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The article explores Giovan Battista Basile's "Lo Cunto de li cunti," one of the first European collections of fairy tales. It discusses the narrative frame, which takes place in an indefinite time and invented places. The use of popular sayings and proverbs in each tale provides a moral compass for interpretation. The article also highlights the collection-like nature of the frame tale, reflecting the Baroque culture's tendency to collect and order knowledge. Additionally, the text discusses the various collections within Basile's book, including professions, folk literature genres, court and folk entertainments, games, musical instruments, and songs. It emphasizes the paradoxical nature of the frame story, which is both true and false. The book is considered an early fairy-tale collection in Western Europe and should be appreciated as a work of Baroque literature. The text also explores the use of games, entertainment, and the enjoyment of hearing about the doings of others, as well as the potential consequences of speaking truth in the presence of princes. [Extracted from the article]

Balinese Gamelan is a popular traditional musical instrument that is admired by international residents due to its fast musical rhythms. In this study, the focus will be on one object of the Balinese gamelan musical instrument, namely the gangsa. The purpose of this study was to find out the mathematical concepts found in Balinese gamelan instruments, especially the gangsa. This type of research is qualitative research with an ethnographic approach. The subject of this research is the head of Tabuh UKM STANA, a student activity unit engaged in the arts at Mahasaraswati University Denpasar. Literature review, observation, interviews, and documentation were used to collect data, which was then analyzed and identified mathematical concepts contained in the gangsa musical instrument so that conclusions could be drawn. Based on the research results obtained through observation and interviews, it can be seen that the size and playing of the gangsa musical instrument have a mathematical concept. The mathematical concepts that we find in the gangsa musical instrument are the concepts of arithmetic sequence patterns and repeating patterns. The conclusion of this study is that there is a relationship between bronze musical instruments and mathematics learning so that this can be used as an alternative medium for learning mathematics. [ABSTRACT FROM AUTHOR]

Barbara Sjoholm's book, "From Lapland to Sápmi: Collecting and Returning Sámi Craft and Culture," explores the history of collecting in Sámi areas, with a focus on Norway and Sweden. The book highlights the significance of Sámi cultural heritage items, particularly drums, and their role as symbols of resistance. Sjoholm also addresses the invisibility of Sámi people and their struggles to reclaim their cultural heritage. The book provides new insights and perspectives, shedding light on the stories of both Sámi and non-Sámi individuals involved in collecting. [Extracted from the article]

Copyright of Conservar Património is the property of Associacao Profissional de Conservadores-Restauradores de Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article titled "Nina in Profile, Portrait Atlas" is a poetic piece that describes the beauty and complexity of a person named Nina. The author expresses a desire to understand and be close to Nina, but acknowledges their own limitations and mistakes. The article also includes a photograph of a Native American rattle from the 19th century. The author, Miles Beller, is a long-time contributing editor of Psychological Perspectives and has written a play about Marshall McLuhan. [Extracted from the article]

In 1976 the Regional Museum of Oaxaca (Mexico) received the donation of a collection of musical instruments belonging to the ethnomusicologist Samuel Martí (1906-1975) that was exhibited for a short time. A research and curatorial project has recently made it possible to exhibit these instruments again with the goal of exploring the motivations that gave rise to the collection and the close relationship it bears with the different facets of the collector's life. This renowned Mexican-American researcher was a musician, ethnomusicologist, archaeomusicologist, and cultural advocate. Some of the instruments appeared in several of Martí's publications, but without, any detailed documentation. This article approaches the Martí collection from an historiographic and museographic perspective, and explores why Martí selected the specimens he did. [ABSTRACT FROM AUTHOR]

I Sound heritage i is a collection of essays that grew out of study days hosted by the AHRC-funded Sound Heritage network, particularly the 2019 symposium held in London as part of the AHRC project Music, Home and Heritage (2017-21). "Sound" and "music" are interpreted broadly in this collection: contributors consider instruments and sheet music alongside accessories such as music stands and instrument cases. I Sound heritage i asks that heritage professionals and curators provide a research-based and responsible interpretation of music and musical objects and spaces, just as they would for any other aspect of display. [Extracted from the article]

The significance of musical instrument collections in regional museums is often unjustly overlooked. Nevertheless, the very specimens kept therein are often not only items of artistic and technical value, but also witnesses of local musical life. The author of this paper has been engaged in the Olomouc Regional Museum’s collection of musical instruments as part of her student project at the Palacký University Department of Musicology. This long-term project aims to compile a complete catalogue of the musical instrument collection with regard to current organological standards and high-quality photographic documentation. The endeavour also entails contextualizing chosen instruments within the history of musical life in Olomouc. A partial result of the aforementioned efforts is the presented paper, examining the causal relationships between the quantitative representation of select chordophones (zithers) in the museum’s collection and the musical lifestyle of the citizens of Olomouc in the late 19th century. The report also includes a comprehensive history and brief overview of the collection of musical instruments within the context of Moravian memory institutions. [ABSTRACT FROM AUTHOR]

Over the next three years, works by five women composers were recognized and published, a rapid increase over the period from 1982 to 2017, during which two works by women and transgender composers were published. 22 23 Introduction to the International Bibliography of Carillon Music by Women, Transgender, and Nonbinary Composers By Tiffany Ng and Emmet Lewis W e are pleased to make available for download an open-access international bibliography that lists published and unpublished original carillon works by over a hundred women, transgender, and nonbinary composers. Overall, music written by men continues to dominate professional carillon conventions, with 89% of GCNA repertoire and 78% of WCF repertoire authored by male composers and arrangers. We welcome original carillon works by women, transgender, and nonbinary composers, as well as carillon arrangements (created by musicians of any gender) of non-carillon works by women, transgender, and nonbinary composers. [Extracted from the article]

Copyright of Ars & Humanitas is the property of Ars & Humanitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Peleș National Museum in Sinaia, Romania, includes within its collection of musical instruments a unique harpsichord of the Taskin workshop. The instrument is representative of the eighteenth century French harpsichords, finished in 1772 by Taskin Pascal, a master instrument-maker of his time. This paper presents the results of a comprehensive diagnostic investigation carried out on the exterior decoration of the harpsichord, by means of multiple non-invasive and micro-invasive analytical techniques: multispectral imaging, X-ray fluorescence (XRF) spectroscopy, laser-induced breakdown spectroscopy (LIBS), Fourier transform infrared spectroscopy (FTIR), and optical microscopy (OM). Imaging investigation highlighted various past interventions and restorations—fillings, consolidation and chromatic reintegration of the paint layer, as well as some interesting details related to the preparatory layer and on the painting technique. Results of the elemental analysis indicated that a rich color palette was used for the luxurious decorations: vermilion for most of the red areas, lead white, a copper-based pigment for the blue and violet hues, along with Prussian blue, chromium oxides for the green tones and possibly emerald green, and iron oxides for the red, yellow and ochre tones. FTIR analysis highlighted the existence of two-layers ground based on the first layer of chalk and animal glue, covered by a second oil-bound layer of lead white. Metal soaps, gypsum, barium sulfate as well as an intermediate sizing layer based on shellac were also identified. Examination of samples' cross-sections revealed a rich stratigraphy, up to ten layers being highlighted for samples taken from the case sides' painting. The presence of two gold foils on the gilded areas, one at the top and the other within the intermediate layers, provides clear evidence of later interventions. The corroborated results offer valuable physico-chemical insights on the complex history of this prestigious harpsichord with remarkable aesthetic and historical value, as well as key information for its most suitable restoration approach. [ABSTRACT FROM AUTHOR]

The article examines the history of National Socialist discourse on music in the Völkisch movement, essentially spearheaded by the Berlin musicologist Oskar Fleischer (1856- 1933). Director of the Royal Collection of Ancient Musical Instruments, his ideas are epitomized in his Musikalische Bilder aus Deutschlands Vergangenheit, staged at the Krolloper (Berlin) in 1912, and presents the history of music as a continuum from 1500 B.C. to the Reformation. At the center of his highly speculative interpretations--mostly rejected by experts but broadly accepted by the extreme right--is the elaboration of an autochthonous Germanic (germanischen) music culture with which the German is aligned, and how the Roman Catholic Church posed a threat to it. [ABSTRACT FROM AUTHOR]

Two beautifully constructed ‘commodes’ [cabinets] attributed to Christopher Fuhrlohg, each containing a pianoforte signed by Frederick Beck survive, one in the Lady Lever Art Gallery, Port Sunlight and the other in the Royal Ontario Museum, Toronto (‘Commode’: an eighteenth-century French term for a storage cabinet — not, as in modern parlance, a chair containing a chamber pot). In the former the pianoforte is inscribed ‘Fredericus Beck Londini fecit 1775’; the name board of the latter is similarly inscribed and dated 1777. Earlier researchers have suggested that Beck commissioned Fuhrlohg to make the cases to house these instruments; however, their shape renders them impractical for the player. Why, one must ask, would a musical instrument maker adopt such a seemingly illogical approach? A more plausible explanation is that the reverse situation applies and that Fuhrlohg obtained these instruments from Beck for insertion into his cabinets, these being designed primarily as decorative pieces, suitable to grace the homes of wealthy patrons. This hypothesis is supported by newspaper advertisements placed by Fuhrlohg in 1776 and 1784. Other newly identified biographical materials include clear evidence of Beck’s presence in London as early as 1762; an extant example of an early pianoforte bearing his name, dated 1769; and the wills of both men, which firmly establish the dates of their respective deaths and provide new insights into their circumstances. [ABSTRACT FROM AUTHOR]

The article talks about MIMO: Musical Instrument Museums Online the world's largest freely accessible database for information on musical instruments held in public collections. The database now contains the records of 64703 instruments. MIMO began as a collaboration between the eleven European institutions and was funded, in part, by the European Commission's Contentplus program.

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)