumenti Musicali del Conservatorio di Musica ‘Luigi Cherubini’: c220 16th- to 19th-century European art, incl. Ferdinando de Medici, and part of Heyer, and Alessandro Kraus collections.
A. Kraus, ed.: Musée Kraus à Florence: catalogue des instruments de musique anciens et modernes du Musée Kraus (1878); Catalogo della collezione etnografico-musicale Kraus in Firenze: sezione instrumenti musicali (1901); L. Bargagna: Gli strumenti musicali raccolti nel Museo del R. Istituto L. Cherubini a Firenze (1911); V. Gai: Gli strumenti musicali della corte Medicea e il Museo del Conservatorio ‘Luigi Cherubini’ di Firenze (1969); ‘Florence Exhibits Musical Instruments’, AMIS Newsletter, ix/3 (1980); M. Fabbri: Antichi strumenti della raccolta dei Medici e dei Lorena alla formazione del museo del Conservatorio di Firenze (1981)
Museo di Storia Naturale, Sezione Anthropologia ed Ethnologia, Università degli Studi, Firenze: c155 worldwide.
N. Puccioni: ‘Gli oggetti musicali del Museo Nazionale di Antropologia’, Archivo per la Antropoliogia e la Etnologia, xxxvi/1 (1906), 59–84
Museo Romagnolo del Teatro Angelo Masini: c75 European art, emphasizing Forlì makers.
Museo d’Arte Orientale Edoardo Chiossone: c20 Japanese and Chinese.
Palazzo Borromeo: c15 European art and Etruscan bells.
L. Libin and K. Shanks Libin: ‘Musical Instruments at Isola Bella’, EMc, xviii (1990), 617–23
Museo Civico: c20 European traditional.
Il corno da posta: da messo di segnalazione a strumento sinfonico (1989) [exhibition catalogue]
Museo di Palazzo d’Arco: c20 string instruments.
Castello Principesco: c30 16th- to 18th-century European art.
W. Roos: ‘The Musical Instrument Collection at Meran’, GSJ, xxxii (1979), 10–23; W. Duschek: Meraner Museum und Landesfürstliche Burg (1983); M. da David and R.V. Schönherr: Geschichte und Beschreibung der landesfürstliche Burg (n.d.); W. Roos: Die Sammlung historischer Musikinstrumente in der Landesfürstliche Burg zu Meran (1987); W. Roos: La collezione di antichi strumenti musicali del Castello Principesco di Merano (1990)
Museo Nazionale della Scienza e della Tecnica ‘Leonardo da Vinci’: c100 European art, incl. most of Emma Vecla collection.
Museo degli Strumenti Musicali, Castello Sforzesco: c700 European art, traditional, Asian and African, incl. Natale Gallini collection.
N. Gallini: Mostra di antichi strumenti musicale della collezione N. Gallini (1953); N. and F. Gallini: Comune di Milano, museo degli strumenti musicali, Castello Sforzesco (1963)
Museo Teatrale alla Scala: c130, European art, archaeological and non-European, incl. some early instruments in the 1881 Milano exposition and from the Conservatorio di Musica ‘Giuseppe Verdi’.
Esposizione musicale sotto il patrocinio de S.M. la Regina: Milano 1881; E. de Guarinoni: Gli strumenti musicali nel Museo del R. Conservatorio di Milano: nel lo centenario della fondazione del R. Conservatorio di musica ‘G. Verdi’ (1908); Catologo del Museo Teatrale alla Scala (1914); S. Vittadini: Catalogo del Museo teatrale alla Scala (1948); La collezione di strumenti musiali del Museo teatrale alla Scala: studio, restauro, restituzione (1991)
Museo Civico di Storia e Arte Medievale e Moderna: c100 European art, African and Asian, incl. Luigi Francesco Valdrighi collection.
L.F. Valdrighi: Nomocheliurgografia antica e moderna (1884/R); G. Zoccoli: Il conte Luigi Francesco Valdrighi, storiografo e musicografo (1899); A. Crescellani: Catalogue of Old Instruments (n.d.) [Valdrigi Collection]; L. Cervelli: Mostra di antichi strumenti musicali: catalogo (1963); J.H. van der Meer, L. Cervelli and others: Antichi strumenti musicali: catalogo del fondo del musicale del Museo civico di storia e arte medievale e moderna di Modena (1982); M. Lucci: ‘Elementi per una storia del museo civico, il fondo musicale: contributi alla conoscenza di Luigi Francesco Valdrighi’, Antichi strumenti musicale: catalogo del fondo musicali del museo civico di storia e arte medievale e moderna di Modena (1986), 12–23, 24–44
Collezione dei Piccoli Bronzi, Museo Archeologico Nazionale: c70 archaeological, many from Vesuvius area.
Museo Storico-Musicale del Conservatorio: c140 mostly European art, some Asian.
E. Santagata: Il Museo storico musicale di ‘San Pietro a Majella’ (1930)
Museo Civico, Sezione Teatrale e Sezione Etnografico: c100 occidental and oriental, incl. Marco Antonio Caccia theatre collection.
Donazione cimeli artistici lirici di proprietà teatro coccia (1962)
Museo Etnografico Siciliano Pitré: c70 traditional Sicilian.
G. Cocchiara: La vita e l’arte del populo siciliano nel Museo Pitrè (1938)
Museo Calabrese di Etnografia e Folclore Raffaele Corso: c50 traditional.
A. Ricci and R. Tucci: ‘La collezione degli strumenti musicali del museo di etnografia e folklore “Raffaele Corso” di Palmi’, Incontri meridionali rivista quadrimestrale di storia e cultura, i/2 (1991)
Conservatorio ‘A. Boito’: c30 European art.
Tempietto Rossiniano della Fondazione Rossini: c65 from Italian colonies in Africa.
G. Fara: ‘Il liceo musicali Rossini di Pesaro e i suoi strumenti musicali etnici’, Musica d’oggi, xiv (1932), 421–8
Associazione Museo di Storia Quarnese: c500 European.
V. Villa and M. Tiella: Quarna: vivere di strumenti (1984) [exhibition catalogue: Milan, Museo Teatrale alla Scala]
Museo delle Culture Extra-Europee Dinz Rialto: c270 ethnological and archaeological from Africa, Oceania and pre-Colombian American, incl. the Delfino Dinz Rialto collection.
A. Sistri, R. Leydi, and others: Uomini & suoni: srumenti musicali del Museo arti primitive Dinz Rialto (Florence, c1985); M. Biordi: ‘Delfino Dinz Rialto e il Museo arti primitive di Rimini (Italia): una colezione privata oggi museo pubblico’, Collezionismo Americanista durante il XIX–XX secolo (1988)
Museo Nazionale delle Arti e Tradizioni Popolari: c660 popular and traditional Italian.
F. Guzzi and R. Leydi: Gli strumenti della musica popolare in Italia (1984); P.E. Simeoni and R. Tucci: La collezione degli strumenti musicali in Cataloghi del musei e gallerie d’Italia (1991)
Museo Nazionale degli Strumenti Musicali: c3000 incl. the Evan Gorga collection.
L. Cervelli: Mostra di strumenti musicali dell’Estremo Oriente della collezione Gorga: catalogo, Roma Palazzo Venezia (1965); L. Cervelli: Mostra di strumenti musicali del ’600 e ’700: catalogo, Roma S. Marta Collegio Romano (1966); L. Cervelli: ‘Per un catalogo degli strumenti a tastiera del Museo degli antichi strumenti musicali’, Accademie e Biblioteche d’Italia, xliv/4–5 (1976), 305–43; L. Cervelli: Antichi strumenti musicali in un moderno museo: Museo nazionale degli strumenti musicali, Roma (2/1986)
Museo Preistorico Etnografico ‘Luigi Pigorini’: c500 worldwide archaeological and ethnological.
P. Scotti: Gli strumenti musicali africani del R. Museo Pigorini (1940); Oggetti e ritmi: strumenti musicali dell’Africa (1980) [exhibition catalogue]
Museo Strumentale dell’Accademia Nazionale di Santa Cecilia: c190 mainly European.
A. Cametti: ‘Raccolta d’instrumenti’, Annuario della Reggia di S.ta Cecilia, v (1900), 22–54; Museo strumentale (1963) [exhibition catalogue]; L. Del Re: Mostra di strumenti musicali, per gentile concessione del Musei strumentale dell’Accademia nazionale di Santa Cecilia (1963); Il liuto e la lira: verson un recupero del Museo strumentale dell’Accademia nazionale di Santa Cecilia (1993)
Museo Marini: c430 mechanical.
L. Gerli: Museo di strumenti musicali meccanici, collezione Marino Marini (1980)
Accademia Musicale Chigiana: c90 mostly European, esp. bowed string instruments, incl. the Count Guido Chigi Saracini collection.
Museo Civico di Arte Antica a Palazzo Madama: c50 European and Asian.
Museo Civico di Numismatica, Etnografia, Arti Orientali: c55 African, Asian and Latin American.
Civico Museo Teatrale di Fondazione Carlo Schmidl: c160 European, African and Asian.
L. Ruaro Loseri: Strumenti musicali europei ed extraeuropei (1979) [exhibition catalogue]; Con slancio gentile donare generosamente: acquisizioni del Civico museo teatrale ‘C. Schmidl’ (1992) [exhibition catalogue]
Monumenti Musei e Gallerie Pontificie: 5 museums with instruments, the largest being Museo Missionario-Ethnologico with c1000 from worldwide missionary orders.
Grand mostra missionaria (1925); E. Palazzo: Musica e strumenti di terre lontane (1933); M. Forno: ‘La raccolta di strumenti musicali Ghivaro (Ecuador e Perù)’, Pontificio museo missionario etnologico già Lateranense, Annali, xxxiii (1969), 9–30
Civico Museo Correr e Quadreria Correr, Sezione Storica: c30 mainly 16th- to 18th-century European winds and string instruments incl. the Marco Contarini/Pietro Correr, and L. Martinengo collections.
Elenco degli strumenti musicali antichi da arco, fiato, pizzico e tasto, posseduti dal Nob. P. Correr di Venezia (1872)
Istituto Provenciale per l’Infanzia Santa Maria della Pietà: c24 mainly bowed string instruments.
M. Tiella and L. Primon: Catalogo degli strumenti dell’Istituto della Pietà, Venezia: catalogo in occasione della mostra ‘Estro armonico’ (1990)
Museo d’Arte Orientale: c60 Southeast Asian and Japanese.
K. Shigeo: Strumenti Musicali Giapponesi (1989)
Museo Strumentale Musicali, Conservatorio di Musica ‘Benedetto Marcello’: c50 early Venetian returned to earlier locations: Cá Pesaro, Istituto della Pietà, and Museo Correr.
Accademia Filarmonica di Verona: c70 European art mainly 16th-century winds incl. the Count Mario Bevilacqua Collection.
G. Turrini: L’Accademia filarmonica di Verona dalla fondazione al 1600 (1941); M. Castellani: ‘A 1593 Veronese Inventory’, GSJ, xxvi (1973), 15–24; J.H. van der Meer and R. Weber: Catalogo degli strumenti musicali dell’Accademia filarmonica di Verona (1982)
Museo della Biblioteca Capitolare: 14 16th- to 17th-century winds.
F. Puglisi: ‘Renaissance Flutes of the Biblioteca Capitolare of Verona: the Structure of a Pifaro’, GSJ, xxxii (1979), 24–37; J.H. van der Meer and R. Weber: Catalogo degli strumenti musicali dell’Accademia filarmonica di Verona (1982)
Musée du Centre des Sciences Humaines: African traditional
Institute of Jamaica: c25 Jamaican
Azechi Keiji collection: c50 traditional Japanese, mostly string incl. some from Edo period.
Hamamatsu Museum of Musical Instruments: c450 European incl. the Robert M. Rosenbaum Family Collection, and 150 Japanese.
‘Exhibit in Boston Honors Rosenbaum’, AMIS Newsletter, xvii/2 (1988); ‘Rosenbaum Family Collection in Japan’, AMIS Newsletter, xxi/2 (1992); European Aerophones [catalogue]; European Chordo-Membrano-Idiophones [catalogue]; Keyboard Instruments [catalogue]; Japanese Musical Instruments [catalogue]
Oikawa Takao, Kofū-Taimukan: c1000 Japanese instruments and accessories.
Kyoto-Kenritsu Sōgō Shiryōkan [Kyoto Prefectural Museum]. c400 Japanese
Nihon no gakki (1977)
Umenomiya Shrine
‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991)
Sen’oku Hakkokan Hakubutsukan [Sen’oku Hakkokan Museum]: Japanese and 40 Chinese bronze incl. the Sumitomo Kichiemon Collection.
Catalogue of musical instruments (1982)
Shimane-Kenritsu Hakubutsukan [Shimane Prefectural Museum]: c200 Japanese.
Taiko-no-Sato Shiryō-kan, Asano Taiko Saishi Co., Ltd: worldwide percussion.
Taikology [biannual periodical]
Atsuta Jinja Hōmotsuden [Atsuta Shrine Treasure House]: c30 early Japanese.
Tokugawa Bijutsukan [Tokugawa Art Museum]: c70 early from Okinawa.
Kasuga Taisha Jinja Hōmotsuden [Kasuga Taisha Shrine Treasure House]
‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991)
Sankōkan Museum, Tenri University: c1970 traditional.
Sekai Minzoku Gakki (1968); ‘Chordophones’, Folk Musical Instruments, i (1969); Collection of Tenri University, Sankōkan Museum (1986); ‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991)
Shōsōin Hōmotsuden [Shōsōin Treasury]: c70 all 8th century; memorial to Emperor Shōmu.
K. Hayashi and others: Shōsōin no gakki/Musical Instruments in the Shōsōin (1957)
Museum of Musical Instruments, Osaka College of Music: c1760 European and Asian instruments and accessories incl. the Mizuno Sahei Collection.
Catalogue of the Museum of Musical Instruments, Osaka College of Music (1984)
Kokuritsu Minzokugaku Hakubutsukan [National Museum of Ethnology]
Kokuritu Minzokugaku Hakubutukan/National Museum of Ethnology (1990); Guide to the National Museum of Ethnology (1991)
National Museum of Japanese History, Folklore Research Department: Japanese incl. the collection of Tokugawa Kishū Family.
Gagaku Musical Instruments Heirloom of Kishū Tokugawa Family (1982); Dan sui da (1992) [exhibition catalogue]
Izumo Taisha Hōmotsuden [shrine]: traditional Japanese.
Miho Jinja Narimono shūzōko [shrine museum]: c850 mainly Japanese.
Mizuho Museum of Musical Instruments: c450 worldwide.
Tsuchi no Oto (1986)
Akama Jinja Hōmotsuden [Akama Shrine Treasure House]: Japanese.
Akira Tsumura collection: plucked string instruments.
Extraordinary Ukuleles: the Tsumura Collection from Japan (1993) [exhibition catalgue, Honolulu Academy of Arts]; A. Tsumura: One Thousand and One Banjos: the Tsumura Collection (1993)
Drum Museum, Miyamoto Unosuke Shōten [drum-maker company], Nishiasakusa Branch: Japanese and worldwide drums.
Catalogue of the Drum Museum, Tokyo (1991); ‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991)
Institute for the Study of Musical Instruments, Ueno Gakuen University: c140 European and African.
N. Funayama, N. Uchino and C. Honma: Catalogue of the European Musical Instruments of the XVIIth, XVIII, and XIXth Centuries in the Ueno Gakuen Collection, ii (1980); N. Uchino: ‘Catalogue of the European Musical Instruments in the Ueno Gakuen Collection’, JVdGSA, xii (1989), 29–39
Koizumi Fumio Memorial Archives, Tokyo Geijutsu Daigaku [Tokyo National University of Fine Arts and Music]: c670 Asian incl. Koizumi Fumio Collection.
Catalog of the Musical Instrument Collection of the Koizumi Fumio Memorial Archives, Faculty of Music, Tokyo Geijutsu Daigaku (1987); ‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991)
Kunitachi College of Music, Gakkigaku Shiryōkan: c2000 European and non-European.
Ud, Biwa, Lute (1980); Koto, Zither (1981); Bowed Stringed-Instruments (1983); Plucked Stringed-Instruments with Neck (1984); Harp, Lyre (1985); Lip Reed Instruments (1986); The Collection of Musical Instruments (1986); Reed Instruments (1987); Bagpipe (1988); Flute (1990); ‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991); Drum (1992); Zither II (1994); S. Gungi and others: The Collection of Musical Instruments, Kunitachi College of Music, Gakkigaku Shiryōkan (1996)
Min-On Music Library Folk Musical Instruments Collection: c550 Asian, Middle Eastern, North and Latin American.
Musashino Ongaku Daigaku Gakki Hakubutsukan [Museum of Musical Instruments, Musashino Academia Musicae]: c4555 worldwide ethnological.
Musashino Ongaku Daigaku, Gakki Hakubutsukan mokuroku/Museum of Musical Instruments, Musashino Academia Musicae (1969–85); ‘CIMCIM Members Travel to Japan’, AMIS Newsletter, xx/2 (1991)
Small Museum of Musical Boxes
Music Gallery (1984, 2/1989)
Suntory Ltd: Schambach-Kaston collection: 87 European mainly bowed string.
R. Rephann: The Schamback-Kaston Collection of Musical Instruments (1988)
Kokuritsu Hakubutsukan [National Museum]: c180 Japanese.
Waseda Daigaku Tsubouchi Hakase Kinen Engeki Hakubutsukan [Tsubouchi Memorial Theatre Museum, Waseda University]: c50 Asian.
Uwajima-Shiritsu Date Hakubutsukan [Uwajima Date Museum]: c40 Japanese incl. Uwajima Date family collection.
Hall of Halls: c80 mechanical
State Museum of the Traditional Musical Instruments of Kazakhstan: 900 Kazakh, Central and East Asian.
Bolat Shamgalievitch Saribaev Museum: 300 archaeological and traditional Kazakh, Uigur, Uzbeg, Bashkir and Eastern Asian.
B.S. Saribaev: Kazakh Musical Instruments (1978)
National Museum of Kenya: c250 Kenyan.
Institute of African Studies, University of Nairobi: Kenyan ethnological.
P. Kavyu: Traditional Musical Instruments of Kenya (1984)
State Historical Museum of Kyrgyzstan: 35 Kyrgyz.
S. Subanaliev: Kyrgyzskie muzykalnye instrumenty (1986)
Kunip Kugak-Wŏn [National Classical Music Institute]: 70 Korean incl. from Royal Conservatory collection.
Hye-Ku Lee: Photographs of the Musical Instruments in the Royal Conservatory (1939); Korean Classical Music Instruments (1959); Hye-Ku Lee: Musical Instruments of Korea Illustrated (1966)
Museum of the History of Riga and Navigation: c210 European and Asian art and traditional.
Latvian Open-Air Ethnographic Museum: c200 Latvian traditional.
I. Prieolíte: Latvian Folk Music Instruments (1978); I. Prieolíte: Ko spéleja senolienas (1983); Folk Music Instruments (1988)
Lietuvos TSR istorijos it etnografijos musiejus [National Museum of Lithuanian History and Ethnography]: c250 mainly Lithuanian art and traditional.
M. Baltreniene and R. Apanavičius: Lietuviu liaudies muzikos instrumentai (1991); M. Baltreniene: Lietuviu liaudies muzikos instrumentai lietuvos muziejuose [Lithuanian folk musical instruments] (1991)
Arheološki Muzej na Makadonije [Archaeological Museum of Macedonia]: c75 Macedonian traditional
Musée d’Art et d’Archéologie de l’Université de Madagascar
M. Rakotomalala: ‘Le Laboratoire d’Ethnomusicologie de l’Institut de Civilisations de l’Université de Tananarive’, CIMCIM Bulletin, no.12 (1992)
Sabah Jabatan Muzium dan Arkib Negeri Sabah.
Pengenalan kepada alat-alat muzik tradisional Sabah [An Introduction to the Traditional Musical Instruments of Sabah] (1992); P.J. Kating: Alat-alat muzik tradisional Sabah: Warisan budaya kita bersama (1998)
Muzium Negara [National Museum]: c200 mainly Malaysian.
Panduan Balai Kebudayaan Muzium Negara/Guide to the Cultural Gallery Muzium Negara (1986)
Sarawak Museum: c140 Southeast Asian, esp. Sarawak and Borneo ethnological.
R.W.C. Shelford: ‘An Illustrated Catalogue of the Ethnographical Collection of the Sarawak Museum, i: Musical Instruments’, Journal of the Straits Branch of the Royal Asiatic Society, xl (1904/R)
Muzium Melaka, Muzium Budada
Lembaga Muzium, Negeri Pahang [State Museum of Pahang]: 2 gamelans (one Pahang), 40 Southeast Asian and Indian.
M.T. Osman: Traditional Drama and Music of Southeast Asia (1974); Ku Zam Zam Ku Iduz: Muzik Tradisional Melayu dan Kedah Utara, esembel-esembel Wayang Kulit, Mek Melong dan Gendang Keling dengan tumpuan kepada alat-alat pemuzik-pemusik dan fungsi (1978); A. Ismail: Thesis Gamelan Malaysia (diss., U. Sains Malaysia, 1980); M.G. Nasuruddin: Muzik Melayu Tradisi (1989)
Koleski Muzium Sultan Abu Bakar
M.M. bin Abu Bakar Dató and S. binti Yeop Tajuddin: Alat musik tradisional Pahang [Traditional Musical Instruments of Pahang] (1993)
Musée National du Mali: c500
Alejandro Alcocer Museum: c675 pre-Hispanic and Mexican.
Investigaciones Musicales, Instituto Nacional de Belles Artes: c200 pre-Columbian and ethnological incl. musical toys.
C.S. Sodi: Catálogo de la primera exposición internacional de instrumentos musicales (1969)
Laboratoria Museográfico, Universidad Iberoamericana: pre-Columbian and colonial Mexican.
R. Hellmer: Panorama del instrumento musical en Mexico (1968) [exhibition guide]
Museo Nacional de Antropología: c240 archaeological and ethnological.
R.M. Campos: ‘Los instrumentos musicales de los Antiguos Mexicanos’, Anales Museo nacional de antropología (1925), 333–7; R.M. Campos: ‘The Musical Instruments of the Ancient Mexicans’, Pan American Union Bulletin, no.60 (1926), 380–89; S. Martí Guía de la sala de música prehispánia (1954)
Museo Nacional de Artes e Industrias Populares: c140.
Museo Nacional de las Culturas, Instituto Nacional de Antropología e Historia: c60 ethnological.
Instrumentos musicales en el mundo (n.d.)
Museo Nacional de Historia, Castillo de Chapúltepec: c60 European and ethnological
Musée des Oudâias: c65 African and Andalusian.
Conservatoire de Musique: c40 European, esp. Andalusian and Arabic
Han de Vries Collectie: c60 oboes.
Henk Arends Museum: c100 worldwide.
Henk de Wit Collectie: c110 bassoons.
E. Langeveld: Tentoonstellung van fagotten, prenten boeken en manuscripten uit de collectie van Henk de Wit (1992)
J.D. Frank Flute collection: c100.
Leo van Oostrom collection: c60 saxophones.
Rien Hasselaar collection: c30 pianos.
Tropenmuseum: c2700 tropical.
P. Wirtz: A Description of Musical Instruments from Central North Eastern New Guinea (1952); J. Kunst: Hindu-Javanese Musical Instruments (The Hague, 1968); E. den Otter: Pre-Columbian Musical Instruments: Silenced Sounds in the Tropenmuseum Collection (1994); P. Bos: Foi Meze and other Flutes: Sixty Years of Collecting in the Flores Musical Culture (Indonesia) (1997)
Willy Langestraat/Laquestra Collection: c200 primarily African and a few worldwide.
Nationaal Beiaardmuseum: swinging bells and carillons, 12th century to date.
A. Lehr: ‘Het klokken- en Beiaardmuseum te Asten’, Mens en melodie, xxiv (1969), 226; J. Maasen: ‘National Beiaard Museum’, Mens en melodie, xxx (1976), 242–4; A. Lehr: A Sound of Bells in the National Carillon Museum (1987)
Kijk en Luistermuseum: mechanical incl. I.F. Moltzer and Old Bennekom Society collections.
Afrika Museum: c60 African.
A.W. Ligtvoet: ‘Die Muziekinstrumenten in het Afrika Museum’, Mens en melodie, xxiii (1968), 178–80
Volkenkundig Museum Nusantara: Indonesian gamelan and anklung.
Johan A.L.M. Huysser collection: c200 Western traditional and non-Western, incl. pre-Columbian winds.
Gemeentemuseum Nederlands Orgelmuseum
Groningermuseum voor Stad en Lande: medieval.
Haags Gemeentemuseum, Music Department: c3200 worldwide incl. Daniel François Scheurleer, J.C. Boers; Rijksmuseum, Koninklijk Oudheidkundig Genootschap (both Amsterdam) Carel van Leeuwen Boomkamp collections.
Catalogus der musiekbibliotheek en der verzameling van musiekinstrumenten van D.F. Scheurleer (1885); Catalogus der tentoonstelling van muziekinstrumenten, prenten, photografiën en booken (1893); Oude muziek-instrumenten, en prenten en fotografiën naar Schilderijen en Teekeningen, waarop instrumenten voorkonen (Rotterdam, 1898); D.J. Balfoort: Eigenartige Musikinstrumente (1932); D.F. Scheurleer and D.J. Balfoort: Die muziek-historische afdeeling (1935); Muziekinstrumenten uit het Rijksmuseum te Amsterdam (1952) [exhibition catalogue]; A.W. Ligtvoet: Exotische en oude europese muziekinstrumenten in de muziekafdeling van het Haagse Gemeentemuseum (1955); A.W. Ligtvoet: Gids buiten-europese muziekinstrumenten (1962); A.W. Ligtvoet: Europese muziekinstrumenten in het Haagse Gemeentemuseum (1965); C. von Gleich, ed.: Catalogus van de muziekinstrumenten van het Haags Gemeentemuseum, i: L.J. Plenckers: Hoornen trompetachitige blaasinstrumenten (1970); Bach und seine Zeit (1971) [exhibition brochure]; C. van Leeuwen Boomkamp and J.H. van der Meer: The Carel van Leeuwen Boomkamp Collection of Musical Instruments (1971); R. van Acht, C. von Gleich and M. Klerk: Historische blaasinstrumenten [exhibition catalogue] (1974); R.J.M. van Acht: Volksmuziek en Volksinstrumenten in Europa (1975, 2/1982) [exhibition catalogue]; R. van Acht: Oudeklavicimbels/Old harpsichords (1977); O. Mensing: Muziek in de Filippijnen: instrumentale muziek van etnische minderheden (1977); O. Mensing: Traditionele muziekinstrumenten van Japan (1979); C. von Gleich: Pianos uit de Lage Landen/Pianofortes from the Low Countries (1980); R. van Acht: Het strijkinstrument (Rotterdam, 1982); C. von Gleich: Inventarislijst van pianorollen (1986); N. Jonker: Highlights of the Collection (1986); R. van Acht, ed.: Checklist of the Musical Instrument Collection, i: C. von Gleich: Checklist of Pianos (1986); ii: P. Wolff: Checklist of Traditional Japanese Instruments (1988), iii: C. von Gleich: Checklist of Harpsichords, Clavichords, Organs, Harmoniums (1989) iv: P. Wolff: Checklist of Muscial Instruments from the East and South-East Asian Mainland (1989), v: C. von Gleich: Checklist of Automatic Musical Instruments (1989); C. von Gleich: Over het Onststaan van de musiekafdeling: portret van de Versamling-Scheurleer (1988); O. Mensink: Electric Music: Three Years of Acquisition (1988); C. von Gleich: Complete List of European Musical Instruments and Makers (1989); R. van Acht and others: Dutch Recorders of the 18th Century in the Haags Geementemuseum Collection (1991); M. Latcham: ‘New Exhibition at the Hague’, AMIS Newsletter, xx/3 (1991) ; H. Davies and O. Mensink: ‘Reply to Vogel Article’, AMIS Newsletter, xxi/2 (1992); R. van Acht: Niederländische doppelrohrblattinstrumente des 17. und 18. Jahrhunderts: Sammlung, Haags Gemeentemuseum (1997); R.van Acht: Dutch Transverse Flutes and Clarinets of the 18th Century (1999)
Draaiorgelmuseum, Helmondse Muziekhal: mechanical.
Fries Natuurmuseum: medieval
Rijksmuseum van Oudheden: 20 archaeological, incl. Egyptian and Romano-Dutch.
Rijksmuseum voor Volkenkunde: c550 African, Asian, American, Australian and Oceanian.
J. Markward and J.D.E. Schmeltz: Ethnographisch album van het stroomgebied van den Congo (The Hague, 1904); H.G. Farmer: ‘Meccan Musical Instruments’, Journal of the Royal Asiatic Society, vii–viii (1929), 489–505
Stuttenburgh collection: c370 music boxes.
Volkenkundig Museum: c255 African, Indonesian, Japanese, Chinese and Australian, incl. Beijens, Capucins and Augustiniens collections.
Muziekmuseum ‘de Klinze’: worldwide reed.
Museum voor Volkenkunde: c1400 non-Western, incl. Javanese and Balinese gamelans.
R.S. Wassing: Muziek en dans in Afrika (1960)
Frans Vester Collectie: c35 European flutes, 1740–1900.
Instituut voor Muziekwetenschap, Rijksuniversiteit: c400 worldwide, 17th- to 20th-century incl. the H.G.J. Minnaert Collection.
H.J. van Royen: Beischrijving van een aantal musziekinstrumenten (1965); J. Boogaarts: Beschrijving van de muziekinstrumenten van de instrumentenverzameling in het Instituut voor Muziekwetenschap der Rijksuniversiteit te Utrecht (1984)
Nationaal Museum van Speelklok tot Pierement: c800 mechanical.
R. de Waard: From Musical Boxes to Street Organs (New York, 1967); R. de Waard: Catalogus (Arnhem, 1971); J.J. Haspels: Muziek op rolletjes (Amsterdam, 1975); National Museum van speelklock to Pierement: Museum Guide (1985); J.J. Haspels: Automatic Musical Instruments (1987); R. Doornekamp: Orgels in de stad Utrecht: zis eeuwen geschiedenis en een inventarisatie (1992)
Otto Stam Collectie: c400 African, Asian, Oceanian, Middle American, Dutch and Flemish violin bows.
Muziek Informatie- en Documentatiecentrum Ton Stolk: c650 exotic, historic, traditional, pre-Colombian to present, incl. musicians’ autographs, stamps and musical iconography.
Louise Schepel collection: c50 French horns.
Gerrit and Ineke van der Veer collection: c60 European art
Auckland Institute and Museum: 725 mainly worldwide ethnological, esp. Polynesian, Melanesian, Maori wind and some Western; Zillah and Ronald Castle collection: 500 European art and traditional, esp. from colonial New Zealand.
Old Instruments in New Zealand: a Short Survey of the Zillah and Ronald Castle Collection of Early and Unusual Musical Instruments (n.d.); M. Hamber and L. Stanners: Musical Instruments Through the Ages (1986); R.M. Moyle: The Sounds of Oceania: an Illustrated Catalogue of the Sound Producing Instruments of Oceania in the Auckland Institute and Museum (1989)
David L. Smith collection: c160 European winds and some string instruments.
Otago Museum: c350 mostly Oceanian, some Asian, African and European.
J.C. Andersen: ‘Maori Music with its Polynesian Background’, Journal of the Polynesian Society xlii/167–8 (1933)
Ethnomusicology Section, School of Music, Victoria University of Wellington: Javanese gamelans, Thai/Cambodian Maori orchestra, Philippine Kulintang ensemble, Asian, Oceanian, African, Middle Eastern, and Jack Body Collection of Asian and Oceanian sound makers.
T. Allan: ‘Gamelan in New Zealand: a Chronology’, Balungan, ii/3 (1986)
National Art Gallery and Museum of New Zealand: c100 incl. mostly Maori, some Marquesan and other ethnological, some from Captain Cook.
J. Andersen: Maori Music with its Polynesian Background (1934); A. Kaeppler: Articifial Curiosities: Exposition of Native Manufactures Collected on the Three Pacific Voyages of Captain James Cook (1978); R. Neich: Pacific Cultural Material in New Zealand Museums (1982)
Musée national du Niger: 150 exhibited
National Museum: c65.
National Museum: c1400 African.
Nigerian Museum: c465 African.
National Commission for Museums and Monuments: c1270.
Laoye 1 (Timi of Ede): ‘Yoruba drums’, NIGERIA, xlv (1954); A.N.G. Okosa: ‘Ibo Musical Instruments’, NIGERIA, lxxv (1962); W.W.C. Echezona: Nigerian Msical Instruments in Nigerian Culture (n.d.); U. Bierer: ‘Three Igbin drums’, NIGERIA, lxxiii (1963); Nigerian Drums: Sounds of Unity (1991)
Historisk Museum, Etnografisk Samling, Universitetet i Bergen: c230 European art and traditional, incl. many hardanger fiddles.
Musikkinstrumenter fra hele verden: undervisningsopplegg (n.d.)
Drammens Museum Fylkesmuseum for Buskerud: c85 Norwegian traditional and Western art.
Glomdalsmuseet: c61 art and Norwegian traditional.
Bjørn Aksdal collection: c250 Norwegian traditional, worldwide ethnological and some art.
De Sandvigske Samlinger: c150 art and Norwegian traditional.
Norsk Folkemuseum: 270 art, mainly Norwegian traditional, incl. loan from Norges musikkhøgskole, Oslo, the Trygve Lindemans, and Olav Gurvins collections (280 European art and traditional, African and Asian).
H. Fett: Musik-Instrumenter Katalog (1904); P.A. Kjeldsberg: A Checklist of Olav Gurvins Instrumentsamling (1975)
Universitetets Etnografiske Museum: c300 non-European incl. African, esp. Zaïre, Asian (Borneo and Chinese) from King Oskar II.
O. Aarflot: Kinesisk musikk (1948); A.M. Klausen: Totem, tam-tam, duk-duk, Glimt fra Universitets etnografiske museums samlingar (1961)
Fylkesmuseet for Telemark og Grenland: c50 art and Norwegian traditional.
Ringve Musikhistorisk Museum: c1700 Western art and traditional, non-European incl. the Victoria Bachke collection.
K. Michelsen: Katalog over musikalieutstillingen (1975) [exhibition catalogue]; H. Sivertsen: Det Trondhjemske musikalske selskab av 1786, i (1975); B. Aksdal: Musikk-instrumentenes historie i de islamske kulturområder (1980); P.A. Kjeldsberg: Musikinstrumenter ven Ringve museum/The Collection of Musical Instruments (1976, 2/1981); P.A. Kjeldsberg: ‘Ringve Museum in Trondheim’, CIMCIM Newsletter (1986) [special issue]; P.A. Kjeldsberg: Piano i Norge: et uundvaerligt instrument (1985); P.A. Kjeldsberg: Leve langeleiken! (1987); K. Michelsen, ed.: Johan Daniel Berlin 1714–1787 (1987); S. Gutormsen, P.A. Kjeldsberg and J. Voigt: Ringve museum, Trondheim (1988); P.A. Kjeldsberg: Ringve museum Trondheim: utgitt av Ringve museum Venner (1988); P.A. Kjeldsberg: Barokkorgelet i Nidarsdomen, bygget av Joachim Wagner 1739–41: restaurert av Jürgen Ahrend 1993–4 (1995)
National Museum of Pakistan
Lahore Museum: c50.
Swat Archaeological Museum
National Museum of Papua New Guinea
Papua and New Guinea Public Museum and Art Gallery
Museo Etnográfico ‘Andrés Barbero’: pre-Colombian.
A. Pusineri: Guia ilustrada del Museo etnográfico ‘Andres Barbero’ (1989)
Museo Nacional de Antropologia y Arqueologia: c85 Peruvian
Bontoc Museum
National Museum
Museo de Oro, Xavier University: c100 traditional, many percussion.
University of San Carlos Museum
Intramuros Administration Museum
Museum of Asian Instruments, College of Music and Fine Arts, Philippine Women’s University: c925 Philippine and Asian incl. Norberto Romualdez, Lucrecia R. Kasilag, and Jose Maceda collections.
Museum of Asian Instruments (1971); J. Macada and others: Musika: a Documentary on Philippine Ethnic Music (1992) [videotape]
National Museum of the Philippines: ethnological.
UST Museum of Arts and Sciences, University of Santo Tomás
Aga Khan Museum, Mindinao State University: c100 Philippine and Asian.
Ramon Obusan Folkloric Center: c100 Asian.
University Museum of Anthropology: 300 Philippine and Asian.
Ethnological Museum, Western Mindanao State University
Muzeum Regionalne [Regional Museum]: c135 mostly Polish traditional.
Filharmonia Pomorska, Kolekcha Zabythowych Foretpianów: c40 pianos after 1830.
B. Vogel: Kolekcja zabythowych fortepianów filharmoii Pomorskiej (1987)
Monastery of Jasna Góra: 17th-century European art.
Z. Szulc: Katalog instrumentów muzycznych (1949) [exhibition catalogue Muzeum Wielkopolskie, Poznań]; Z. Rozanow and others: Skarby kultury na Jansej Górze (1974)
Muzeum Narodowe [National Museum]: c100 Polish traditional.
P. Szefca: Narzedzia i instrumenty muzycsne z Kaszub i Kociewia (1982)
Muzeum Etnograficzne [Ethnographical Museum]: c400 traditional, half Polish, also African, South American and Asian.
Muzeum Narodowe [National Museum]: c75 Western art and traditional, 17th- to 20th-century.
W. Kamiński: Instrumenty muzyczne na ziemiach polskich (1971); W. Kamiński: Skrzypce polskie [Polish violins] (1969)
Muzeum ŁÓDŹ. Muzeum Archeologiczne i Etnograficzne [Museum of Archaeology and Ethnography]: c85 Polish traditional.
Muzeum Historii Przemysłu [Industrial History Museum]: c25 pianos and orchestrion.
Muzeum Instrumentów Muzycznych [Museum of Musical Instruments]: c1700 European art and traditional, esp. Polish bowed string instruments, non-European, incl. the Zdislaw Szulc collection.
Z. Szulc: Katalog instrumentów muzycznych ze zbiorow Zdislawa Szulca Wystanwionych na Wystawie muzycznej w Museum miejskin w Poznaniu (1939); Z. Szulc: Katalog instrumentów muzycznych (1949) [exhibition catalogue, Muzeum Wielkopolskie, Poznán]; W. Kaminski: ‘Muzeum instrumentów muzycznych’, Kronika miasta Poznania, xxvii (1959), 22–32; W. Kaminski: Skrzpce polskie [Polish violins] (Kraków, 1969); I. Kalemba: Muzeum instrumentów muzycznych (1983); R. Polczynski: ‘Od prywatnej kolekcji do swiatowego muzeum’ [From a private collection to a world-class museum], Ruch muzyczny, xxxi (1987), 3–5; Szkocka kultura muzyczna [Scotland’s Music] (1994) [exhibition catalogue]
Muzeum Narodowe Ziemi Przemyskiej: c60 art and traditional.
Instrumenty muzyczne Pogórza Karpackiego [Folk instruments from Carpathian Region] (n.d.)
Muzeum Okręgowe [District Museum]: c90 Polish traditional.
J. Pekacz: Zródłado badań nad instrumentarium muzycznym w zbiorach [Scientific Research Sources on Musical Instruments in the Ethnographical Department of the District Museum in Rzeszów] (n.d.); A. Kopoczek: Ludowe instrumenty muzyczne polskiego obszaru karpackiego: instrumenty dete [Traditional instruments in the Polish Carpathian region: wind instruments] (1996)
Muzeum Lodowych Instrumentów Muzycznych [Museum of Popuar Musical Instruments]: c2000 Polish traditional incl. Jadwiga Sobieska collection.
Kolekcja Instrumentów Lutniczych, Zwiazek Polskich Artystów Lutników [Ministry of Culture Collection supervised by Polish Artists and Violin Makers Association]: c150 mostly violin family.
Muzeum Asji i Pacyfiku [Asia and Pacific Museum]: c210, incl. 70 Indonesian gamelan, anklung and others from Andrzej Wawrzyniak collection.
Muzeum Narodowe [National Museum]: c40 European art.
Muzeum Techniki Not, Dział Mechaniznów Grajacych [Technical Museum]: c65 mechanical.
Państwowe Muzeum Etnograficzne [National Ethnographical Museum]: c370 Polish traditional, and c465 Asian, Australian, African and American.
A. Dobrowolski: Polskie instrumenty muzyczne: katalog wystawy (1966); J. Sobieska: ‘Na marginesie wystawy “Polskie instrumenty muzyczne”’, Muzyka: kwartalnik pozwiecony historii i teatri, xii (1967), 81–7; T. Lewińska: Polonkusrsowa wystawa ludowych instrumentów muzycznych z tereno Mazowsza (1975); M. Sztrantowicz: Afgańskie ludowe instrumenty muzyczne (1985); T. Lewińskia: ‘Ludowe instrumenty muzyczne w zbiorach Państowowego muzeum Etnograficznego w Warszawie’, Poradnik muzyczny, vii–viii (1988), also in Instrumenty muzyczne w polskiej kulturze ludowej (1989); T. Lewińska: Folkenkunst fra Polen (1990)
Muzeum Etnograficzne, Oddzial Museum Narodowego we Wrocławiu [Ethnographical Museum]
Muzeum Tatrzańskie im Tytusa Chałubińskiego [Tatra Museum and Tytusa Chałubiński Memorial]: 183 Polish traditional
Museu Nacional dos Côches: 22 trumpets from the Lisbon Court Trumpeters Corps.
E.H. Tarr: ‘Die Musik und die Instrumente der Charamela real in Lissabon’, Forum musicologicum, ii (1980), 181–229
Museu e Laboratório Antropológico, Universidade de Coimbra: c250 African, Southeast Asian, Brazilan and Portuguese.
Museu Etnográfico do Ultramar, Sociedade de Geográfia de Lisboa: c100 from former Portuguese colonies.
M. Dias: ‘Os instrumentos musicais de Moçambique’, Geographica, ii/6 (1966)
Museu de Música, Instituto Português dos Museus (formerly Museu Instrumental do Cónservatório Nacional): c800 European art and traditional, esp. Portuguese incl. Alfredo Keil, Michelangelo Lambertini, António Lamas and King D. Lúis I
Breve notícia dos instrumentos de música antigos e modernos da collecção Keil (1904); M. Lambertini: Primeiro nucleo de um museo instrumental em Lisboa: catálogo summario (1914); M.A. de Lima Cruz: ‘O museu instrumental’, Boletim do Cónservatorio nacional e revista panorama, i/1 (1946–7), 70–81; G. Doderer: Clavicórdios portugueses do século XVIII (1971); B. Brauchli: ‘Comments on the Lisbon Collection of Clavichords’, GSJ, xxxiii (1980), 98–105; Instrumentos musicais 1747–1807: uma colecção à procura de um museu (1984); Com eles se fez música, instrumentos de uma collecção esquecida (1989); Fabricas de Sons: instrumentos de música europeus dos séc. XVI a XX (1994)
Museu de São Roque, Santa Casa da Misericordia de Lisboa
Basilica: 6 organs.
Centro de Estudos Etnologicos, Universidade dos Açores: traditional Azorean
Museu do Palácio Nacional de Queluz
Instrumentos musicais 1747–1807: uma collecção à procura de um museu (1984)
Complexul Muzeal Timis: c250 ethnological, incl. many flutes.
Muzeul de Artă populară ‘Minovici’ [Minovici Museum of Popular Art]: c50 worldwide ethnological, incl. the Dr. Nicolae Minovici collection.
Muzeul Muzicii Romanesti
Muzeul Satuluişi de Artă Populară (formerly Muzeul de Artă a Republicii): c850 worldwide.
Muzeul Etnografic al Transilvaniei [Transylvanian Museum of Ethnography]: c280 Transylvanian traditional.
Muzeul de Istorie al Transilvaniei [Museum of the History of Transylvania]: c50 art.
A. Ardoş and Ş. Lakatos: ‘Instrumentele muzicale ale muzeului de istorie Cluj’, Acta Musei Napocensis, iii (1966); M. Ardács and I. Lakatos: ‘Musikinstrumente im historischen Museum Klausenburg’, SMH, xv (1973), 336–7 AŞI. Muzeul Etnografic al Moldovei [Moldavian Museum of Ethnography]: c60 regional IAŞI. Sectia Inregistrarea şi Reproducerea Sunetului, Muzeum Politehnic [Sound Recording and Reproduction Section, Polytechnic Museum]: c60 mechanical
Alfred M. Mirek collection of accordions: c100; another 100 given to Saint Petersburg Museum of Music, Theatre and Cinematography.
A.M. Mirek: Iz istorii akkordeona i bayana [History of Accordeons and Bayans] (1967); A.M. Mirek: Bavans (1968); A.M. Mirek: Skhema vozniknoveniya i klassifikatsiya osnovnïkh vidov garmonik: spravochnik [Schematic classification of harmonicas in the world] (1989); A.M. Mirek: Garmonika: proshloe i nastoyashcheye, ėntsiklopediya [Harmonicas: Past and Present, an Encyclopaedia] (1994)
Gosudarstvennïy Tsentral'nïy Muzey Muzïkal'noy Kul'turï imeni M.L. Glinki [Glinka State Central Museum of Musical Culture]: c2600 European, from all former USSR republics, Asian, African, Latin American art, traditional, archaeological and ethnological, incl. August Eichhorn collection from Kazakhstan and Central Asia.
Muzïkal'nïye instrumentï narodov Sovetskogo Soyuza v fondakh Gosudarstvennogo tsentral'nogo muzeya muzïkal'noy kul'turï imeni M.I. Glinki: katalog [Glinka State Central Museum of Musical Culture: catalogue] (1977; Eng. trans., 1985); P. Holden: ‘Galpin Society Members Visit Soviet Museums’, AMIS Newsletter, xvii/1 (1988)
Gosudarstvennïy Istoricheskiy Muzey [State Historical Museum]: c200 worldwide.
State Collection of Antique Bowed String Instruments: 240 European loaned to performers.
Cultural History Museum, Kremlin: medieval.
D. Popławska: ‘String Instruments in Medieval Russia’, RIdIM/RCMI Newsletter, xxi/2 (1996), 63–70
Gosudarstvennïy Muzey Ėtnografii Narodov Rossiyskoy Federatsii: c1000 traditional from throughout the former USSR.
Muzey Antropologii i Ėtnografii imeni Petra I [Anthropology and Ethnography Museum]: 1500 ethnological, mainly Asian incl. Peter the Great’s collection.
Muzey Muzïkal'nïkh Instrumentov [Museum of Musical Instruments] (formerly Muzey muzïkal'nïkh instrumentov, teatra, muzïki i kinematografii [State Museum for Theater, Music, and Cinematography]): c3500 European and non-European (Russian, Siberian, Ukranian) art, traditional and ethnological, founded c1900 by Baron de Stackelberg, director of St. Petersburg Imperial Chapel Music Museum that became the third César Snoeck collection; also Nikolay Pirvalov, half of the Alfred Mirik (accordion), and Mr. Valery Bruntsev collections.
J.H. Johnson: ‘The Exhibition in St. Petersburg, Department for Musical Instruments’, MO, xxv (1901–2), 471; G.I. Blagodatov and K.A. Vertkov: Postoyannaya vïstavka muzïkal'nïkh instrumentov (1962); G.I. Blagodatov: Katalog sobraniya muzïkal'nïkh instrumentov [Catalogue of the musical instrument collection of the Leningrad Institute of Theater, Music and Cinematography] (1972); Look of Music (1980) [exhibition catalogue, Vancouver]; P. Holden: ‘Galpin Society Members Visit Soviet Museums’, AMIS Newsletter, xvii/1 (1988); M. Birley: ‘Report on a Conference at the St. Petersburg Museum of Musical Instruments ... 1998’, CIMCIM Bulletin, no.36 (1998), repr. in AMIS Newsletter, xxvii/3 (1998); V. Koshelev: ‘Das St. Petersburger Musikinstrumenten-Museum: zur Geschichte seiner Entstehung’, Musica Instrumentis, ii (1999)
Voyenno-Istoriceskiy Muzey Artillerii [Historical Military Museum]: begun 1756, c120 horns and drums
Musée National: c50 Rwandan
Musée d’Archéologie: c1300 Senegalese.
Musée d’Art Africain, Institut Fondamental d’Afrique Noire Cheikh Anta Diop: c1500 Senegalese
National Museum (formerly the Raffles Museum): c200 Chinese, Malay, Indian and Indonesian, incl. partial gamelan, and traditional from hunting-gathering societies from inlands east of Bali and Malay rain forest
Hudobné Oddelenie, Slovenské Národné Múzeum [Music Division, Slovak National Museum]: c2300 Slovak traditional, European art, traditional and non-European.
I. Mačák: Zoznom slovenských ludových hudobných nástrojov: dotazník [A list of Slovak folk musical instruments: questionnaire] (1967); Hudobné nástroje na Slovensku [Musical Instruments in Slovakia] (1975); Hudobné zbierky Slovenského národného múzea/Musiksammlungen des Slowakischen Nationalmuseums (1975); I. Mačák, ed.: Oravská polora: podoby a kontexty hudby/Forms and Contexts of Music (1990)
Slovenské Národné Múzeum, Etnografický Ústav [Slovak National Museum: Ethnographical Collections]: c270 ethnological
Mira in Matije Terlep collection: c210 Eastern European, European and non-European.
Narodni Muzej [National Museum]: c20 European art.
Slovenski Etnografski Muzej [Slovenian Ethnographical Museum]
Medgodici in glasbili na Slvenskem: razgledi [Among Folk Musicians and Instruments in Slovenia] (1991)
Pokrajinski Muzej [Regional Museum]: c30 European art and traditional.
Dolenjski Muzej [Dolenjski Museum]: c150 European and non-European traditional.
Zbirka Glasbil, Pokrajinski Muzej [Musical Instrument Collection, District Museum]. c250 European art and traditional, c30 Asian and African
H. Druzović: ‘Iz ptujske glasbene pretklosti’, Kronika slovenskih mest, v/3 (1938), 171–7; D. Koter: Glasbila na ptujskem gradu: instrumentarij salonov ter mescanskih im plemiskih in plemiskih kapel (1994); D. Koter: ‘Musical Instruments in the Landscape Museum in Ptuj, Slovenia’, CIMCIM Bulletin, xxv (1995)
South African Cultural History Museum: c110 European art, mainly British.
East London Museum: c70 indigenous South African.
International Library of African Music, Rhodes University: c200 African, mostly Southern African incl. the Hugh and Andrew Tracey collection.
African Music (1954–) [institutional journal]
Africana Museum: c200, 150 South-African tribal and 50 European.
Harold Steafel collection: c280 ethnological, incl. 50 European.
University of the Witwatersrand: incl. the Hans Adler keyboard collection.
Department of Music, University of Cape Town (formerly in the Africana Museum, Johannesburg): over 550 South African, European, and worldwide ethnological, primarily the Percival Robson Kirby collection.
P.R. Kirby: The Musical Practices of the Native Races of South Africa (London, 1934/R); P.R. Kirby: Musical Instruments of the Native Races of South Africa (London, 1934/R); M.M. de Lange, ed.: Catalogue of the Musical Instruments in the Collection of Prof. P.R. Kirby (Johannesburg, 1967)
Museo Provincial de Avila: c50 popular, incl. the Marqués de Benavites collection.
Museu de la Música: c1410 European art and traditional from diverse cultures.
J. Griffiths: ‘The Lutes in the Museo Municipal de Música Barcelona’, JLSA, xii (1979), 48–66; B. Kenyon de Pascual: ‘Brass Instruments in the Museo de la Música in Barcelona’, Brass Bulletin, no.70 (1990–2), 78–84; J. Horta, ed.: Museu de la Música: catàleg d’instruments (1991)
Euskal Arkeologia, Etnografia eta Kondaira Museoa (Museo Arquologico, Etnografico e Historico Vaso): c50 Basque popular.
Euskal Soinu-Tresnak: instrumentos musicales Vascos (1988)
Lorenzo Sancho collection: c100 Spanish traditional, half dulzians.
Museo de la Gaita: c75 popular incl. 56 cornamuses and related materials.
R. Meré: Museo internacional de la gaita: catálogo (1970, 2/1992); R. Meré: Gaitas y gaiteros de Grecia (1977); A. García-Oliva: Catálogo de las cornamusas del Museo de la gaita (1992)
Biblioteca Musical, Ayuntamiento de Madrid: c60 keyboard and string.
Catálogo de la Biblioteca musical (1946); Catálogo de la Biblioteca musical: apéndice I (1954); J. Espinós Orlando: Catálogo de la Biblioteca musical: apéndice II (1973)
Félix Hazen collection: c35, mainly pianos, also harmoniums and mechanical.
C. Bordas: Hazen y el Piano en Espaharmoniums a (1989)
López Nieto collection: c50, mostly Spanish classical guitars.
Museo de America: c50 Latin American traditional.
P. Cabello: ‘Precolumbian Musical Instruments in the Museo de América, Madrid: an approach by a museologist (with descriptive catalogue)’, The Archaeology of Early Music Cultures: Hanover 1986, 97–116; P. Cabello and C. Martínez: Música y arqueología en América precolombina: estudia de una colección de instrumentos y escenas musicales (Oxford, 1988)
Museo Arqueologico Nacional: c25, mainly keyboards.
Museo Municipal: 7 pianos and 3 guitars.
Madrid romántico (1961) [exhibition catalogue]; Catálogo de la plata (1991); C. Bordas: ‘Los pianos Hosseschrueders y Hazen’, Hazen y el piano en España: 175 años (1989); Catálogo de la plata (1991); La guitarra Espade l (1992) [exhibition catalogue: New York Metropolitan Museum of Art]
Museo Nacional de Antropologia (incl. 100 formerly in Museo Nacional de Etnologia, and 200 formerly in Museo Nacional del Pueblo Español (with c300 diverse ethnological and European art and traditional, many Spanish.
Museo Romántico: 9 pianos.
Palacio Real de Madrid: c300 string instruments, wind and percussion.
Real Conservatorio Superior de Música de Madrid: c120 European art and traditional.
Escola de Gaitas: c40 European and African bagpipes.
Ortzadar Euskal Folklore Taldea: c50 Basque.
Centro Etnográfico Joaquín Díaz, Diputacion Provincial de Valladolid: c300 Castillian and Leónese traditional.
J. Díaz: Instrumentos populares (1997)
National Museum of Sri Lanka: c65 Ceylonese
Swaziland National Museum: ethnological
Borås Museum: c25, mainly keyboards.
Eskilstuna Konstmuseum: c50 European art and regional traditional.
Dalarnas Museum, Läns museum för Kopparbergs län: c100, mainly regional traditional, some art.
Länsmuseet i Gävleborgs län: c50 art and Swedish traditional.
Göteborgs Etnografiska Museum: 2000 ethnological; important South American collection, also Central and North American, many African, Asian (18th-century Chinese), Australian and Oceanian ethnological.
W. Kaudern: Musical Instruments in Celebes (1927); K.G. Isikowitz: Musical and Other Sound Instruments of the South American Indians (1935)
Göteborgs Historiska Museum: c280 European art and traditional, esp. from western Sweden.
B.A. Nordin: Musikhistoriska avdelningen (1923); O. Thulin: Historiska avdelningen Göteborgs museum: musikinstrument (1931); T. Norlind: Musikinstrumentens historia (1941)
Hälsingborgs Museum: c7500 European art and traditional incl. Daniel Fryklund collection.
D. Fryklund: Collection Fryklund: musica (1929); D. Fryklund: ‘Samlingen av musikinstrumente i Hälsingborgs Museum’, Kring Kärnan, Hälsingborgs museums årsskrift (1939); D. Fryklund: Hälsingborgs museum: utställning av musikinstrumente ur Daniel Fryklunds samling i Hälsingborg (1945); D. Fryklund: Collection Fryklund 1949 (1949)
Kalmar Läns Museum: c70 art and Swedish traditional.
Blekinge Läns Museum: c55 mainly European art.
Kristianstads Länsmuseum: c50 military ensemble.
S. Ossiannilsson: Wendes regementes historia 1794–1944 (1944)
Landskrona Museum: c60 European art mainly wind, some traditional.
H. Nilsson: ‘Instrumentmakare I.V. Wahl och hans verkstad’, Kulturens årsbok 1942 (1942)
Östergötlands Länsmuseum: c100 European art and regional traditional.
Kulturhistoriska Museet: c500 European art, traditional and archaeological, acoustic and mechanical used in Sweden.
Kulturen: a Guide to the Museum of Cultural History in Lund; B. Vogel: ‘Historic Keyboard Instruments of the Academic Orchestra in Lund’, GSJ, li (1998)
Örebro Läns Museum: c45 regional art and traditional.
Från bergslag til bondebygd (1992)
Jämtlands Läns Museum: c60 regional traditional.
K. Tirén: En primitiv fela (1918); K.A. Öberg: Fiolbyggaren E.W. Munter (1988)
Skaraborgs Länsmuseum (formerly Västergötlands Länsmuseum): c240 European art and traditional.
S. Welin: Musikhistoriska avdelningen vid Västergötlands fornmuseum i Skara (1924)
Skellefteä Museum
Armémuseum: c140 military, wind and percussion, 17th- to 20th-century.
Folkens Museum, Etnografiska: 2700 African, Asian, American, Oceanian and ethnological, incl. the Vanadis collection.
S. Martí: ‘Precortesian Music’, Ethnos, xix/1–4 (1954); B. Söderberg: Les instruments de musique au Bas-Congo et dans les régions avoisinantes (1956)
Statens Musiksamlingar Musikonmuseet: c6500 European art, traditional, African, Asian and South American ethnological, incl. 1045 traditional from the Nordiska Museet.
J.O.H. Svanberg: Musikhistoriska museet i Stockholm instrumentsamling (1902); H. Boivie: Nordiska museet, musikavdelningingen (1912); T. Nordlind: ‘Musikhistoriska museet i Stockholm’, STMf, ii (1920), 95–114; T. Nordlind: En bok om musikintrumente (1928); E. Emsheimer: Studia ethnomusicologica eurasiatica (1964, 2/1991); J. Ling: Nykelharpan-studier i ett folkligt musikinstrument (1967, abridged Eng. trans., 1976, as The keyed Fiddle, Studies on a Folk Instrument); Studia instrumentorum musicae popularis (1969–); E. Emsheimer: ‘Musikmuseets instrumentsamlingar’, Särtryck ur minnesskrift vid Kungl: Musikaliska Akademiens 200 årsjubileum (1971), 115–56; From Bone Pipe and Cattle Horn to Fiddle and Psaltery (1972) [exhibition catalogue]; C. Karp: ‘Baroque Woodwinds in the Musikhistoriska Museet’, GSJ, xxv (1972), 9–96; C. Lund and G. Larsson: Klans i flinta och brons/The Sound of Archaeology (1974); B. Kjellström: Dragspel: om kett kaert och misskaent instrument i samarbete med Musikmuseet, Stockholm (1976); B. Kjellström: ‘Musikmuseet, Stockholm’, CIMCIM Newsletter (1986) [special issue]; H. Albertson: Ahlberg & ohlsson: en fabrik för blechblå sinstrument i Stockholm 1850–1959 (1990); P.U. Allmo: Saeckpipan i Norden: fran aenglars musik till Djaevulens blasbaelg (1990); B. Kjellström: Traelat: Svenska folkinstrument (1990) [Catalogue]; H. Albertson: Klavier (1992) [catalogue]; H. Svensson: Den Svenska lutan (1992) [catalogue]
Statens Sjöhistoriska Museum: medieval.
Stiftelsen Musikkulturens Främjande: 550 European and non-European incl. Rudolf Nydahl collection.
G. Grahn: A Complete List of Keyboard Instruments in Stiftelsen Musikkulturens Främjande (Rudolf Nydahl Collection) in Stockholm (1988) [typescript]
Stockholms Leksasksmuseum: Lindwall Family Collection, 400 diverse mechanical.
Upplandsmuseet: c50, half Swedish art, half Uppland regional traditional.
Älvsborgs Länsmuseum: c50 European art and traditional.
Retonios Mechanisches Musik- und Zaubermuseum
Musée Baud: c50 mechanical.
W. Brandt: ‘Zur Geschichte der Musikdose und Ihrerheimat Sainte-Croix’, Prometal, xcii (1963); P. Hugger: ‘Sainte-Croix und seine Musikdosen’, Korrespondenzblatt der Schweizerischen Gesellschaft für Volkskunde, lx/3 (1970); Au temps de boîtes à musique d’Alfred Chapuis et Frédy Baud: historique de la boîte à musique et de la musique mécanique (n.d.); F. Baud: Museum alter mechanisches Musikinstrumente Gebrüder Baud, l’Auberson (1972)
Museum für Völkerkunde und Schweiz: c2000 European traditional and non-European.
E. Schlager: ‘Vom Arbeitsrhythmus zur Musik in Bali’, Basler Beiträge zur Geographie und Ethnologie (1965); U. Ramseyer: Klangzauber: Funktionen aussereuropaisches Musikinstrumenten (1969)
Musikinstrumentensammlung, Historisches Museum: c1950 European art, traditional, and some non-European incl. Otto Lobeck (violin-builder), Albert Riemeyer, and Wilhelm Bernoulli (brass and drums) collections.
K. Nef: Historisches Museum Basel, Katalog IV: Musikinstrumente (1906); J. Hiestand-Schnellmann: ‘Die Bernoullische Blasinstrumentensammlung im Schloss Griefensee’, Glareana, i/6 (1952); W. Nef: ‘Das neue Musikinstrumenten-Museum’, Musik-Akademie der Stadt Basel, 90. Jahresbericht (1956–7); W. Nef: ‘Ein eingenartige Sammlung von Musikinstrumenten’, Basler Nachrichten, no.503 (1964); W. Bernoulli: ‘Meine Sammlung der historisches Blechblasinstrumenten und Trommeln’, Brass Bulletin, v/6 (1973); W. Nef: Alte Musikinstrumenten in Basel (1974); W. Nef: ‘Die Basler Musikinstrumentensammlung’, Alte und neue Musik II. 50 Jahre Basler Kammerorchester 1926–1976, ed. P. Sacher (1977), 161–85; V. Gutmann: Mit Pauken und Trompeten: Ausstellung ausgewählter Instrumenten aus der Sammlung historischer Blechblasinstrumenten und Trommeln von Dr. H.C. Wilhelm Bernoulli (1982); V. Gutmann: Trommeln und Tambourmajorstöcke in der Sammlung alter Musikinstrumenten des Historisches Museum Basel (1983); W. Nef: ‘Die Musikinstrumentensammlung Otto Lobeck’, Alte Musik I: Praxis und Reflexion: Sonderband der Reihe ‘Basler Jb für historisches Musikpraxis’ zum 50. Jubiläum der Schola Cantorum Basiliensis, ed. P. Reidemeister and V. Gutmann (Winterthur, 1983), 91–106; A. Küng: ‘“Schlegel a Bale”: die erhaltenen Instrumente und ihre Erbauer’, Baseler Jb für historisches Musikpraxis, xi (1987), 63–88; J.H. van der Meer: ‘Gestrichene Saitenklaviere’, Basler Jb für Historische Musikpraxis, xiii (1989), 141–81; Historisches Museum Basel Jahresbericht 1992 (1993) [incl. V. Gutmann: ‘Katalog der Kleinorgeln’, 4–20; M. Kirnbauer: ‘Verzeichnis der Flöteninstrumente’, 21–30]; Historisches Museum Basel: Jahresbericht 1994 (1994) [incl. ‘Die Bestände der Musikinstrumenten-Sammlung des Historischen Museums Basel’; M. Kirnbauer: ‘Verzeichnisse der Rohrblattinstrumente’; G. Heyder: ‘Die Tischzihern’; ‘Verzeichnis der Tischzithern’]; Festschrift Kloster Magdenau 1244–1994 (1994) [incl. M. Kirnbauer: ‘Verzeichniss in der Musikinstrumentensammlung des Historisches Museums Basel’; G. Heyder: ‘Verzeichniss die Tischzithern’; V. Gutmann: ‘Ein Clavichord aus Magdenau in der Musikinstrumentensammlung des Historisches Museum Basel’; V. Gutmann: ‘Die Bestände der Musikinstrumenten-Sammlung, ii: Tangentenklaviere’]; Historisches Museums Basel: Jahresbericht (1996) [incl. V. Gutmann: ‘Die besaiteten Tasteninstrumente’; B.Frei-Heitz and D. Schneller: ‘I. Hammerklaviere’]; V. Gutmann: Historisches Museum Basel: Führer durch die Sammlung (1996); S. Klaus: ‘Die Streichinstrumente in der Musikinstrumenten-Sammlung’, Historische Museum Basel: Jahrsbericht 1997 (1998); S. Klaus: ‘Trompetten und Posaunen in der Musikinstrumenten Museum-Sammlung des historischen Museums Basel’, Historische Museum Basel: Jahrsbericht 1998 (1999)
Musikwissenschaftliches Institut, Universität Basel: c150 Southeast Asian.
Bernisches Historisches Museum: c500 European traditional mainly Bernese, Middle Eastern, African, Asian and South American.
W. Altenburg: ‘Alte Musikinstrumente in dem Bernischen Historisches Museum’, ZI, viii (1897–8), 209; E. Rohrer: ‘Eine Tanztrommel der Goldküste’, Jb des Bernischen Historisches Museums (1945); C. von Graffenried: ‘Eine Röhrenzither aus Madagaskar’, Jb des Bernischen Historisches Museums (1965–6); M. Staehelin: ‘Der sogenannte Musettenbass: Forschungen zur schweizerischen Instrumenten und Musikgeschichten des späteren 18. und 19. Jahrhunderts’, Jb des Bernischen Historisches Museums (1969–70), 93–121; O. Adelmann: ‘Unsignierte Instrumente des Schweizer Geigenbauers Hans Krouchdaler’, Jb des Staatlichen Instituts für Musikforschung 1969 (1970); B. Geiser: ‘Die Musikinstrumenten des Historsches Museums Bern’, Glareana, xix/3–4 (1970), 2–7; P. Centlivres: ‘Les Instruments de musique de Perse et d’Afghanistan’, Jb des Bernischen Historisches Museums, li–lii (1971–2), 305–20; D. Perret: ‘Instruments de musique, Chine et Japon: Catalogue’, Jb des Bernischen Historisches Museums, lv–lviii (1975–8), 185–226; H.R. Hösli: ‘Bericht über die Restauration einer Bratsche von hanss korouchdaler (1699), Bernisches Historisches Museum’, Das Musikinstrument, xxxvi/7 (1986)
Joseph Bopp Sammlung: c100 mostly European art.
Kantonale, Geigenbauschule: c150 Swiss-made violins.
Schlossmuseum Burgdorf: c60 European art and traditional, Swiss provenance.
E. Leutenegger: ‘Die Musikinstrumentensammlung im Schloss Burgdorf’, Jahresbericht 1955 des Rittersaalvereins Burgdorf (1955), 5–16; E. Leutenegger: ‘Alte Musikinstrumente aus Emmental’, Hochwächter, xi (1955), 14–18; E. Leutenegger: ‘Die Musikinstrumentensamlung in Schloss Burgdorf’, Burgdorf Jb, xxiii (1956), 121–32; J. Hiestand-Schnellmann: ‘Das Musikzimmer im Schloss Burgdorf’, Glareana, ix/4 (1960), 8–10; Musik in Schweiz 1685–1985/Instruments de musique de Suisse 1685–1985 (1985)
Schweizerisches Zentrum für Volkskultur, Kornhaus Burgdorf: c450 Swiss traditional incl. mechanical and phonographs.
B. Bachmann-Geiser: Kornhaus Burgdorf im Käfigturm: ein schweizerisches Kulturzentrum in Aufbau (1990) [exhibition catalogue]
Asteuropäische Hirteninstrumente, Marcel Cellier collection: c100 Eastern European, esp. Balkan, pastoral woodwind.
Rätisches Museum: c130 European art and sounding objects.
F. Jakob: Die Baldachin-Orgel von Jenaz heute im Rätischen Museum in Chur (1987)
Heimatmuseum der Albert Edelmann-Stiftung: c40 European art, traditional, and c50 Toggenburger Halszithern, all with Swiss provenance.
J. Hiestand-Schnellmann: ‘Die Musikinstrumentensammlung von Albert Edelmann’, Glareana, xii/3–4 (1963), 4–6
Kloster Einsiedeln, Hillel String Collection: 19th-century bowed string instruments made in Mirecourt, Vogtland and Tirol.
Museum des Kantons Thurgau
M.A. Girard: ‘Musik im Schloss Frauenfeld’, Mitteilungen aus dem Thurgauischen Museum, xviii (1967)
Musée d’Art et d’Histoire: c250 European.
H. Kling: ‘La Collection des anciens instruments de musique au Musée d’art et d’histoire’, Schweiz Zeitschrift für Instrumentalmusik, ii (1913); K. Nef: ‘Instruments de musique anciens: a propos d’une visite au Musée d’art et d’histoire’, Musique et instruments, xii (1925), 1047, 1049; R. Chavannes: ‘Catalogue descriptif des instruments de musique à cordes frottées ou pincées du Musée’, Geneva, ix (1931), 234–54
Musée d’Ethnographie: c2500 European, African, Asian, Australian, Oceanian and American.
G. Montandon: La généalogie des instruments de musique et les cycles de civilisation: étude suivie de catalogue raisonné des instruments de musique du Musée ethnographique de Genève (1919); C. Brailoiu: ‘Les Archives internationales de musique populaire’, Archives suisses d’anthroplogie générale (1947); B. Bartok: ‘Pourquoi et comment recueille-t-on la musique populaire’, Archives internationales de musique populaire (1948); M. Lobsiger-Dellenbach: Népal: catalogue de la collection d’ethnographie (1954); L. Aubert: ‘Sur deux luths marocains’, Musées de Genève, cl (1974); ‘Un instrument de musique indien: le sarod’, Musées de Genève, clxxxiv (1978); ‘Les artisans de la parole: notes sur les griots d’Afrique occidentale’, Musées de Genève, cxcv (1989); ‘La quête de l’intemporel: Constantin Brailoiu et les archives internationales de musique populaire’, Bulletin du Musée d’ethnographie (1985); ‘La vièle-cheval et le luth-singe: regards sur les musiques d’Asie centrale’, Bulletin du Musée d’ethnographie (1986); ‘Les musiciens dans la société newar’, Bulletin du Musée d’ethnographie (1988); L. Aubert: Pianeta musicale: strumenti musicali dei cinque continenti (1991); F. Borel and others: Pom, pom, pom: musiques etcetra (1997)
Musée d’Instruments Anciens de Musique: c365 European art, incl. the Fritz and Joachim Ernst collection.
Trésors musicaux des collections suisses: expositions au Château de Nyon (1949) [exhibition catalogue]; J. Gramm: ‘Une visite à la collection d’instruments anciens de M. Fritz Ernst’, Glareana, iii/3 (1954), 1–5; J. Haldenwang: ‘Le Musée d’instruments anciens de musique’, Musées de Genève, iv/33 (1963), 17–19; A. Boresel: ‘Das klingende Museum aus Genf’, IZ, xx (1966), 134–6; E.I. Clerc: Musée d’instruments anciens de musique (1973)
Musée d’Horlogerie: mechanical, incl. Maurice Sandoz collection.
Fredys Mechanisches Musikmuseum: mechanical.
Handharmonikamuseum Utenberg
Wagner Museum, Städtische Sammlung alter Musikinstrumente: c300 European art, traditional, and non-European, incl. the Heinrich Schumacher collection.
H. Schumacher: Katalog zu der Ausstellung von Musikinstrumente früherer Zeiten (1888); R. Vannes: Katalog der städtische Sammlung alter Musikinstrumente im Richard Wagner Museum Tribschen (1956)
Rolf H.A. Habisreitinger collection: c20 important Italian bowed string instruments.
Musée d’Ethnographie: 1200 non-European, mostly African incl. the G. and R. Bardout (Paris) collection.
Z. Estreicher: ‘La musique des Esquimaux Caribou’, Bulletin de la Société Neuchâtel de géographique (1948); Z. Estreicher: ‘Collection Gaston Bardout’, Rapport annuel des bibliothèques et musées de la ville de Neuchatel (1954), 43–71, repr. in Glareana, vii/2 (1958), 4–9; Z. Estreicher: ‘Chants et rythmes de la danse d’hommes Bororo’, recorded by Henry Brandt, Bulletin de la Société Neuchâtel de géographique (1954–5); Musique et sociétés (1977) [exhibition catalogue]; F. Borel: Les sanza (1986)
Fricktaler Museum: c25 winds, 17th- to 19th-century.
Christiane Jaccottet collection: c20 keyboards.
Musée Suisse de l’Orgue: c80 organs, incl. reeds and parts.
H.J. Modry: ‘New Organ Museum Opens in Roche’, AMIS Newsletter, xiv/1 (1985); Catalogue de l’exposition partielle de la collection (1986)
Historisches Musem: c50 European art and traditional, Asian and African.
W. Nef: Inventar (n.d.) [typescript]
Schweizerisches Musikautomaten-Museum: mechanical, incl. the Heinrich Weiss-Stauffacher collection. This museum is now part of Schweizerischen Landesmuseums Zürich.
H. Weiss-Stauffacher: ‘Die Welte-Philharmonie Orgel der Sammlung H. Weiss-Stauffacher’, Seewen Sol. Schweiz (1970); ‘Verzeichnis der mechaniches Musikinstrumenten in der Sammlung H. Weiss-Stauffacher, Seewen, So.’, Glareana, xx/3–4 (1971); H. Weiss-Stauffacher and R. Bruhin: Mechanisches Musikinstrumenten und Musikautomaten: Beschreibender Katalog der Seewener Privatsammlung (1975/R); R. Zweifel, H. Weiss-Stauffacher and T. Bürgi: Musikautomaten Museum Seewen (1993)
Heinrich Brechbühl collection: c300 mechanical.
H. Brechbühl: ‘Heinrich Brechbühl’s Collection of Mechanical Musical Instruments, Steffisburg’, CIMCIM Newsletter, vii (1979)
Schloss Landshut: hunting.
G. Boesch: Die Jagdwaffensammlung Dr. René La Roche, Basel (1964)
Music of Man Archive: c420 European, African, Asian, Oceanian and Native North American.
Walter M. Meier collection: c10 glass, incl. glass harmonicas, sets of musical glasses and a glass trumpet.
Karl Burri collection: c600 winds.
Karl Mangold collection: c140 winds and organs.
J. Hiestand-Schnellmann: ‘Ausstellung alter Musikinstrumenten in Zollikon (Sammlung Mangold)’, Glareana, xiii/3–4 (1964), 6–12
Museum Bellerive: c250 European art, traditional, some non-Western incl. the Firma Hug & Ciés Musikhistorische Museum.
A.-E. Cherbuliez: Die europäisches Musikinstrumente Wegleitung, Kunstgewerbemuseum der Stadt Zürich (1962); J. Hiestand-Schnellmann: ‘Die Sammlung alter Musikinstrumente im Kunstgewerbemuseum’, Glareana, xv/3–4 (1966), 2–17; J. Hiestand-Schnellmann: ‘Die Ausstellung alter Musikinstrumente im neugestalteten Vestibül der Tonhalle Zürich’, Glareana, xvi/3–4 (1977), 36–9
Museum Rietberg: non-Western art and ethnological.
Schweizerisches Landesmuseum: c400 European and Swiss traditional.
H. Schumacher: Bericht über die im Schweizerisches Landesmuseum befindlichen Musikinstrumenten (Lucerne, 1905); B. Geiser: Die Zither der Schweiz (1974) [exhibition catalogue]; Musikinstrumenten der Schweiz, 1685–1985 (1985) [exhibition catalogue]
Völkerkundemuseum der Universität Zürich: c600 non-European, many African.
M. Szalay, ed.: Das Völkerkundemuseum der Universität Zürich: eine Übersicht (1972)
Exhibition Rooms, Institute of History and Philology, Academia Sinica: 100 Asian, esp. excavated Chinese archaeological.
National Museum of History: c55 Hunan ancient, and Cantonese opera.
Muzei Muttachidai Respublíkawii Tá richi Kischwazschinosi was San’ati Taswiri: c110 Tajik
National Museum of Tanzania: 120 mainly Tanzanian.
Sankt Ottilien Missionary Station: c115 African and Southeast Asian.
E. Tremmel: ‘Die Sammlung afrikanischer Musikinstrumente in Missionsmuseum Sankt Ottilien’, Augsburger Jb für Musikwissenschaft, iii (1986), 7–50
Phipitapan Haeng Chart [National Museum]: c210 Thai, Chinese, Cambodian, Burmese and Laotian
Centre des Arts et Traditions Populaires, Fonds d’Instruments de Musique: c40.
Musée National du Bardo: Tunisian string instruments and percussion.
Museum of Music: mediterranean.
Musée du Conservatoire: c30 African and Asian.
Etnoğrafya Müzesi [Ethnographical Museum]: c250 Anatolian and Asian.
Askerî Müzesi [Military Museum]
Topkapi Sarayi Müzesi [Topkapi Palace Museum]: c65 Turkish.
Müze Müdürlüğü: c65 Central Asian.
Müze: kültür bakanliği: anitlar ve müzeler genel müdürlüğü, konya Müze müdürlüğü (1993)
Mevlâna Müzesi [Mevlâna Museum]: c50 Dervish
Uganda Museum: 500 Ugandan and other African.
K.P. Wachsmann: The Uganda Museum: Report for the Years 1950–51 (1952); K.M. Trowell and K.P. Wachsmann: Tribal Crafts of Uganda (London, 1953)
Raisa Dmitrievna Gusac collection: 170 traditional.
L'VIV L'vivskij Istoričeskij Muzej [Historical Museum]: c100 art and traditional.
G.D. Yashtchenko: Catalogue of the Musical instruments of the Lvov Historical Museum (n.d.)
Marischal Museum, University of Aberdeen: c150 non-European ethnological and archaeological incl. Wilson (Classical and Eastern antiquities), Grant Bey (Egyptian), and William Macgregor collections.
R.W. Reid: Illustrated Catalogue of the Marischal Museum (1912)
Bowes Museum: c80 European art, mechanical and ethnological.
Department of Social Anthropology and Ethnomusicology, Queens University: Balinese gamelan, African, Asian, Middle Eastern and South American.
Ulster Museum, Botanic Gardens: c105 European, African, Middle Eastern, Asian, Pacific Rim and American archaeological, medieval and ethnological.
Birmingham Conservatoire of Music: incl. the L.L. Key collection and collection of Dodd bows.
W.H. Morris: Catalogue of Musical Instruments in the Possession of the School (1953); J. Morris and S. Daw: Catalogue of Historic Instruments of the Birmingham School of Music Collection (1975)
City Museum and Art Gallery: c210 European art and ethnological.
Department of Science and Industry, City Museum and Art Gallery: c70 mechanical.
Russell-Cotes Art Gallery and Museum: c60 European keyboards and worldwide ethnological.
Bradford Art Galleries and Museums; see KEIGHLEY, Cliffe Castle Museum, below
Catalogue of the Brass Musical Instruments in the Collections of Bradford Art Galleries and Museums (1991)
The Musical Museum: c300 keyboard, mainly automatic.
The Musical Museum (1977)
Brighton Museum and Art Gallery: c680 worldwide incl. the Potter, Albert Spencer, and M. Willins collections.
Bristol City Museum: c35 keyboards from Mickleburgh collection.
Snowshill Manor: c100 European art from C.P. Wade Collection.
Faculty of Music, University of Cambridge: c130 incl. Bryan (keyboard and mechanical), Shaw-Zambra, and Chadwick-Healey (harp) collections.
Nicholas Shackleton collection: c300 winds, many clarinets.
University Museum of Archaeology and Anthropology: c1000 non-European incl. L.E.R. Picken collection.
Amgueddfa Werin Cymru [Welsh Folk Museum]: 120 mainly Welsh, esp. harps.
Mechanical Music and Doll Collection: c100 mechanical.
Albert Institute: incl. Methven Simpson keyboard collection.
Alec Cobbe keyboard collection, Hatchlands Park
Edinburgh University Collection of Historic Musical Instruments (EUCHMI): c2500 European art and traditional (known as Galpin Society Collection from 1968–1980) incl. G. Rendall (woodwind), L.G. Langwill (mostly bassoons), A. Myers (brass), J.B. Dick, C.H. Brackenbury Memorial, part of Glen, part of Mickleburgh, Ross, Shaw-Hellier, M. Whewell, A. Macaulay (plucked strings), J. Blades (percussion), P. Cooke (ethnological) and C. Monk (brass) collections.
G. Melville-Mason, ed.: The Galpin Society: an Exhibition of European Musical Instruments (1968) [exhibition catalogue]; A. Myers: ‘The Glen and Ross Collections of Musical Instruments’, GSJ, xxxviii (1985), 4–8; Handel: a Celebration (1985); T.K. Dibley: The Historic Clarinet Exhibition Handbook (1986); Guide to the Collection: EUCHMI (1987); A. Myers, ed.: Historic Musical Instruments in the Edinburgh University Collection, i: The Illustrations (1990), ii: The Description (1992–) [A: Instruments of Regional Cultures Worldwide; B: Plucked and Hammered String Instruments; C: Bowed String Instruments; D: Flutes and Whistles; E: Double Reed Woodwind; F: Single Reed Woodwind; G: Bagpipes; H: Basswind; I: Free Reed Instruments and Musical Glasses; J: Percussion; K: Ancillary Items]; iii: The Electronic Piture Gallery <www.music.ed.ac.uk/euchmi>; C.D.S. Field: ‘John Donaldson and 19th-Century Acoustics Teaching in the Univeristy of Edinburgh’, Musical Acoustics: Edinburgh 1997, 509–20
John Barnes keyboard collection
Royal Museum of Scotland (formerly Royal Scottish Museum and National Museum of Antiquities of Scotland): c500 European and non-European, incl. c150 Scottish, esp. bagpipes and harps, incl. the D. Fraser (bagpipes), Ross (bagpipes), also J. Jenkins (ethnological) collection.
R.B. Armstrong: The Irish and Highland Harps (1902, 2/1969); Catalogue of the National Museum (1892); H. Cheape and others: Pipes, Harps, and Fiddles (1976); J. Jenkins: Man and Music: a Survey of Traditional Non-European Musical Instuments (1983); H. Cheape and others: At Home: Ten Years of Collecting from Historic Scotland (1984); A. Myers: ‘The Glen and Ross Collections of Musical Instruments’, GSJ, xxxviii (1985), 4–8; H. Cheape: The Wealth of a Nation in the National Museums of Scotland (1989)
Russell Collection of Early Keyboard Instruments, Faculty of Music, Edinburgh University: c50.
R. Russell: The Harpsichord and Clavichord (1959, 3/1979); S. Newman and P. Williams: The Russell Collection and Other Early Keyboard Instruments in St. Cecilia’s Hall (1968); J. Barnes: ‘The Flemish Instruments of the Russell Collection’, Colloquium restauratieproblemen (1971), 35–9; C. Napier: A Brief Guide to the Russell Collection of Harpsichords and Clavichords (1981, 2/1986); C. Napier: Checklist of the Instruments in the Russell Collection of Early Keyboard Instruments (1982); ‘“Notes That Wing Their Heavenly Ways”: … New Handel Organ in St. Cecilia’s Hall’, AMIS Newsletter, xxvii/2 (1998)
Art Gallery and Museum: 370 incl. part of the R. Glen (European) and H.G. Farmer worldwide ethnological collections.
[H.G. Farmer:] Instruments of Music: History and Development (1941) [exhibition catalogue]; H.G. Farmer: ‘The Glen Collection’, Art Review (1945); H.G. Farmer: ‘Some Oriental Musical Instruments at Kelvingrove’, Scottish Art Review, viii (1961), 1–4; A. Myers: ‘The Glen and Ross Collections of Musical Instruments’, GSJ, xxxviii (1985), 4–8
Hunterian Museum and Art Gallery, University of Glasgow: c200 incl. ethnological and B. Hague (wind) collection.
Finchcocks Collection, Living Museum of Music: c75 keyboards, the Katrina and Richard Burnett collection.
R. Burnett: ‘English Pianos at Finchcocks’, EMc, xiii (1985), 45–51; W. Dow: Finchcocks Collection, Catalogue: the Richard Burnett Collection of Historical Keyboard Instruments (1989); R. and K. Burnett: Finchcocks Past & Present (1989)
Alice Schulmann-Frank Collection of Musical Instruments and the Michelham Priory Collection: c260 European and non-European.
Tolson Memorial Museum: c150 European.
Ipswich Borough Council Museum and Art Galleries: c135 ethnological, incl. Muir (East African) and Partridge (Nigerian) collections.
Cliffe Castle Museum, Bradford Art Galleries and Museum: c150, two-thirds European, one-third non-European.
A. Myers and A. Cartledge: Catalogue of Brass Instruments in the Collection of Bradford Art Galleries and Museums (1991)
Hartlebury Castle, Hereford and Worcester County Museum: mainly European art.
Dean Castle: c100 art incl. Howard de Walden, and C. van Raalte collections.
Dean Castle: Musical Instruments (1975)
School of Music, Kingston University: Chinese and Indian.
Abbey House Museum: c250 European.
Department of Ethnography, City Museum: c135.
Charles Moore Collection of Musical Instruments, University of Leicester: c75 European.
S.J. Weston: A Catalogue of Instruments in the Charles Moore Collection (1981)
Sussex Archaeological Institute: 250 ethnological incl. Mummery collection.
Richard Pierce collection: c25 European string instruments and winds.
National Museum and Galleries on Merseyside: c120 incl. Rushworth and Dreaper collection.
Rushworth & Dreaper Collection of Antique Musical Instruments and Historical Manuscripts (1927); Catalogue of the Rushworth & Dreaper Permanent Collection of Antique Musical Instruments (1932); P. Rushton: Catalogue of European Musical Instruments in the Liverpool Museum (London, 1994)
Boosey & Hawkes Museum: c340 winds.
A. Baines: Antique Musical Instruments of Historical Interest [checklist] (1972)
British Museum: c1000 antique, oriental, African incl. musical images.
Centre of Music Studies, School of Oriental and African Studies: c100 Asian and African.
Fenton House: c20 keyboards, incl. G.H. Benton Fletcher collection.
R. Russell: The Musical Instruments in Fenton House, Hampstead (1953); R. Russell: The Benton Fletcher Collection of Early English Musical Instruments at Fenton House (1955); R. Russell: Catalogue of Early Keyboard Instruments at Fenton House (1957, 4/1986)
Horniman Museum: 6000 art, traditional and mainly ethnological, incl. Percy Bull and Adam Carse collections, and Arnold Dolmetsch collection.
A. Carse: The Horniman Museum: a List of the Instruments Included in the Adam Carse Collection of Musical Wind Instruments (1947); A. Carse: ‘The Adam Carse Collection of Musical Wind Instruments’, GSJ, ii (1949); A. Carse: Catalogue of the Adam Carse Collection of Old Musical Wind Instruments (1951); M. Dolmetsch: Personal Recollections of Arnold Dolmetsch (1957); J. Jenkins: Musical Instruments (1958, 3/1974); E.A.K. Ridley: Wind Instruments of European Art Music (1974); M. Campbell: Dolmetsch: the Man and his Work (1975); J. Jenkins and P.R. Olsen: Music and Musical Instruments in the World of Islam (1976); F. Palmer: The Dolmetsch Collection of Musical Instruments (1981); M. Birley: ‘Extra-European Musical Instruments in the Horniman Museum’, ICTM, U.K. Chapter Bulletin, x (1985), 21–3
J.R. Mirrey Collection of Early Keyboard Instruments: c25 harpsichords, pianos and organs.
Museum of London: c80 London archaeological to 19th-Century.
Museum of Mankind, British Museum: c4000 archaeological and ethnological, incl. the Raffles gamelan.
J. Rimmer: Ancient Musical Instrument of Western Asia (1969); W. Fagg, ed.: The Raffles Gamelan: a Historical Note (1970); J. Scott-Kemball: Javanese Shadow Puppets: the Raffles Collection in the British Museum (1970); ‘Ancient Egyptian Musical Instruments: a Catalogue and its Problems’, MT, cxvii (1976), 824; R.D. Anderson: Catalogue of Egyptian Antiquities in the British Museum, iii: Musical Instruments (1976); P. Gloudesley: Report to the Museum of Mankind: Research (n.d.) [typescript]; S. Quigley: ‘The Raffles Gamelan at Claydon House’, JAMIS, xxii (1996), 5–41
Royal Academy of Music: over 250 string instruments and part of the Broadwood Collection of Antique Instruments.
‘Eine Klavier-Ausstellung der Firma Broadwood & Sons in London’, ZI, xxi (1900–1), 647–50; Collection of Antique Instruments at John Broadwood & Sons (1903); ‘Eine Klavierhistorisches Ausstellung’, ZI, xxiv (1903–4), 757–9; D. Rattray: Masterpieces of Italian Violin Making 1620–1850: Twenty-Six Important Stringed Instruments from the Collection at the Royal Academy of Music (1991)
Royal Armouries and the Jewel House, Tower of London: c35 brass winds and drums.
Royal College of Music: 500 mainly European art, incl. Day, part of Tagore (Indian), Donaldson, Hipkins, King Edward VII and G.E.W. Hartley collections.
G. Donaldson: Catalogue of the Musical Instruments and Objects Forming the Donaldson Museum (1899); G. Dyson: The Royal College of Music Catalogue of Historical Instruments, Paintings, Sculpture, and Drawings (1952); The Ridley Collection of Musical Wind Instruments in the Luton Museum (Luton, 1957); E. Wells: Guide to the Collection (1964); E. Wells: ‘The RCM Collection of Instruments’, Royal College of Music Magazine, lxiii (1967), 83–7, xxlii (1976), 39–43; E. Wells: Guide to the Collection (1984); Royal College of Music Museum Catalogue, i: E.A.K. Ridley: European Wind Instruments (1982, addenda, 1998, ed. E. Wells), ii: Keyboard Instruments (in preparation)
Victoria and Albert Museum: European art and some Asian collected by Carl Engel and C.R. Day (Indian).
C. Engel: A Descriptive Catalogue of Musical Instruments in the South Kensington Museum (1870, 2/1874); A Picture Book of Keyboard Musical Instruments (1929); R. Russell: Catalogue of Musical Instruments, i: Keyboard Instruments (1968, rev. 2/1984 by H. Schott); Musical Instruments as Works of Art (1968, rev. 2/1982 by P. Thornton); A. Baines: Catalogue of Musical Instruments, ii: Non-Keyboard Instruments (1968); Catalogue of Musical Instruments, iii: Additional and Detailed Photographs of the Collection (1968); G. Thibault and others: Eighteenth Century Musical Instruments, France and Britain/Les instruments de musique au XVIIIe siècle: France et Grand-Bretagne (1973) [exhibition catalogue]; D. Fitz-Gerald: Victoria and Albert Museum: the Norfolk House Music Room (1973); C. Patey: Musical Instruments at the Victoria and Albert Museum: an Introduction (1978); J. Yorke: Keyboard Instruments at the Victoria and Albert Museum (1986)
William Waterhouse collection: c60, many bassoons.
W. Waterhouse: The Proud Bassoon: an Exhibition Showing the Development of the Bassoon over the Centuries, the Waterhouse Collection of Bassoons and Related Items (1983)
Manchester Museum, University of Manchester: 225 non-European.
Royal Northern College of Music: c310 incl. Henry Watson and Josiah Chapman collections.
H. Watson: The Royal Manchester College of Music: Catalogue of the Henry Watson Collection of Musical Instruments (1906); L.W. Duck: Musical Instruments in the Henry Watson Library (1950); A. Temple: Glories of Keyboards: an Exhibition of Keyboard Instruments from the Henry Watson Collection (1995); W. Waterhouse: RNCM Collection of Historical Musical Instruments (1998) [catalogue]
Museum and Art Gallery, Cyfarthfa Castle: c40, many from Cyfarthfa Band.
A. Myers and T. Herbert: Catalogue of the European Wind and Percussion Instruments in the Cyfarthfa Castle Museum Collection (1990)
Morpeth Chantry Bagpipe Museum: c120 from W.A. Cocks collection.
W.A. Cocks: The Northumbrian Bagpipes: their Development and Makers (Newcastle-upon-Tyne, 1933); W.A. Cocks and F. Bryan: The Northumbrian Bagpipes (1967)
Hancock Museum, University of Newcastle-upon-Tyne: c85 ethnological incl. W.A. Cocks collection.
Keith Harding’s World of Mechanical Music
Ashmolean Museum, University of Oxford: European art string and keyboard, 17th-century non-European, and some archaeological, incl. W.E. Hill & Son and J. Francis Mallet collections.
T. Dart: ‘The Instruments in the Ashmolean Museum’, GSJ, vii (1954), 7–10; D.D. Boyden: Catalogue of the Hill Collection of Musical Instruments in the Ashmolean Museum (1969); J. Charleton: Viols, Violins, and Virginals (1985)
Jeremy Montagu collection: 1900 worldwide.
J. Montagu: Musical Instruments of the World: Sheffield Festival Exhibition (Sheffield, 1967, 2/1970)
Philip Bate Collection of Historical Instruments, Faculty of Music, University of Oxford: 1100 European art, traditional, and Javanese double gamelan, incl. Philip Bate, part of the Reginald Morely-Pegge, Edgar Hunt, Miss Lloyd Baker, Taphouse, R. Warner, W.C. Retford and Anthony Baines collections.
A. Baines: The Bate Collection of Historical Wind Instruments: Catalogue (1976); J. Montagu: The Bate Collection of Historical Wind Instruments, Supplement to the Printed Catalogue of 1976: End, Notch and Duct Flutes (1987); The Javanese Gamelan ‘Kyai Madu Laras’ (n.d.); J. Montagu: The Bate Collection of Historical Instruments: Check List of the Collection (1989); J. Montagu: Keyboard Instruments (1993); J. Montagu: Keyed and Fingerholed Brass Instruments (1993); J. Montagu: Check List of the Collection (1993)
Pitt Rivers Museum, University of Oxford: mainly non-European, incl. H. Balfour, B. Blackwood, Hutton, Mills, E. Pritchard, part of Tagore (Indian) and E.B. Taylor collections.
H. Balfour: ‘Report on a Collection of Musical Instruments from the Siamese, Malay States and Perak’, Fasciculi Malayensis: Anthropology, 2a, ed. N. Annandale (Liverpool, 1904), 1–18; A. Baines: Bagpipes, Occasional Papers of Technology, ix (1960), ed. H.T. La Rue (1995); H.T. La Rue: Pitt Rivers Museum: a Whole Room For Music (1991)
Saffron Walden Museum: c125 archaeological and ethnological.
Société Jersiaise: c20 from local churches and bands.
R. Falle: ‘A List of the Musical Wind Instruments in the Museum of the Société Jersiaise’, Société Jersiaise Bulletin, no.16 (1954)
Sheffield City Museum: c50 European winds, incl. Lady Stanley Clarke, John Parr and a few from Jeremy Montagu collections.
Museum of Victorian Reed Organs and Harmoniums: c50, Phil and Pam Fluke collection.
P. and P. Fluke: Victorian Reed Organs and Harmoniums: the Collection of Phil and Pam Fluke (1985)
Rutland Cottage Music Museum: c500 mostly mechanical.
Museum and Art Gallery: c60 European art, traditional and non-European, many from F. Winslow collection.
Torquay Museum: c50 European and Asian from U. Daubeny, and Paget-Blake collections.
U. Daubeny: Orchestral Wind Instruments, Ancient and Modern (London, 1920)
Dartington College of Arts: c50 Japanese, Indian, and Balinese gamelan.
Royal Military School of Music Museum: c500 military from Royal United Services Institute, Buckingham Palace and W.F. Blandford collections.
Museum and Art Gallery: c20 European art.
History Shop: 22 European art, William Rimmer collection.
John Webb collection: 400 wind, mostly brass.
G.B. Wood: Musical Instruments in the York Castle Museum (1938)
Department of Music, McMurry University: c30 Western incl. Thomas H. Greer collection.
Maxwell Museum of Anthropology, University of New Mexico: c700 ethnological and archaeological, esp. Native American (particularly Southwest), east African and Asian, incl. the Kidd collection.
Man: the Music-Maker (1973) [exhibition catalogue]
Old Economy Village: c35 Western art, a few military and mechanical.
Stearns Collection of Musical Instruments, School of Music, University of Michigan: over 2200 worldwide.
A.A. Stanley: Catalogue of the Stearns Collection of Musical Instruments (1918, 2/1921); R.A. Warner: ‘The Stearns Collection of Musical Instruments’, JVdGSA, ii (1965), 38–48; B.M. Smith: Two-Hundred Forty-One European Chordophones in the Stearns Collection (1981); W. Malm: ‘Stearns Musical Instruments: an Exotic Collection’, Ann Arbor Magazine (1986), 14–19; J.M. Borders: European and American Wind and Percussion Instruments: Catalogue of the Stearns Collection of Musical Instruments, University of Michigan (1988); The Stearns Collection of Musical Instruments: the First Century, 1899 to 1998 (1998)
Edmund Michael and Patricia Frederick collection: 25 string keyboards.
E.M. Frederick: ‘The “Romantic” Sound in Four Pianos of Chopin’s Era’, 19CM, iii/2 (1979), 150–53; A. Porter: ‘Musical Events: a Fine Resource’, New Yorker, (26 Oct 1981); G. Hayes: ‘How Many Pianos Does It Take to Fill A House?’, Early Keyboard Studies Newsletter, i/2 (1985); M. Boriskin: ‘They Prefer Pianos to Furniture’, Piano Quarterly (Summer 1985); E.M. Frederick: ‘English vs. Viennese Fortepianos’, Haydn’s Piano Sonatas (1990); I. Braus: ‘Early Pianos: a Conversation with Michael Frederick’, Early Keyboard Studies Newsletter, vii/3 (1993)
Kern County Museum: c30, half mechanical, also country-and-western.
Maryland Historical Society: c40 locally made or owned, incl. 15 Baltimore pianos.
G.R. Weidman: Furniture in Maryland, 1740–1940 (1984)
Woolaroc Museum, Frank Phillips Foundation: incl. c25 Native American.
Experience Music Project: c100, mainly acoustic and electric guitars.
Logan Museum of Anthropology, Beloit College: c150, half Native North and Central American, African and from the Pacific Rim.
Bennington Museum: c30 with local associations.
Berea College Appalachian Museum: c25 traditional Appalachian.
Department of Music, University of California: c110 mainly Western art, also African and Asian incl. Ansley K. Salz (string) collection.
D.D. Boyden: Catalogue of the Collection of Musical Instruments in the Department of Music, University of California, Berkeley (1972); J.A. Emerson: Musical Instruments, East and West, i (1972); Catalog of an Exhibit on the Occasion of the 12th Congress of IMS (1977)
Phoebe Hearst Museum of Anthropology (formerly Robert H. Lowie Museum of Anthropology), University of California: 1050 mainly Native North and Latin American ethnological and archaeological, esp. Californian and Peruvian, also African, Asian, Australian, Oceanian and European.
Moravian Museum of Bethlehem: c35, many trombones, by local makers.
C.S. Mayes: A Descriptive Catalogue of Historic Percussion, Wind and Stringed Instruments in Three Pennsylvania Museums (MA thesis, Florida State U., 1974)
Museum of State Historical Society of North Dakota: c160 Western and Native American.
Cranbrook Institute of Science: c80 worldwide ethnological.
Musical Instrument Collection, William Hammond Mathers Museum of World Cultures, Indiana University: c1800 worldwide, esp. American, African, Southeast Asian, and Balkan traditional and ethnological incl. Robert Ellison (Native North American Plains), Frances Cossard (mainly Japanese), Georg Herzog-Erich von Hornbostel, Carl Anton Worth (Sudanese and Javanese puppet and gamelan), and Laura Bolton collections.
P. Gold: Traditional Music of the World (1968); L. Boulton: Musical Instruments of World Cultures (New York, 1972); ‘Boulton Collection Donated to Arizona State’, AMIS Newsletter, xii/2 (1983)
Idaho State Historical Society: c50 Western art, traditional and popular.
Boston Symphony Orchestra: c100 Western and non-Western art, traditional, ethnological incl. Casadesus and John S. Barnet collections.
‘BSO Collection Reinstalled’, AMIS Newsletter, xx/1 (1991)
Musical Instruments Collection, Museum of Fine Arts: c1200 Western art, traditional and ethnological, incl. North and South American; African, Asian, esp. 1840 Blora Javanese gamelan; the Leslie Lindsey Mason (formerly Francis W. Galpin [Western art, traditional, and non-Western], and Moule [Chinese]), Edwin M. Ripin (keyboards), Douglas Diehl, Peggy Stewart Coolidge, Harold Priest and Searles/Rowland collections.
‘Leslie Lindsey Mason Collection of Musical Instruments’, Museum of Fine Arts Bulletin, xv (1917); N. Bessaraboff: Ancient Musical Instruments: an Organological Study of the Musical Instruments in the Leslie Lindsey Mason Collection (1941); N.B. Bodley [Bessaraboff]: ‘The Auloi of Meroe’, American Journal of Archaeology, l/2 (1946); N. Williamson: ‘The Leslie Lindsey Mason Collection’, Museum of Fine Arts Bulletin, lix/315 (1961); N. Williamson: ‘The Musical Instrument Collection at Boston’, VdGSA, iii (1966); R.M. Rosenbaum: Galpin Collection and Galpin Consort, AMIS Newsletter, ii/3 (1973); Ripin Collection Merlin Harpsichord, AMIS Newsletter, iii/2 (1974); B. Lambert: ‘The Musical Instruments Collection, Museum of Fine Arts, Boston’, CIMCIM Newsletter, x (1982); B. Lambert: Musical Instruments Collection: Checklist of Instruments on Exhibition (1983); D.S. Quigley: ‘Museum of Fine Arts, Boston: Collection of Musical Instruments Acquisitions from 1972–1987’, FoMRHI Quarterly, xlix (1987); ‘MFA Retains Searles/Rowland Collection’, AMIS Newsletter, xxi/2 (1992); D. Kuronen: ‘The Musical Instruments of Benjamin Crehore’, Journal of the Museum of Fine Arts, Boston, iv (1992); J. Koster: Keyboard Musical Instruments in the Museum of Fine Arts, Boston (1994)
New England Conservatory of Music: c125, mostly Asian, also Western, incl. Eben Tourjee collection.
E. Burnett: A Catalogue of the Collection of Ancient Instruments Owned by the New England Conservatory (MA thesis, New England Conservatory of Music, 1967)
Sheridan Germann collection: c20, half string keyboards.
S. Germann: ‘The Accidental Collector’, Early Keyboard Studies Newsletter, v/3 (1991)
Society for the Preservation of New England Antiquities: over 50 Western art and popular.
Kentucky Museum, Western Kentucky University: c35 mainly Western popular, art and traditional, a few non-Western.
Museum of the Plains Indian and Crafts Center: c30 Plains Native American, esp. Sioux.
Robert Hull Fleming Museum, University of Vermont: c170 worldwide ethnological, some American popular.
Department of Music, Harvard University: c100 Western and Asian art, traditional, ethnological incl. Ralph Isham and Edward R. Hewitt collections.
S.E. Thompson: Checklist (1990)
G. Norman Eddy collection: c475 winds and string keyboards.
F.N. and G.N. Eddy: ‘Four Flageolets’, AMIS Newsletter, i/4 (1972); T. Good and G.N. Eddy: The Eddy Collection of Musical Instruments: a Checklist (San Francisco, 1985)
Peabody Museum of Archaeology and Ethnology: c2000 worldwide, half Native North American.
Southern Illinois University Museum: c250 Middle Eastern, American, Asian ethnological and some archaeological.
Charleston Museum: c75 used locally, incl. Siegling Music House collection.
Thomas Jefferson Memorial Association: 7 Jefferson-related art.
W.H. Adams: The Eye of Thomas Jefferson (1976); H. Cripe: Thomas Jefferson and Music (1974); S. Stein: The Worlds of Thomas Jefferson at Monticello (New York, 1993)
Department of Anthropology, Field Museum of Natural History: c3800, over half American ethnological and archaeological, also African, Middle Eastern, Asian, Oceanian and European.
S.C. De Vale: ‘The Gamelan’, Field Museum of Natural History Bulletin (1978)
Oriental Institute Museum, University of Chicago: c40 archaeological Egyptian and Near Eastern.
Cincinnati Art Museum: c775 Western art, traditional and non-Western ethnological, incl. William Howard Doane collection and loans from Metropolitan Museum of Art.
E. Winternitz: Musical Instruments: Collection of the Cincinnati Art Museum (1949) [catalogue]; Cincinnati Art Museum Handbook (1977)
Kenneth G. Fiske Museum of Musical Instruments, Claremont Colleges: c1200 Western, incl. c450 Asian, African, ethnological North and South American, Oceanian incl. Curt Janssen, Leon Whitsell and Jack Coleman (winds) collections.
A.R. Rice: ‘The Curtis W. Janssen Collection’, Journal of the International Trumpet Guild, xiv/3 (1990)
Delta Blues Museum: over 30, American acoustic and electric guitars, also traditional and popular.
Western Reserve Historical Society Museum: c100.
T. Albrecht: An Annotated Catalogue of Musical Instruments in the Collection of the Western Reserve Historical Society (1978) [typescript]
Colorado Springs Museum: over 100 mainly music boxes, also Western, and Native American archaeological and ethnological
New Hampshire Historical Society Museum: c65 Western art, traditional and popular used locally.
B.D. Turcott: ‘Concord Musical Instrument Makers’, Historical New Hampshire, xxii/1 (1967), 18–27; E. Wall: ‘Abraham Prescott: Bass Viol Maker of Deerfield and Concord’, Historical New Hampshire, xlii/2 (1987), 101–23; W. Copley: ‘Musical Instrument Makers of New Hampshire, 1800–1860’, Historical New Hampshire, xlvi/4 (1991), 231–48
Corning Museum of Glass: c15, 7 glass instruments and whistles.
Christian and Kathleen Eric collection: c300 music boxes.
Putnam Museum of History and Natural Science: c35 European art, traditional, popular and Native North American.
Deansboro Musical Museum: incl. Arthur and Elsie Sanders collection, auctioned 1998.
L. Libin: ‘The Sad End of an Era’, AMIS Newsletter, xxvii/3 (1998); A. and E. Sanders: ‘The Musical Museum’, AMIS Newsletter, xxvii/3 (1998)
Henry Ford Museum and Greenfield Village: over 600 mainly American art, popular and band, incl. D.S. Pillsbury (brass), and Chickering (piano) collections.
Chickering & Sons: Pianofortes at the Exhibition of 1856 (1857); Under the Auspices of Chickering & Sons: Catalogue of the Exhibition, Horticultural Hall, Boston (1902); R.E. Eliason: Brass Instrument Key and Valve Mechanisms Made in America Before 1875, with Special Reference to the D.S. Pillsbury collection (DMA diss., U. of Missouri, 1969); V. Angelescu: ‘The Henry Ford Collection of Instruments’, Violins, xxi (1960), 3–9, 46, 48–53, 97–102, 138–44, 173; R.E. Eliason: D.S. Pillsbury Collection of Brass Instruments (1972); R.E. Eliason: Graves & Company: Musical Instrument Makers (1975); R.E. Eliason: Early American Brass Makers (Nahville, TN, 1979)
Vesterheim Norwegian-American Museum: c100 European art and traditional having belonged to Norwegian Americans.
D.D. Henning and others: Norwegian American Wood Carving of the Upper Midwest (1978)
Denver Museum of Natural History: c725 mainly Native North and Latin American archaeological, ethnographic, also African, Oceanian and Asian.
Children’s Museum: c300 African, Asian and American.
Detroit Institute of Arts: c70 Western art, traditional, and some ethnological (formerly exhibited the Edith J. Freeman collection).
Musical Instruments Through the Ages (1952) [exhibition catalogue Toledo, Ohio, Museum of Art]; Music and Art (1958) [exhibition guide, U. of Minnesota]
University Art Museum, Southern Illinois University: c125 mainly European art, also Asian incl. Carl H. Tollefsen, Kiburz Flute, and African collections.
A.R. Rice: ‘Southern Illinois University Checklist Prepared’, AMIS Newsletter, xx/3 (1991), 8–9
Chemung County Historical Centre: c50 Western art and popular.
Museum of Northern Arizona: c350 southwest Native American.
DeBence Antique Music World: 125 mechanical.
‘DeBence Antique Music World’, AMIS Newsletter, xxiv/1 (1995)
Connecticut Historical Society Museum: c35 Connecticut-origin.
Fruitlands Museums: c35 incl. Native American, Shaker, Western art and traditional.
The Ralph and Virginia Dudgeon collection: c200 Western, half brass.
Bernice Pauahi Bishop Museum: c640 Hawaiian and Oceanian.
Te Rangi Hiroa [Peter H. Buck]: ‘Section 9: Musical Instruments’, Arts and Crafts of Hawaii, (1957); Pahu and Pūnio (1980) [drum exhibition catalouge]; J. Koster: ‘Report from Hawaii’, AMIS Newsletter, xxi/3 (1992)
Anthropology Department, Houston Museum of Natural Science: c35 ethnological.
Indiana State Museum: c70 European art, popular and mechanical.
D. Ross: Musical Instruments at the University of Iowa: a Catalogue (1979)
The Company of Fifers and Drummers: c195 mainly American and European fifes and drums, also bugles.
S. Cifaldi: ‘The Company of Fifers and Drummers’, Sonneck Society for American Music Bulletin, xvi/2 (1990), 50–53
E. Lee Chaney collection: c30 reed organs.
E.L. Chaney: ‘Three Rare Organs’, ROS Bulletin, viii/1 (1989), 20–23; E.L. Chaney: ‘When Reed Organs Went to War’, ROS Bulletin (1990), 6–10
Kalamazoo Valley Museum: c95 esp. Kalamazoo-made, also African and Asian ethnological.
G. Leblanc Corporation Collection: c200 Western woodwind and brass.
Hugh A. Glauser School of Music, Center for the Study of World Musics, Kent State University: c100 African, Asian, Pacific, Middle Eastern.
Percussive Arts Society Museum: c300.
‘Growth Reflected in PAS Museum Expansion’, AMIS Newsletter, xxiv/3 (1994)
Parkinson Collection of Historical Musical Instruments (loan), Plymouth County Historical Museum: c500 worldwide.
Harold E. Cook Collection of Musical Instruments, Department of Music, Bucknell University: c150, many Asian, also African, some European, Ecuadorean, and United States.
‘A Checklist of Musical Instruments in the Harold E. Cook Collection’ (1971) [typescript]; J. Hill: The Harold E. Cook Collection of Musical Instruments (Cranberry, NJ, 1975)
Anthropology Division, State Museum, University of Nebraska: c115 African, East Indies, Philippines, South American and Plains Native American ethnological.
Litiz Moravian Congregation Archives and Museum: over 50.
Albert Gale and Leonardo De Lorenzo collections, University of Southern California: c180 mainly Native American, Asian, European and American.
P.J. Norvel: A History and Catalogue of the Albert Gale Collection of Musical Instruments (MA thesis, U. of Southern California, 1952); A.R. Rice: ‘Communications’, AMIS Newsletter, xxvii/2 (1998)
Department of Musicology, University of California (UCLA): 1000 non-Western art, esp. Southeast Asian.
Erich Lachmann collection, University of California (UCLA): c55 string.
E. Lachmann: Erich Lachmann Collection of Historical Stringed Musical Instruments (1950)
Fowler Museum of Cultural History, University of California (UCLA): 4,300 worldwide, esp. African.
Southwest Museum: c975 mainly Native American, also Hispanic/Spanish colonial, European, Pacific and Asian.
Watts Towers Arts Center: c70 traditional African, Asian, South and North American (incl. Native American) most from Joseph Howard collection.
Riley County Historical Society and Museum: c60 European popular, traditional and art.
Music Department, University of Hawaii: over 1500 from the Pacific Rim.
Memphis Pink Palace Museum: c35 Western art, popular and ethnological.
Collection of Musical Instruments, Wesleyan University: 500 mainly non-Western esp. Ghanaian, Javanese, Indian, East Asian, also electronic and experimental.
Milwaukee Public Museum (affiliated with University of Wisconsin): c400 worldwide art and ethnological.
Harold Warp Pioneer Village: c60 Western, regional, some ethnological.
Monroe County Historical Museum: c40 mainly band.
Country Music Hall of Fame and Museum
Cumberland Science Museum: c85 mainly African, Asian and Middle Eastern ethnological.
C.F. Martin Guitar Museum: over 30, mainly guitars, other fretted.
M. Longworth: Martin Guitars: a History (1975, 3/1988); J. Washburn and R. Johnston: Martin Guitars: an Illustrated Celebration (Emmaus, PA, 1997)
Museum of Moravian Historical Society: c60.
L. Libin: ‘Nazareth Piano may be among America’s First’, Moravian Music Journal, xxxiii/1 (1988), 2–6
Newark Museum: 300 mainly ethnological, esp. African and Tibetan, incl. the Russell Barkley Kingman (European art) collection.
Catalogue of the Tibetan Collection (1950); ‘The Russell Barkley Kingman Collection of European Art Instruments’, The Museum, xiv/1 (1962)
Department of Anthropology, Peabody Museum of Natural History, Yale University: 1000 African, Oceanian and North American.
Yale University Collection of Musical Instruments: c1000 European art, some traditional and non-Western incl. Morris Steinert, Belle Skinner, Emil Hermann (string), Albert Steinert (formerly at Rhode Island School of Design), part of Mrs. W.D. Frishmuth, and Robyna Neilson Ketchum (bells) collections.
M. Steinert Collection of Keyed and Stringed Instruments (1893); Catalogue of the Morris Steinert Collection of Keyed and Stringed Instruments (New York, 1893); T.W. Booth: Historical Catalogue of the M. Steinert Collection of Musical Instruments (1913); W.L. Chapman: ‘The Albert Steinert Collection of Harpsichords’, Rhode Island School of Design Bulletin, xvi/1 (1928); K.B. Neilson: ‘Keyboard and Strings’, Rhode Island School of Design Museum, Museum Notes, viii/3 (1951); D. Tower: Keyboard and Strings, Early Instruments and Performers: Notes on the Musical Instruments in the Albert M. Steinert Collection (1951) [exhibition catalogue]; W. Skinner: The Belle Skinner Collection of Musical Instruments (Holyoke, MA, 1933); S. Marcuse: Checklist of Western Instruments, i: Keyboard Instruments (1958); S. Marcuse: Musical Instruments at Yale: a Selection of Western Instruments from the 15th to the 20th Century (1960); R. Rephann: Checklist: Yale Collection of Musical Instruments (1968); R. Rephann and N. Renouf: The Robyna Neilson Ketchum Collection of Bells (1975); N. Renouf: Musical Instruments in the Viennese Tradition, 1750–1850 (1981); N. Renouf: A Yankee Lyre: Musical Instruments by American Makers (1983); ‘Dolmetsch-Chickering Instruments at Yale’, AMIS Newsletter, xxi/2 (1992)
New Orleans Jazz Club Collections, Louisiana State Museum: c50.
Marlowe A. Sigal collection: c300 mainly keyboards, European and some American woodwinds.
Department of Anthropology, American Museum of Natural History: 4000 ethnographic esp. African, Asian, Siberian, Melanesian, North and South American esp. pre-Columbian.
C.W. Mead: The Musical Instruments of the Incas: a Guide Leaflet to the Collection on Exhibition (1903); C.W. Mead: ‘The Musical Instruments of the Incas’, Anthropological Papers of the American Museum of Natural History, xv/3 (1924), 313–47; T.R. Miller: ‘The Evidence of Instruments’, Anthropology and Humanism Quarterly, xvii/2 (1992), 49–60
Frederick R. and Patricia B. Selch Collection of Historic Musical Materials (part also in Sharon Springs, NY): over 1000 primarily Western European and American art, traditional, popular and ethnological, esp. ante-bellum Northeastern American bass viols and winds; large library of primary sources on musical instruments, most early instruction manuals, early American performance music, many hundreds of paintings, prints and drawings of musical subjects.
F.R. Selch: An Exhibition of Early Musical Instruments (1959) [exhibition catalogue]; F.R. Selch: ‘Yankee Bass Viol Makers’, Journal of the Violin Society of America, ii/2 (1979); F.R. Selch: ‘Early American Violins and their Makers’, Journal of the Violin Society of America, vi/1 (1980); F.R. Selch: ‘American Musical Instruments: a Brief History’, The Art of Music, American Painting and Musical Instruments 1770–1910 (1984) [exhibition catalogue, Whitney Museum, New York, Duke U., Exeter, NH]; F.R. Selch: ‘Who was Chapin?’, Stearns Collection Newsletter (1991); F.R. Selch: ‘The Yankee Bass Viol’, AMIS Newsletter, xx/2 (1991); F.R. Selch: ‘Some Moravian Makers of Bowed Stringed Instruments’, JAMIS, xix (1993), 38–64; F.R. Selch: ‘American Moravian Makers and the Vogtländisch school of Musical Instrument Making’, Journal of the Violin Society of America, xiii/1 (1993); F.R. Selch and J. Peknik: ‘America’s First School of Violin Making’, Journal of the Violin Society of America, xiv/3 (1996), 125–76; F.R. Selch: ‘Early American Musical Paintings: Bright Visions of Forgotten Musical Worlds’, Musique – Images – Instruments (forthcoming)
Lillian Caplin collection: c50 worldwide.
Metropolitan Museum of Art, Department of Musical Instruments and other departments: c5000 worldwide, esp. European, American, Asian, African art, traditional, popular, ethnological and archaeological, incl. Mrs. John Crosby Brown, Joseph W. Draxel, Getty, some of Tagore, part of Mrs. W.D. Frishmuth, Herbert J. Harris (worldwide percussion), Robert A. Lehman and other collections.
M.E. Crosby Brown and W. Adams Brown: Musical Instruments and Their Homes: a Complete Catalogue of the Collection ... Now in the Possession of Mrs. J. Crosby Brown (1888); F. Morris and others: Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations (1901–14); E. Winternitz: Keyboard Instruments in the Metropolitan Museum of Art (1961); E. Winternitz: Musical Instruments of the Western World (1966); E. Winternitz: ‘The Crosby Brown Collection ... its Origin and Development’, Metropolitan Museum Journal, iii (1970), 337–56; Checklist of Western European Flageolets, Recorders, and Tabor Pipes (1976); Checklist of European & American Fifes, Piccolos, and Transverse Flutes (1977, 2/1989); Checklist of Bagpipes (1977); L. Libin: ‘The “Restored” Stradivari and Amati Violins of the Metropolitan Museum of Art’, Journal of the Violin Society of America, iv/1 (1977–8), 34–47; L. Libin: ‘Musical Instruments in the Metropolitan Museum of Art’, Metropolitan Museum of Art Bulletin, xxxv/3 (1978), 1–48; W. Monical: Checklist of Viole da Gamba (1979); Checklist of European & Ameican Harps (1979); S. Pollens: Forgotten Instruments [exhibition catalogue, Katonah, NY] (1980); L. Libin: American Musical Instruments in the Metropolitan Museum of Art (1985); L. Libin: Two Centuries of Piano Design (1985) [exhibition catalogue]; Recent Acquisitions: a Selection, 1985–1986 (1986); R.A. Lehman: ‘Preparation and Management of a Descriptive Inventory for a Collection of Flutes’, JAMIS, xii (1986), 137–48; L. Libin: Historic Flutes from Private Collections (1986) [exhibition catalogue]; B. Burn: Checklist of American Musical Instruments (1989); J.K. Moore: Sounding Forms: African Musical Instruments (1989) [exhibition catalogue]; L. Libin: ‘Keyboard Instruments’, Metropolitan Museum of Art Bulletin, lxvii/1 (1989); K. Christiansen: A Caravaggio Rediscovered: the Lute Player (1990) [exhibition catalogue]; S. Pollens: ‘Michele Todini’s Golden Harpsichord’, Metropolitan Museum Journal, xxv (1990), 33–47; The Spanish Guitar/La guitara Espanola (1990) [exhibition catalogue]; L. Libin: Our Tuneful Heritage (1994) [exhibition catalogue of instruments from MMA coll., Provo, Utah]; S. Pollens and others: Violin Masterpieces of Guarneri Del Gesu: an Exhibition (1994); ‘Musical Instruments Retell African-American History at the Metropolitan Museum’, AMIS Newsletter, xxv/3 (1996); S. Pollens: ‘Flemish Harpsichords and Virginals in the Metropolitan Museum of Art: an Analysis of their Alterations and Restorations’, Metropolitan Museum Journal, xxxii (1997), 85–110
Murtogh Guinness collection: musical automata.
Museum of the American Piano: c45 keyboards.
Museum of the City of New York: c30 Western art and popular.
Research Branch, National Museum of the American Indian, Smithsonian Institution: 6150 (3210 ethnological, 2940 archaeological) Native North, Central and South American. Exhibitions held at NMAI’s George Gustave Heye Center, New York City.
Museum of Appalachia. c200 traditional.
J.R. Irwin: Musical Instruments of the Sothern Appalachian Mountains (West Chester, PA, 2/1983)
Kauffman Museum: c100, more than half European-American origin, also Native North American, Asian and Central African ethnological.
Pardee Home Museum: c60 Western, many popular.
String Instrument Construction Collection, Oberlin College
L.S. Richer: The VSA [Violin Society of America]-H. K. Goodkind Collection: a Guide and Selective Index to the Stringed Instrument Construction Collection at the Oberlin College Library (1997)
National Cowboy Hall of Fame: c35 mainly US military.
Oklahoma Historical Society Museum: c50 Western, Native American, some non-Western.
Richard W. Payne collection: over 500 archaeological and ethnological American winds, esp. flutes.
R.W. Payne: ‘Indian Flutes of the Southwest’, JAMIS, xv (1989), 5–31; R.W. Payne: ‘Medicine and Music: Whistles of the Eastern Oklahoma Indians’, Chronicles of Oklahoma, lxviii (1991), 424–33; R.W. Payne: ‘Bone Flutes of the Anasazi’, Kiva, lvi/2 (1991), 165–77
Six Nations Indian Museum: c30.
Hudson Museum, University of Maine: c60 Meso- and North American, African, and Southeast Asian ethnological and archaeological.
Museum of Archaeology and Anthropology, University of Pennsylvania: c3500 North-, Central-, South American, African, Near Eastern and Oceanian mainly ethnological, also some Western incl. Mrs. William D. Frishmuth collection.
Heard Museum of Native Cultures and Art: c600 ethnological primarily Native North American, African.
Band Museum: c1200 mainly American, incl. Jerry G. Horne collection.
S. Yount: ‘Formation of Band Museum’, AMIS Newsletter, xxiv/2 (1995)
Division of Anthropology, Carnegie Museum of Natural History: c475 worldwide ethnological, esp. Costa Rican and Colombian archaeological ocarinas.
Tamburitzan Folk Arts Center: 500 European traditional (esp. Balkan) and non-Western ethnological.
Maine Historical Society Museum: c30 Western art and traditional.
Oregon Historical Society Museum: c60 Western used locally, some Native American.
Rasmussen Collection of Northwest Coast Indian Art, Portland Art Museum: c15.
E. Gunther: Art in the Life of the Northwest Coast Indians (1966)
Crane School of Music, State University College: Charles N. Lanphere collection, over 100 Middle Eastern from Biblical period, incl. reconstructions, Asian, Australian, from Madagascar, the Philippines and Siberia; Washburn Collection, c150 African and Asian.
C.N. Lanphere: The First Ten Thousand Years of Music: Music of the Bible (2/1972); African and Asian Musical Instruments (1981) [exhibition catalogue]
Treasure Room, Historical Musical Instruments Collection, Department of Music, Vassar College: over 50 Western, art esp. keyboards.
‘Instruments in Vassar’s Collection (Partial Listing)’, AMIS Newsletter, xxvii/3 (1998)
Rhode Island Historical Society Museum: c40, mainly brass.
Museum of Art, Brigham Young University: c150 non-Western and Western, incl. Lloyd Miller and Lotta Van Buren collections.
Goodhue County Historial Society Museum: c40 mainly Western art and traditional.
Helen R. and Charles R. Valenza flute collection: over 60 European and American art
Historic Flutes from Private Collections (1986) [exhibition catalogue, Metropolitan Museum of Art, New York]
Kermit Welch collection: c225 woodwinds.
Fairbanks Museum of Natural Science and Planetarium: c75 mainly ethnological, and some American winds and string instruments.
St. Joseph Museum: c75, mainly Native American, also non-Western ethnological and some Western.
Minnesota Historical Society Museum: c175 Western.
The Schubert Club Museum of Musical Instruments: c2100 worldwide, incl. 100 keyboards, Western art, traditional, band, mechanical and ethnological, esp. African and Indian, and 60 phonographs, most from William and Ida Kugler collection.
A. Gage: ‘Incredible Music Machines: the History of the Phonograph 1877-1927’, Minnesota Monthly, xxi/10 (1987); T. Wenberg: Violin & Bow Makers of Minnesota (1988); B. Carlson: The Schubert Club Museum (1991); B. Weiss: Song of India (1992) [exhibition catalogue]
Peabody Essex Museum: c300 mainly Asian (particularly Chinese), Native American, from Hawaiian Islands, African ethnological, and some Western art.
Old Salem (Moravian Community)
J. Watson: ‘Claviers for Salem: Historic Instruments in the Salem Moravian Community’, Moravian Music Journal, xxxi/1 (1986); ‘Historic Tannenberg Organ from Old Salem’, AMIS Newsletter, xxviii/3 (1999)
Museum of Church History and Art, Church of Jesus Christ of Latter-Day Saints: c75 Western art and popular.
San Diego Museum of Man: c300 ethnological mainly North American and Mexican, also African, Asian and Oceanian.
Harry Partch collection, University of California
T. Kakinuma: The Musical Instruments of Harry Partch as an Apparatus of Production in Musical Theatre (diss., U. of California, 1989); D.A. Savage: Voice and Soul: Intrinsic Description of Harry Partch’s Keyboard and String Instruments (diss., U. of California, 1994)
Fine Arts Museums of San Francisco: c270 Western and ethnological incl. Jascha Heifitz’s 1742 Guarneri del Gesu violin.
Bowers Memorial Museum: c70 pre-Columbian, archaeological and a few Western.
Santa Barbara Historical Society Museum: c300 bells worldwide, c15 Western.
Department of Music, University of California: c900 East Asian, southeast Asian, African, Middle Eastern, pre-Columbian and Western, incl. Henry Eichheim collection.
‘UCSB Acquires Non-Western Instruments’, AMIS Newsletter, xi/2 (1982); D.M. Hsu: Henry Eichheim Collection of Oriental Instruments (1984) [exhibition catalogue]
Wheelwright Museum of the American Indian (formerly Museum of Navajo Ceremonial Art): c50 Navajo, Pueblo and Apache Native American.
Anthropology Division, Thomas Burke Memorial Washington State Museum, University of Washington: c500 from the Pacific Rim and Native North American.
Museum of History and Industry, Historical Society of Seattle and King County: c70 Western art and popular, some ethnological.
Seattle Art Museum: c175 from the Pacific Rim, African, North and South American art and ethnological.
School of Fine and Performing Arts, Seattle Pacific Univesity: c25 art and ethnological flutes from Jim Buck collection.
Shelburne Museum: c40 mainly music boxes incl. Wilmerding collection.
Sheldon Jackson Museum: c25 Inuit, and a Russian organ, 1846, first used in Alaska.
Department of Music, Stanford University: c65 string instruments esp. bowed, Harry R. Lange collection.
H.W. Myers: ‘Stanford’s Lange Collection Profiled’, AMIS Newsletter, xiv/3 (1985)
Overland Trail Museum: c50 mainly Western used locally.
Old Sturbridge Village: c110 made or used in New England before 1840.
Douglas County Historical Society: c50 Western used locally.
Department of Anthropology, Florida State University: c65 worldwide, especially Peru, Panama, and Montana.
James Roberts Instrument Collection, Florida State University
K.R. Gengo: The James Roberts Instrument Collection: a Documentation and Description (MM thesis, Florida State U., 1994)
Emil Richards collection: c600 percussion worldwide.
Kansas State Historical Society and Kansas Museum of History: c150 Western art, popular, and traditional made or used in Kansas.
c500 ethnological and archaeological southwestern and Mexican Native American, some Asian.
E.A. Morris: ‘Basketmaker Flutes From the Prayer Rock District, Arizona’, American Antiquity, xxiv/4 (1959), 406–11; B.M. Bakkegard and E.M. Morris: ‘Seventh-Century Flutes from Arizona’, EthM, v/3 (1961), 184–6; D.N. Brown: ‘The Distribution of Sound Instruments in the Prehistoric Southwestern United States’, EthM, xi/1 (1967), 71–90; L. Queen: ‘Southwestern Indian Musical Instruments’, Smoke Signal, xxxv (1978); A. Ferg: ‘Amos Gustina, Apache Fiddle Maker’, American Indian Art Magazine, vi/3 (1981), 28–35; R.W. Payne: ‘Indian Flutes of the Southwest’, JAMIS, xv (1989), 5–31
Anthropology Department, Gilcrease Museum: c40 mainly Native American.
Native American Collection, Philbrook Museum of Art: c30 mainly Plains tribes.
Band Museum, University of Illinois: worldwide incl. Carl Busch, some from Lloyd Farrar collections.
C.T. Carrell: A Catalogue of the Brass Musical Instruments of the Carl Busch Collection at the University of Illinois (DMA diss., U. of Illinois, 1996); K.L. Cox: A Catalog of the Clarinets in the University of Illinois Bands Museum (DMA diss., U. of Illinois, 1997)
School of Music, Division of Musicology, University of Illinois: c90 Middle Eastern, Asian, Native North and Latin American incl. permanent loan of Peruvian archaeological from Krannert Art Museum
J.R. Haefer: A Checklist of Folk and Non-European Musical Instruments in University of Illinois Collections (1974) [typescript]
University of Illinois: small collections in the Afro-American Culture Centre, Department of Anthropology Laboratory, and Natural History Museum.
America's Shrine to Music Museum, University of South Dakota: over 6000 Western art, traditional, popular and worldwide ethnological, incl. Arne B. Larson, Laurence Witten (string instruments), Rawlins Family, Wayne Sorensen (band), Dale Higbee (flutes), Rosario Mazzeo (clarinets), John Powers (saxophone), Cecil Leeson (saxophone), and Joe and Joella Utley (brass) collections.
A.P. Larson: A Catalogue of the Double Reed Instruments in the Arne B. Larson Collection of Musical Instruments (diss., U. of South Dakota, 1968); A.P. Larson: Catalog of the Nineteenth-Century British Brass Instruments in the Arne B. Larson Collection (diss., West Virginia U., 1974); G.M. Stewart: Restoration and Cataloging of Four Serpents in the Arne B. Larson Collection of Musial Instruments (MM thesis, U. of South Dakota, 1978); G.M. Stewart: Catalog of the Collections, the Shrine to Music Museum, i: Arne B. Larson Collection: Keyed Brass Instruments (1980); T.E. Cross: Instruments of Burma, India, Nepal, Thailand, and Tibet (1982); ‘The Wayne Sorensen Collection’, AMIS Newsletter, xii/3 (1983); M.D. Banks: ‘North Italian Viols at the Shrine to Music Museum’, JVdGSA, xxi (1984), 7–27; M.D. Banks: ‘Recent Acquisitions ... the Witten-Rawlins Collection’, CIMCIM Newsletter, xii (1985); L. Kitzel: The Trombones of the Shrine to Music Museum (diss., U. of South Dakota, 1985); G.R. Moege, ed.: A Catalogue of the Alto Brass Instruments in the Arne B. Larson Collection of Musical Instruments (1985); J.J. Swain, ed.: A Catalog of the E-Flat Tubas in the Arne B. Larson Collection (diss. U. of Michigan, 1985); M.D. Banks: ‘The Witten-Rawlins Collection and other Early Italian Stringed Instruments at the Shrine to Music Museum’, Journal of the Violin Society of America, viii/3 (1987), 19–48; M.D. Banks: ‘The “Harrison” Violin, the “Rawlins” Guitar, and other Stradivari Materials at the Shrine to Music Museum’, Journal of the Violin Society of America, ix/3 (1988), 13–35; M. Schlenz: The Shrine to Music Museum: a Pictorial Souvenir (1988); M.L. Scott: The American Piston Valved Cornets and Trumpets of the Shrine to Music Museum (1988); Amadeus: his Music and the Instruments of the Eighteenth Century (1990); ‘USD Museum Opens New Gallery’, AMIS Newsletter, xix/2–3 (1990); D.W. Knutson: A Catalogue of the European Cornets and Trumpets at the Shrine to Music Museum (DMA diss., U. of Illinois, 1992); S. Carter: ‘Early Trombones in America’s Shrine to Music Museum’, HBSJ, x (1998); P. Machlis: ‘Rosario Mazzeo Collection of Clarinet Music’, AMIS Newsletter, xxvii/2 (1998); Beethoven: Musical Treasures from the Age of Revolution & Romance (1999) [exihibtion catalogue at Santa Ana, The Bowers Museum of Cultural Art]
Music Division, Central Missouri State University: c300 mainly winds, worldwide: the Don Essig collection.
‘Essig Collection is Cataloged and Exhibited’, AMIS Newsletter, x/2, (1981)
Daughters of the American Revolution (DAR) Museum: c45 European and American.
E.D. Garrett: The Arts of Independence, the DAR Museum Collection (1985); Strike Up the Band (1988) [exhibition checklist]
Department of Anthropology, National Museum of Natural History, Smithsonian Institution: 3300 ethnological, esp. African and Oceanian.
F. Densmore: Handbook of the Collection of Musical Instruments in the United States National Museum (1927); D.L. Thieme: A Descriptive Catalogue of Yoruba Musical Instruments (diss., Catholic U. of America, 1969)
Music Division, Library of Congress: c1780 mainly Western, art incl. Dayton C. Miller (flutes), Gertrude Clark Wittall (major Italian violin-family and bows), H. Blakiston Wilkins (bowed string instruments), Thai-Laotian Ceremonial, and Robert E. Sheldon (winds loan) collections.
H.B. Wilkins: The Stradivari Quintet of Stringed Instruments (1936); W.D. Orcutt: Stradivari Memorial (1938); L.E. Gilliam and W. Lichtenwanger: The Dayton C. Miller Flute Collection: a Checklist (1961); R.E. Sheldon: Wind Instruments (1968) [exhibition brochure, Museum of History and Technology, Smithsonian]; F. Traficante: ‘Henry Blakiston Who? Or Some Early Instruments at the Library of Congress’, JVdGSA, x (1973); C.A. Goodrum: Treasures of the Library of Congress (1980); M. Seyfrit: Musical Instruments in the Dayton C. Miller Flute Collection: a Catalog, i: Recorders, Fifes and Simple System Transverse Flutes of One Key (1982); The Stringed Instrument Collection in the Library of Congress (Tokyo, 1986); M.J. Simpson: ‘Dayton C. Miller and the Dayton C. Miller Flute Collection’, Flutist Quarterly, xv (1990), 5–11; R. Sheldon: ‘The Musical Instrument Collections of the Library of Congress’, Flutist Quarterly, xvi/3 (1991); Music, Theater, Dance: an Illustrated Guide (1993); R. Hargrave: Amati, Stradivari & Guarneri: the Library of Congress Violins (1997)
National Museum of American History (formerly Museum of History and Technology) Smithsonian Institution: c5000 American and European art, traditional, jazz and popular, incl. 268 keyboards and Hugo Worch (keyboards), part of Mrs. W.D. Frishmuth, and Janos Scholz (cello bow) collections.
T. Wilson: Prehistoric Art, or The Origin of Art as Manifested in the Works of Prehistoric Man (1898); H.W. Krieger: Material Culture of the People of Southeastern Panama (1926); F. Densmore: Handbook of the Collection of Musical Instruments in the United States National Museum (1927/R); J.D. Shortridge: Italian Harpsichord Building in the 16th and 17th Centuries (1960); A Checklist of Keyboard Instruments at the Smithsonian Institution (1967); J.T. Fesperman: Organs in Early America (1968) [exhibition brochure]; J. Fesperman: ‘Music and Instruments at the Smithsonian Institution’, CMc, vi (1968), 63–5; C.A. Hoover: Harpsichords and Clavichords (1969); J. Fesperman: A Snetzler Chamber Organ of 1761 (1970); C.A. Hoover: Music Machines: American Style (1971) [exhibition catalogue]; J.S. Odell: Plucked Dulcimers: a Checklist of Appalachian Dulcimers and Similar Instruments in the Collection of the Division of Musical Instruments (1971); R. Eliason: Keyed Bugles in the United States (1972); J.S. Odell: A Checklist of Banjos in the Collections of the Division of Musical Instruments (1973); C.A. Hoover: History of Music Machines (1975); H.R. Hollis: Pianos in the Smithsonian Institution (1975); Checklist of Keyboard Instruments at the Smithsonian Institution (1975); G. Sturm: ‘Exhibition of Violins and Bows in the Smithsonian Collection’, Journal of the Violin Society of America, v/2 (1979), 75–102; ‘Smithsonian Acquires Important Bowed Strings’, AMIS Newsletter, viii/3 (1979); L.E. Herman: The Harmonious Craft: American Musical Instruments (1979) [exhibition brochure]; Classical Bowed Stringed Instruments from the Smithsonian Institution (1986); G. Sturm and W. Monical: American Violin Makers before 1930 (1987) [exhibition catalogue]; M.K. O’Brien: ‘The Smithsonian Clavichords’, Early Keyboard Journal, x (1992), 121–78; J.E. Hasse: The Life and Genius of Duke Ellington (1993); Piano Roles: Three Hundred Years of Life with the Piano (1999)
National Park Service, US Department of the Interior: western art and traditional, ethnological, archaeological, esp. Native American.
Flutes of the World, Betty Austin Hensley Collection: over 350 Western art, traditional, popular and non-Western ethnological flutes.
B.A. Hensley: Flutes of the World: a Checklist (1983)
Thurlow Lieurance Indian Flutes, Wichita State University: c25 flutes, half Native North American.
B.A. Hensley: Thurlow Lieurance Indian Flutes (1990)
Robert S. Howe collection: c250.
DeWitt Wallace Gallery, Colonial Williamsburg: c80 mainly English and American 18th-century art.
M. Hamilton-Phillips: ‘Magnificent Keyboards of Colonial Williamsburg’, Ovation, vii/6 (1986)
Department of Music, Williams College: c50 Western art, incl. Telford Taylor collection.
The Musical Wonder House: large number of mechanical.
Historical Society of York County: c50 Western art, traditional used locally
Museum of Uzbek History, Culture and Arts: c60 traditional Usbeg and documentation of Tashkent musical-instrument factory.
Applied Arts Museum of Uzbekistan: c80 important Uzbeg.
Scientific Experimental Laboratory for the Sphere of Research, Reconstruction and Improvement of the Musical Instruments by the State Conservatory ‘M. Ashrafi’: c700 reconstructions of traditional Uzbeg and other Central Asian cultures.
A.I. Petrosyants: Instrumentovedenie [Organology] (1951, 2/1980)
Tashkent Historical Museum of the People of Uzbekistan: c65 Usbeg and manufacturing tools.
Uzbek State Museum of Art: c110, some 85 Usbeg traditional incl. by Usto Zupharov, and c25 Indian
Fundación de Etnomusicología y Folklore del CONAC: c1250 Venezuelan, Latin American and Carribbean.
Museo Organologico, Instituto Interamericano de Etnomusicología y Folklore: 700 ethnological, mainly winds and percussion incl. the Aretz-Ramón, and Rivera collections.
Cuatro mil aeo Organologico, Institu (1976); I. Aretz: Instrumentos musicales para una orquesta latinoamericana (1983); I. Girón: ‘Instrumentos musicales del contexto mágico-religioso’, Catálogo de la exposición del primer congreso interamericano de etnomusicología y folklore (1983); M.T. Melfi and I. Girón: Instrumentos musicales de América latina y el caribe (1988)
Etnografski Muzej [Ethnographical Museum]: c355 from throughout Yugoslavia and surrounding countries.
Narodni muzicki instrumenti jugoslavie (1967)
nstitute of Musicology of the Serbian Academy of Sciences and Arts: c60 regional.
Fakultet Muzicke, Univerzitet Umetnosti u Beogradu [Faculty of Musical Art, University of Arts in Belgrade]: c500 mostly Eastern European.
Muzej Africke, Universitet Umetnosti u Beogradu [African Museum, University of Arts in Belgrade]: c40 African.
A. Gojković: Africki muzicki instrumenti (1987) [catalogue]
Département d’Anthropologie Culturelle, IRSAC: c45 regional.
Institut des Musée Nationaux du Zaïre (IMNZ): c2200 traditional
A.M. Jones: ‘African Music in Northern Rhodesia and some other places’, Occasional Papers of the Rhodes-Livingstone Museum (1974); A.A. Mensah: Music and Dance in Zambia (1971)
Moto-Moto Museum: over 140 Northern and Central Zambian (Bemba, Bisa, Lala, Mambwe and Inamwanga peoples), incl. Father Jean-Jacques Corbeil collection.
J.-J. and W.F. Corbeil: African Music: Bemba Instruments (n.d.)
Ethnography Department, Queen Victoria Museum: c50 Ghona and Mdebele traditional.
C. Jones: Making Music: Musical Instruments of Zimbabwe Past and Present (1992)
BoalchM
ClinkscaleMP
EMC2 (H. Kallmann and others)
MGG2 (B. Lambert, S.K. Klaus and M.H. Schmid)
Waterhouse-LangwillI
G.L. Kinsky: ‘Musikinstrumentensammlungen in Vergangenheit und Gegenwart’, JbMP 1920, 47–60
C. Sachs: ‘La signification, la tèche et la technique muséographique des collections d’instruments de musique’, Mouseion, xxvii–xxviii (1934), 153–84
T. Norlind, ed.: Systematik der Saiteninstrumente, i: Geschichte der Zither (Stockholm, 1936); ii: Geschichte des Klaviers (Stockholm, 1939)
G. Thibault: ‘Les collections privées de livres et d’instruments de musique d’autrefois et d’aujourd’hui’, HMYB, ix (1961), 131–47
Die Bedeutung, die optische und akustische Darbietung und die Aufgaben einer Musikinstrumentensammlung: Nuremburg 1969
W.H. Fitzgerald: Directory of Asian-Pacific Museums (Honolulu, 1969)
B. Geiser: ‘Musical Instruments in Public and Private Collections in Switzerland’, CIMCIM Newsletter, no.2 (1974)
W. Lichtenwanget and others, ed.: A Survey of Musical Instrument Collections in the United States and Canada (Ann Arbor, 1974)
E.M. Ripin: The Instrument Catalogs of Leopoldo Franciolini (Hackensack, NJ, 1974)
J. Jenkins: International Directory of Musical Instrument Collections (Buren, 1977)
I. Mačák, P. Kurfürst and F. Hellwig, eds.: Contributions to the Study of Traditional Musical Instruments in Museums (Bratislava, 1987)
J. Coover: Musical Instrument Collections: Catalogues and Cognate Literature (Detroit, 1981)
P.T. Young: Twenty-Five Hundred Historical Woodwind Instruments: an Inventory of the Major Collections (New York, 1982)
F. Gétreau: ‘Les instruments de musique dans les collections publiques français non spécialisées’, La vie musicale en Picardie au temps des Puys, Musée de Picardie, Amiens, 29 Apr – 13 July 1983 (Amiens, 1983), 71–4 [exhibition catalogue]
T.J. Wenberg: The Violin Makers of the United States (Mt Hood, OR, 1986)
F. de la Grandville: Recensement des instruments de musique anciens (Paris, 1988–90)
M. Haine: Les instruments de musique dans les collections belges/Musical Instruments in Belgian Collections (Liége, 1989)
W. Powers: ‘Checklist of Historic Recorders in American Private and Public Collections’, American Recorder, xxx/2 (1989)
C. Bevan, ed.: Musical Instrument Collections in the British Isles (Winchester, 1990)
S. Levin: ‘Collecting of Musical Instruments in Russia and the Soviet Union’, JAMIS, xvi (1990), 118–31
L’ethnomusicologie en Europe: répertoire des institutions et ressources (Issy les Moulineaux, 1992) [pubn of the Société Française d’Ethnomusicologie]
R. van Acht: Checklist of Technical Drawings of Musical Instruments in Public Collections of the World (Celle, 1992)
P.T. Young: 4900 Historical Woodwind Instruments: an Inventory of 200 Makers in International Collections (London, 1993)
F. Gétreau: Aux origines du Musée de la musique: les collections instrumentales du Conservatoire de Paris, 1793–1993 (Paris, 1996)
B. Lambert: International Directory of Musical Instrument Collections [IDMC] (1997) <www.icom.org/cimcim/id>
J. Lambrechts-Douillez: History of CIMCIM (1997) <www.icom.org/cimcim/ijt.html>
A. Rice: Directory of Musical Instruments in Canada and the United States (1997) <www.icom.org/cimcim/id>
R. Meucci, ed.: ‘Musei e collecioni di strumenti musicali’, Annuario musicale Italiano, iv/1 (1989), 387–8; iv/2 (1989), 347–55
A. Kircher: Musurgia universalis (Rome, 1650/R)
M. Todini: Dichiaratione della galleria armonica (Rome, 1676/R)
M. Fürstenau: Beiträge zur Geschichte der königlich sächsischen musikalischen Kapelle (Dresden, 1849)
M. Fürstenau: Ein Instrumentinventarium vom Jahre 1593 (Dresden, 1872)
L. Puliti: Cenni storici della vita del serenissimo Ferdinando dei Medici Granprincipe di Toscana, e della origine del pianoforte (Florence, 1874) [orig. pubd in Atti dell’Accademia de R. Insituto musicale di Firenze, xii, 1874]
L.F. Valdrighi: Musurgiana (Modena, 1879–96); 1st ser. repr. (Bologna, 1970)
A. Bruni: Un inventaire sous la Terreur: état des instruments de musique relevé chez les émigrés et condamnés ed. J. Gallay (Paris, 1890/R)
C. Pierre: La facture instrumentale à l’Exposition universelle de 1889 (Paris, 1890)
J. Sittard: Zur Geschichte der Musik und des Theaters am württemburgischen Hofe (Stuttgart, 1890–91/R)
E. de Bricqueville: ‘Les collections d’instruments de musique aux XVIe, XVIIe et XVIIIe siècles’, Un coin de la curiosité: les anciens instruments de musique (Paris, 1894), 15
F. Pedrell: Emporio cientifico e histórico de organografia musical espamusique aux X (Barcelona, 1901)
E. Zulauf: Beiträge zur Geschichte der Landgräfliche-hessische Hofkapelle zu Cassel bis auf die Zeit Moritz des Gelehrten (Kassel, 1902)
F. Waldner: ‘Zwei Inventarien aus dem XVI. und XVII. Jahrhundert über hinterlassene Musikinstrumente und Musikalien am Innsbrucker Hofe’, SMw, iv (1916), 128–47
A. Aber: Die Pflege der Musik unter den Wettinern und wettinischen Ernestinern (Bückeburg and Leipzig, 1921)
F.A. Drechsel: ‘Alte Dresdener Instrumenten Inventare’, ZMw, x (1927–8), 495–9
F.W. Galpin: The Collection of Musical Instruments Formed and Owned by the Late C. van Raalte, Fox & Sons, 21 June 1927 (Bournemouth, 1927) [sale catalogue]
H. Anglès: La música en la corte de Carlos V, MME, ii (1944, 1965R)
P. Loubet de Sceaury: Musiciens et facteurs d’instruments sous l’ancien régime (Paris, 1949)
A. Baines: ‘Two Cassel Inventories’, GSJ, iv (1951), 30–38
S. Marcuse: ‘The Instruments of the King’s Library at Versailles’, GSJ, xiv (1961), 34–6
S. Hellier: ‘A Catalogue of Musical Instruments’, GSJ, xviii (1965), 5–6
M. McLeish: ‘An Inventory of Musical Instruments at the Royal Palace, Madrid, in 1602’, GSJ, xxi (1968), 108–28
F. Crane: Extant Medieval Musical Instruments: a Provisional Catalogue by Types (Iowa City, 1972)
M. Castellani: ‘A 1593 Veronese Inventory’, GSJ, xxvi (1973), 15–24
B. Dickey, E.H. Tarr and P. Leonards: ‘The Discussion of Wind Instruments in Bartolomeo Bismantova’s Compendio musicale (1677): Translation and Commentary’, Basler Jb für historische Musikpraxis, ii (1978), 143–87
D. Krickeberg: ‘Die alte Musikinstrumentensammlung der Naumberger St. Wenzelskirche im Spiegel ihrer Verzeichnisse’, JbSIM (1978), 7–30
J. Watson: ‘A Catalog of Antique Keyboard Instruments in the Southeast’, Early Keyboard Journal, ii (1983–4), 64–82; iii (1984–5), 60–77; v (1986–7), 53–69; ix (1991), 71–103; xv (1997)
E. Tremmel: ‘Musikinstrumente im Hause Fugger’, Die Fugger und die Musik: Lautenschlagen Lernen und Leben, ed. R. Eikelmann (Augsburg, 1993), 61–70
IAMIC Newsletter [International Association of Musical Instruments Collections], nos.1–2 (1973–4)
CIMCIM Newsletter nos.3–14 (1975–89)
CIMCIM Bulletin no.1– (1989–)
C. Engel, ed.: Catalogue of the Special Exhibition of Ancient Musical Instruments, South Kensington Museum (London, 1872)
A.J. Hipkins: International Inventions Exhibition, London, 1885: Guide to the Loan Collection and List of Musical Instruments, Royal Albert Hall (London, 1885)
C.R. Day: A Descriptive Catalogue of the Musical Instruments Recently Exhibited at the Royal Military Exhibition, London, 1890 (London, 1890)
Musée rétrospectif de la classe 17: instruments de musique, matérial, procédés et produits à l’Exposition universelle internationale de 1900 (Paris, 1900)
Under the Auspices of Chickering & Sons: Catalogue of the Exhibition, Horticultural Hall (Boston, 1902)
An Illustrated Catalogue of the Music Loan Exhibition, Fishmongers’ Hall, London, June – July 1904 (London, 1909)
K. Meyer: Katalog der Internationalen Ausstellung Musik im Leben der Völker, Frankfurt, 11 June – 28 Aug 1927 (Frankfurt, 1927)
Ausstellung alte Musik: Katalog, Bayerischen Nationalmuseum, Munich, Nov – Dec 1951 (Munich, 1951)
The Galpin Society: British Musical Instruments, Arts Council of Great Britain, London, 7 Aug – 30 Aug 1951 (London, 1951)
V festival Gulbenkian de musica: exposiçaô internacional de instrumentos antigos, Palácio Foz (Lisbon, 1961)
Mostra di antichi strumenti musicali, Teatro Comunale, 1963–4 (Modena, 1963)
Catalogue of the Musical Instrument Exhibition, Expo Sussex (Haywards Heath, Sussex, 1968)
The Galpin Society, 21st Anniversary Exhibition: an Exhibition of European Musical Instruments, Reid School of Music, U. of Edinburgh, 18 Aug – 7 Sept 1968 (Edinburgh, 1968)
K.S. Kothari: Indian Folk Musical Instruments, Sangeet Natak Akademi, 15 Nov – 22 Nov 1968 (New Dehi, 1968)
Exposition des instruments de musique des XVIème et XVIIème siècles, Hôtel de Sully, Paris, June 1969 (Brussels, 1969)
M. van Vaerenbergh-Awouters and others: Catalogus van de tentoonstelling gewijd aan muziekinstrumenten uit de XVIe en XVIIe eeuw, behorend tot het Instrumentenmuseum van Brussel/Catalogue de l’exposition ‘Instruments de musique des XVIe et XVIIe siècles’, appartenant au Musée instrumental de Bruxelles, Kasteel Laarne, Sept – Nov 1972 (Brussels, 1972)
G. Thibault, J. Jenkins and J. Bran-Ricci: Eighteenth Century Musical Instruments: France and Britain/Les instruments de musique au XVIIIe siècle: France et Grand-Bretagne, Victoria and Albert Museum (London, 1973)
J. Français: Collector’s Choice: Musical Instruments of Five Centuries from American Private Collections, Amsterdam Gallery, Lincoln Center (New York, 1975)
J. Jenkins and P. Rovsing Olsen: Music and the World of Islam, Horniman Museum, 6 Apr – 6 Oct 1976 (London, 1976)
P. Dumoulin: L’Europe du clavecin: en hommage à T.R.C. Goff, Palais Lascais, June – July 1977 (Nice, 1977)
C. Marcel-Dubois and others: L’instrument de musique populaire: usages et symboles, Musée Nationale des Arts et Traditions Populaires, 28 Nov 1980 – 19 Apr 1981 (Paris, 1980)
S. Pollens: Forgotten Instruments, Katonah Gallery, 15 Nov 1980 – 18 Jan 1981 (Katonah, NY, 1980)
P.T. Young: The Look of Music: Rare Musical Instruments, 1500–1900, Vancouver Museum (Vancouver, 1980)
Orlando di Lasso: Musik der Renaissance, Münchner Fürstenhof, 27 May – 31 July 1982 (Wiesbaden, 1982)
La vie musicale en Picardie au temps des Puys, Musée de Picardie, Amiens, 29 Apr – 13 July 1983 (Amiens, 1983)
Catching the Tune: Music and William Sidney Mount, State U. of New York at Stony Brook (Stony Brook, NY, 1984)
The Art of Music: American Paintings and Musical Instruments, 1770–1910, Fred L. Emerson Gallery, Hamilton College (Clinton, NY, 1984)
J.S. Britt: Nothing More Agreeable: Music in George Washington’s Family (Mount Vernon, VA, 1984)
R.L. Webb: Ring the Banjar: the Banjo in America from Folklore to Factory, MIT Museum Compton Gallery, 12 Apr – 29 Sept 1984 (Cambridge, MA, 1984)
300 Jahre Johann Sebatsian Bach: sein Werk in Handschriften und Dokumenten, Musikinstrumente seiner Zeit, seine Zeitgenossen, Staatsgalerie Stuttgart, 14 Sept – 27 Oct (Tutzing, 1985)
Domenico Scarlatti: i grandi centenari dell’anno europeo dell musica/Les grands jubilés de l’année européenne de la musique, Centro culturale beato Pietro Berno, Ascona, 24 Aug – 30 Oct 1985 (Ascona, 1985) [ Eng. and Ger. version also pubd 1985]
John Joseph Merlin: the Ingenious Mechanick, Iveagh Bequest (London, 1985)
J. Simon, ed.: Handel: a Celebration of his Life and Times, 1685–1759, National Portrait Gallery (London, 1985)
Made for Music: an Exhibition to Mark the 40th Anniversary of the Galpin Society, Sotheby’s, 11 Aug – 12 Aug 1986 (London, 1986)
P.T. Young: University of Victoria Loan Exhibition of Historic Double Reed Instruments, U. of Victoria (Victoria, 1988)
M.-T. Brincard, ed.: Sounding Forms: African Musical Instruments, National Museum of African Art, Washington DC, 26 Apr – 18 June 1989 (New York, 1989) [touring exhibition]
Die Klangwelt Mozarts, Kunsthistorisches Museum, 28 Apr – 27 Oct 1991 (Vienna, 1991)
C. Bégin and C. Nebel: Opus: the Making of Musical Instruments in Canada, Canadian Museum of Civilization (Hull, PQ, 1993)
Il museo della musica: mostra di strumenti antichi, Libreria sansoviniana, Venice, 12 Apr – 15 June 1997 (Venice, 1997)