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Jouer et actionner les instruments des collections patrimoniales

Playing and Operating: functionality in museum objects and instruments
Amphithéâtre - Cité de la musique
Durée : environ 8h30
La valeur patrimoniale des instruments de musique et des objets des musées réside autant dans leur matérialité, qu'il faut préserver, que dans les interactions et les pratiques culturelles dans lesquelles ils sont ancrés. Pour certains, une dimension « performative » particulièrement forte peut exister, puisque l’objet est l’outil qui permet d’accomplir une action. Les instruments de musique, les véhicules, les horloges, les machines et les instruments scientifiques sont des exemples de ce type d'objets dont on ne comprend pleinement la fonction que lorsqu'ils sont joués ou actionnés.
Depuis des décennies, les politiques de conservation des musées tiennent compte de la nécessité de mettre en mouvement ces objets et du risque que cela peut représenter pour leur conservation. La mise en avant des différences et des points de rencontre qui existent entre les pratiques de plusieurs collections, musées et pays permettra de mieux comprendre les enjeux éthiques et techniques qui sont à l’origine de ces politiques.

Langue : anglais (traduction simultanée)

The value of objects and instruments resides as much in their physical supports, that must be preserved, as in the representation of the cultural networks of meanings and interactions of which they were part. For some types of objects, this includes a particularly strong ‘performative’ element, where the object is a tool to accomplish an action. Musical instruments, vehicles, clocks and watches, machinery and objects of science and technology are few of the most obvious examples of this type of functional objects that are fully understood when they are played or operated.
For decades, museum approaches have been divided between preserving the capability of the object to operate and emphasizing the preservation of its material support.
This conference aims at offering a platform to discuss and compare current approaches regarding the preservation and interpretation of functional objects, comparing practices across collections, institutions and countries. It is hoped that, by highlighting overlaps and differences, it will be possible to develop a greater understanding of the practical and ethical reasons that inform different policies.




9h50 – Frank P. Bär (Germanisches Nationalmuseum, Nuremberg): Introduction to the research project “Preserving Functionality” and to the conference.

10h10-11h15 – Interpretation of Functional Objects/Interprétation des objets fonctionnels (1)

10h15 – Ekaterina Grechikhina (Russian National Museum of Music, Moscow) “Collection of Mechanical Musical Instruments of the Russian National Museum of Music. Practical Usage”
10h35 – Hannah Grantham (Smithsonian Institution, National Museum of African American History & Culture, Washington D.C.) “Revisiting Narratives: Demonstrating Black Music’s Power at the National Museum of African American History & Culture”
10h55 – Discussion
Morning break/Pause

11h40-13h15 – Interpretation of Functional Objects/Interprétation des objets fonctionnels (2)

11h45 – Jean-Philippe Échard (ECR, Musée de la Musique, Cité de la musique-Philharmonie de Paris) “Musical performances on historical violins, and audience expectations
12h05 – Geerten Verberkmoes (University Ghent & School of Arts, Ghent) “Instrument replication – just making copies... or more?”
12h25 – Ech-Cherki Dahmali (Morocco Telecom Museum, Rabat) “Challenge of working old telephone switchboard system in Morocco Telecom Museum”
12h35 – Lingman LI (Chinese Museum Association, Music Museum of Xinghai Conservatory) “Interpretation of Rehabilitation Instruments – Taking Chinese Music Museums as an Example”
12h45 – Discussion 

Lunch Break/Pause déjeuner

14h50-16h40 – Interpretation of Functional Objects/Interprétation des objets fonctionnels (3)

14h55 – KEYNOTE: Masahiko Kako (Toyota Commemorative Museum of Industry and Technology, Nagoya) “Pursuing for Keeping Exhibits in Functional Condition”
15h25 – Laura Haendel (Deutsches Panzermuseum Munster) “Operating and Playing with Killing Machines – Pratices in the German Tank Museum”
15h45 – Marco Fioravanti (DAGRI - University of Florence) “Wood ageing and its implication on playing of wooden musical instruments”
16h05 – Giovanni Cella (National Museum of Science and Technology Leonardo da Vinci, Milan) “Shooting with old cameras – Towards a new strategy of using old cameras from the Museum collections for a better conservation and valorisation of the objects”
16h15 – Discussion

Afternoon break/Pause

17h-17h45 – INTERVIEW: William Christie (founder of the baroque ensemble Les Arts Florissants, conductor, harpsichordist) « Jouer les instruments des collections patrimoniales»
17h45 – Conclusions

After the conference /Après le colloque :

20h30 – CONCERT – Salon de la Duchesse du Maine by musicians from Les Arts Florissants directed by William Christie*
Harpsichord-Clavecin Ruckers/Taskin 1646/1780

* Access limited to ticket holders for the concert – Entrée réservée aux personnes munies d’un billet pour le concert



9h30-11h05 – The Ontology of Functional Objects/Ontologie des objets fonctionnels (1)

9h35 – KEYNOTE : Éric de Visscher (Victoria and Albert Museum, Research Institute, London) “Tools and Objects - Engaging with Functional Museum Artifacts through Narrativity and Theatricality”
10h05 – Sebastian Kirsch (Musée de la musique, Cité de la musique – Philharmonie de Paris/University of Leipzig) “The sounding biography of a lute – about the diversity of the ‘original’ sound”
10h25 – Martin Grünfeld (Medical Museion and CBMR, University of Copenhagen) “Caring for objects beyond saving: Re-growing collections and the functions of deaccessioned things”
10h45 – Discussion

Morning break/Pause

11h35-12h35 – The Ontology of Functional Objects/Ontologie des objets fonctionnels (2)

11h40 – Emanuele Marconi (Musée des instruments à vent, La Couture-Boussey) “Icons, myths, relics, symbols, and totems: the necessity of playing original instruments. An historical overview of why we need to believe”
12h – Panagiotis Poulopoulos (Deutsches Museum, Munich) “Manufacture, Usage, Recycling, and the Concept of Functionality on Historical Objects”
12h20 – Discussion

12H35 – Flash talks

∙ Jean-Claude Battault (ECR, Musée de la Musique, Cité de la musique-Philharmonie de Paris) “Myth and Reality: The "Blanchet" Harpsichord”
∙ Heba Khairy (The Grand Egyptian Museum) and Norhan Salem (The Egyptian Museum in Cairo) “Melodies From The Past”
∙ Marie Grima (Institut national du Patrimoine) “The mechanical musical box “Stella”:  A conservation project to replayed it”
∙ Thomas Lebée (Ecole du Louvre) “The Cursed Trumpets of Tutankhamun: Performance Hazards & Urban Myth”
∙ Marianne Odlyha (Birkbeck, University of London) “Monitoring changes in surfaces of varnished musical instruments by atomic forc microscopy (AFM) and nanomechanical techniques”

Lunch Break/Pause déjeuner

14h – Poster Session

At the Foyer de l’amphithéâtre/Au Foyer de l’amphithéâtre

14h30-15h35 – The Ontology of Functional Objects/Ontologie des objets fonctionnels (3)

14h35 – Tamar Hestrin-Grader (Universiteit Leiden and Rijksmuseum Amsterdam) “In Life I was Silent, In Death I Can Still Sweetly Talk: listening in new ways”
14h55 – José Carlos Rodrigues de Oliveira (Centro da Memória da Engenharia UFMG, Belo Horizonte) “Using models to give functionality to museum technical objects in the bicentenary of the discovery of electromagnetism"
15h15 – Discussion

Afternoon break/Pause

16h-18h – Interpretation of Functional Objects/Interprétation des objets fonctionnels (4)

16h05 - Madeleine Leclair and Isabel Garcia Gomez (Musée d'ethnographie de Genève) “A project of creation around the instrumental collection of the MEG”
16h35 – Esther Kabalanyana Banda (Lusaka National Museum) “Safeguarding Intangible Cultural Heritage: A Case of Traditional Instruments in the Lusaka National Museum”

16h50-17h50 – ROUND TABLE: “Raising the Volume? The playability of historical non Western musical instruments: Relevance, Approaches and Actors” moderated by Alexandre Girard-Muscagorry (ECR Musée de la musique, Cité de la musique-Philharmonie de Paris) with Emily Collins (Flienders University), Stéphanie Elarbi (Musée du Quai Branly-Jacques Chirac, Paris), Esther Kabalanyana Banda (Lusaka National Museum) and Madeleine Leclair (Musée d'ethnographie de Genève)



9h30-13h15 – Objects Functionality in the 21st Century/La fonctionnalité des objets au XXIe siècle

9h35 – KEYNOTE: Marie-Pauline Martin (Musée de la Musique, Paris) “How does that sound today? When historical instruments experience the sound poetry of present”
10h05 – Byron Pillow (National Music Museum, Vermillion S.D.) “Touching the Untouchable: Facilitating Interpretation through Musical Instrument Virtualization”
10h25 – Tom Everrett (Ingenium - Canada's Museums of Science and Innovation, Ottawa) “Playing the world's first synthesizer: exploring a hybrid mechanical-digital approach to restoring electronic instruments”
10h45 – Niko Plath (Hamburg University of Applied Science) “From Bone Fragment to Sound - Virtual Reconstruction of an Unplayable 15th Century Flute”
11h05 – Dorothea Zimmermann (ETH Library, Zürich) “The Collection of Scientific Instruments and Teaching Aids at ETH Zürich – First Ideas for its Usability in Virtual and Real Space”
11h15 Discussion

Morning Break/Pause

12h-13h15 – Musical papers in the Musée de la Musique

- Stéphane Vaiedelich and Mina Jang (ECR Musée de la musique, Cité de la musique-Philharmonie de Paris) and Claudia Fritz (Sorbonne Université, Institut Jean le Rond d'Alembert, Équipe LAM, Paris) “A transverse flute by Hotteterre – Original and copy by rapid prototyping”
- Marie Loeper-Attia and Thierry Maniguet (ECR Musée de la musique, Cité de la musique-Philharmonie de Paris) “The restoration of a Bruder barrel organ, towards a new way of playing a musical instrument in a museum”
- Henri Boutin (STMS, Ircam, Sorbonne Université) and Emmanuel Flety (Ircam) “Towards facsimiles of Ondes Martenot. An ergonomic replica of the Onde 169”

Lunch Break/Pause déjeuner

14h15-15h45 – Good Practice and Risk Management/Bonnes pratiques et gestion du risque (1)

14h20 – KEYNOTE: Nina Robbins (University of Helsinki) “Museological value discussion as an aid in finding balance between usability and durability”
14h50 – Adrian V. Steiger (Hochschule der Künste, Bern) “To Play vs. To Display – Towards Guidelines for Brass Instruments”
15h10 – Isabel Tissot (LIBPhys-UNL, NOVA University of Lisbon) “Can it work? Analytical strategies for the conservation of historical operating objects”
15h20 – Discussion

Afternoon break/Pause

16h15-18h – Good Practice and Risk Management/Bonnes pratiques et gestion du risque (2)

16h20 – Katariina Mauranen (London Transport Museum) “Stories on wheels. London Transport Museum’s operational buses and trains”
16h40 – Louisa Burden (Science Museum Group, London) “Operating Objects – practical use of policy and procedures”
17h – Rosène Declementi and Laurent Rabier (Musée de l'Air et de l'Espace, Le Bourget) “Functionality of museum airplanes as a measure of their historical importance for the institution”
17h20 – Marco Galloni and Mara Fausone (ASTUT - Archivio Scientifico e Tecnologico dell’Università di Torino, Turin) “The instruments for the selection of airplane pilots during WW1 in Italy”
17h30 – Discussion
18h – Conclusions

Please note that the conference language is English. A simultaneous translation from English to French is planned.

Scientific committee/Comité scientifique :
Frank P. Bär (CIMCIM)
Gabriele Rossi-Rognoni (CIMCIM)
Ech-cherki Dahmali (CIMUSET)
Juliette Raoul-Duval (CIMUSET)
Johanna Vähäpesola (CIMUSET)
Stéphane Vaiedelich (Cité de la musique - Philharmonie de Paris)
Thierry Maniguet (Cité de la musique - Philharmonie de Paris)
Marie-Pauline Martin (Cité de la musique - Philharmonie de Paris)
Emmanuel Hondré (Cité de la musique - Philharmonie de Paris)

Organisation :
Mathilde Thomas (Cité de la musique - Philharmonie de Paris)
Coproduction Philharmonie de Paris, International Council of Museums (ICOM), Comité international pour les musées et collections d'instruments et de musique (CIMCIM) et International Committee for museums and collections of science and technology (CIMUSET)

En partenariat avec

Comment venir

Porte de Pantin
M5 Métro ligne 5 3B Tramway 3B
221 avenue Jean-Jaurès, 75019 Paris