Criteria of the Inventory

A collection without adequate documentation of its objects exploits only half of its potential. Therefore I have united the most important informations about each instrument in an inventory. The data follow the recommendations of Arnold Myers, Cambridge, although in a much simplified form*. Together with the photographs, the information allows a sufficient characterization of the objects, but does not provide details which can only be obtained by means of extensive research. This inevitably leads to uncertainties (marked with [?]), to errors and gaps. Additional information and corrections are therefore welcome. The instruments are available for further studies to scientists, musicians or flute makers, should important details of information be missing.
*Arnold Myers, Cataloguing Standards for Instrument Collections, in: CIMCIM Newsletter No. XIV, 1989

You will find access to the entries for each object of the collection under inventory. It leads to a catalogue in which all objects are listed with their individual number, a brief description, their year of origin and an indication of their sound sample, if existing. This catalogue is not arranged in alphabetical or chronological order, but rather according to flute types (e.g. keyless flutes; 1key flutes; multi-keyed flutes; Böhm-sytem flutes and their relatives; third flutes; piccoli and fifes; alto- and bass-flutes).

Each entry includes a description of the object, its assessment and information on its manufacturer. For details of this information, please refer to the legend. The rating of the instruments according to their condition, playing characteristics and rarity is done by means of a 'score' of 1-3 points each. This provides the basis for a rough assessment of the instruments: The higher the score of all three criteria, the higher their collector’s value. However, this cannot be equated with its 'value in use': Whether or under which conditions an original instrument can be played must be determined in each individual case.

Undoubtedly, the assessment of 'playing characteristics' – especially the characterization of the sound – depends strongly on the player. To achieve a certain uniformity in this subjective judgment, all flutes were played by the same expert person (Anne Pustlauk) and the corresponding entry was formulated in dialogue with the collector (Ulrich Halder). Once again, it became evident how difficult it is to characterize a sound with words, lacking a corresponding 'standardized' vocabulary.

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