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Musical Instruments – History, Science and Culture: Presenter biographies Mike Baldwin Mike Baldwin is a research student in the Sir John Cass Faculty of Art, Architecture & Design at London Metropolitan University, researching innovation, business and design in nineteenth-century London harp manufacturers. Current projects include a detailed survey of the Erat inventories of 1821 and 1824, an examination of the composition mouldings applied to Erat harps, and the influences of neo-classicism on harp ornamentation. Mike is currently writing the first biography of the Erat Harp Company (1797–1858) and its founder Jacob Erat (1768–1821). He lives and works in London, and teaches Design & Technology to students with learning disabilities. Frank P. Bär Frank P. Bär is curator of the musical instrument collection and head of the research services department at the Germanisches Nationalmuseum in Nuremberg, Germany. He studied musicology and German linguistics at the University of Tübingen and holds a Ph.D. in musicology. His main research interests are wind and keyboard instruments. Within the recently finished European community funded project MIMO -- Musical Instrument Museums online -- he was responsible for coordinating the digitization of 45,000+ musical instruments in public collections. He is member of the MIMO Core Management Group, which is caring for the sustainability and enhancement of the service. Anna Borg Cardona Anna Borg Cardona currently undertakes research into Maltese instruments, music and traditional song, and is part-time lecturer on Maltese Instruments and Music at the Institute of Maltese Studies, University of Malta. She authored two books and several articles, including contributions to the second edition of The New Grove Dictionary of Musical Instruments. She is at present completing a publication on the Folk Instruments of the Maltese Islands. Anna has guest-curated an exhibition Whistles from Ritual to toys for the Maltese Heritage Foundation (2009) and contributed to the setting up of the Malta section of the Musical Instrument Museum, Phoenix, Arizona. John Bryan John Bryan is Professor of Music and Head of Music and Drama at the University of Huddersfield, where he is currently engaged on a five-year AHRC-funded project (2009–14) ‘The Making of the Viol in Sixteenth-Century England’. As a member of the Rose Consort of Viols he has given concerts throughout Europe and in the USA and Canada, and made recordings for Naxos, Signum, cpo, Deux-Elles and Delphian. An artistic adviser to York Early Music Festival, and a contributor to BBC Radio 3’s early music programmes, he has also published articles in Early Music and The Journal of Musicology. Bonnie Blackburn Bonnie Blackburn is an Oxford-based musicologist specializing in music and music theory of the Middle Ages and Renaissance. A chance discovery in the Venetian archives has led to an interest in Venetian lutenists and lute makers, the subject of her presentation.

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Susana Caldeira Susana Caldeira has been an Assistant Conservator in The Sherman Fairchild Center for Objects Conservation at the Metropolitan Museum of Art since 2008, where she is responsible for the conservation of the collection of Musical Instruments. Susana graduated in Conservation and Restoration at the former Escola Superior de Conservação e Restauroin Lisbon, followed by an internship at The National Music Museum in Vermillion, South Dakota. Later, Susana received a graduate degree in History of Musical Instruments, with emphasis on conservation of Musical Instruments, from the University of South Dakota. Claudio Canevari Claudio Canevari is in charge of the scientific-technological educational area in the Civica Scuola di Liuteria in Milan and was a member of the staff that founded the Civica Scuola di Liuteria in 1978. He has taken part in important examples of conservative restorations and studies on musical instruments in Italy. He is collaborating with the Laboratorio Arvedi of the University of Pavia to identify ancient materials and technologies used in historical musical instrument making and is experimenting with the application of selected modern techniques for surface cleaning in the conservation and restoration of musical instruments. Federico Carò Federico Carò is Associate Research Scientist in the Department of Scientific Research at Metropolitan Museum of Art. He obtained his Ph.D. in Geology from the University of Pavia, Italy, where he worked until 2007. After three years of fellowships in the Department of Scientific Research at Metropolitan Museum of Art, and one year in the Department of Conservation and Scientific Research at the Freer/Sackler Gallery, Washington D.C., he joined the Met in 2011. His main research interests focus on petrography and geochemistry of stone materials in provenance and conservation studies. Stewart Carter Stewart Carter published two books in 2012--_The Trombone in The Renaissance: A History in Pictures and Documents_ (Pendragon) and _A Performer's Guide to Seventeenth-Century Music_ (Indiana). He is currently president of the Society for Seventeenth-Century Music and is a past-president of the American Musical Instrument Society. Carter is professor and chair of the Department of Music at Wake Forest University.

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Alison Crum Alison Crum is well-known throughout the Western World both as a player and teacher of the viol. She has made over ninety recordings, including many with the Rose Consort of Viols, and directs numerous summer schools and workshops worldwide. President of the Viola da Gamba Society of Great Britain, Professor of Viol at Trinity Laban Conservatoire in London, and a visiting teacher at several colleges and universities both in Europe and the USA, Alison has been called the 'doyenne of British viol teachers'. Her books, Play the Viol and the recent The Viol Rules, are considered indispensable for violists. Ignace De Keyser Ignace De Keyser holds a Ph. D. in Musicology from the University of Ghent. He subsequently taught music in high schools and in a Film Academy. At the Musical Instrument Museum in Brussels he worked as scientific assistant and became assistant director under Prof. Malou Haine. With her, he realised the new display in the “Old England” building. Between 2007 and 2011, he was Head of the Ethnomusicological Section of the Royal Museum for Central Africa in Tervuren. Now retired, he gives conferences on music and musical instruments on a free lance basis. Publications include those on Adolphe Sax and Charles Mahillon, Victor Mahillon and the development of organology, exhibition catalogues and concert reviews. Rachael Durkin Rachael Durkin is a doctoral student in organology at the University of Edinburgh, Scotland, where she is studying the history of the viola d’amore, supervised by Dr Darryl Martin. Born and raised in Scotland, Rachael studied for her undergraduate degree at Edinburgh Napier University, focusing predominantly on contemporary composition and musicology, before enrolling on the PhD music programme in September 2011. Rachael’s research hopes to establish a better understanding of the viola d’amore and its position within the string family, European culture, and its presence within the United Kingdom during the seventeenth and eighteenth centuries. Jean-Philippe Echard Jean-Philippe Echard received a Master's degree in Chemistry in 1998. Since 1999, he works at the Laboratoire de recherche et de restauration of the Musée de la musique. He studied musical acoustics at the Conservatoire National Supérieur de Musique de Paris. He was a Research Fellow at the National Gallery of Art (Washington, 2004-2005). His Ph.D. (2010) research was on the materials and techniques used to varnish musical instruments (15th - 18th century). He is particularly interested in the complementarity of historical and material sources for the knowledge of history of techniques and the methodological developments of observation and analytical techniques applied to historical musical instruments. Pauline Eveno Pauline Eveno is a young researcher in acoustics from Paris VI University. She has a master degree (2008) and a PhD realized at Ircam (2012). Her field is the understanding of the instruments makers’ know-hows thanks to physical measurements. She has been working in the Laboratoire de recherche et de restauration in Musée de la musique since 2012.

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Michael Fleming Graduated in philosophy and psychology (Oxford 1974). Made early keyboard instruments for Robert Goble and Son. Since 1982, focused mainly on making, researching and playing viols. Doctoral thesis: ‘Viol-Making in England c.1580–1660’ (Open University, 2001). Published numerous articles and contributions to The New Grove Dictionary of Musical Instruments, the Oxford Dictionary of National Biography etc. Chairman of the Viola da Gamba Society since 1997. Edited the Galpin Society Journal 2005–2010 and continues to set it. Currently Senior Research Fellow (University of Huddersfield) working on the Making the Tudor Viol project. Tula Giannini Tula Giannini, PhD, MLS, MM is Dean and Professor of the School of Information and library Science, Pratt Institute. An interdisciplinary researcher across cultural informatics and musicology, her research publications, based on newly found archival documents, study French woodwind instruments. They include: her book, Great Flute Makers of France; some 24 articles for Grove Dictionary of Musical Instruments; and the articles “Frédéric Triebert (1813-1878), Designer of the Modern Oboe”, Pendragon Press; “Jacques Hotteterre le Romain and His Father, Martin”, Early Music, and “The Music Library of Jean-Baptiste Christophe Ballard, Sole Music Printer to the King of France”, 2003, RILM. Bruno Guastalla (b. France 1957) has restored and made stringed instruments for over thirty years, most of which has been as part of 'Oxford Violins'. He has reviewed books for the Galpin Society Journal. He is also a musician with an interest in improvisation and field recording. Anne Houssay Trained in the Newark school of violin making in the seventies, Anne Houssay joined the Musée de la musique in 1990. Responsible for bowed instruments and a third of the restorations for the opening of the Museum, she works in its research and conservation laboratory as specialist in musical instrument conservation, and advises other museums. She graduated in History of Technology in 2002. Associate researcher at the Bibliothèque Nationale de France since 2009, she focuses on the history of bowed instrument set-up and bows in relation to playing techniques and the history of science and technology related to musical instruments and wood crafts. Thilo Hirsch Thilo Hirsch is a graduate of the Schola Cantorum Basiliensis (SCB), where he studied viola da gamba. Since 1991 is the artistic director of the 'ensemble arcimboldo' (www.arcimboldo.ch). His concert tours have already taken him across all of Europe to North Africa and North and South America. From 2007 to 2009 he was co-director of a project of the Swiss National Science Foundation run at the SCB, with the topic: ‘The Grande Écurie’. From 2011 to 2015 he works in a research project at the SCB on the sound-transformation of the string instruments in the early sixteenth century.

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Jocelyn Howell Jocelyn Howell studied clarinet at Trinity College of Music (London) and completed her masters with distinction in clarinet performance under David Campbell at Canterbury Christ Church University (Kent). She received an Arts and Humanities Research Council Collaborative Doctoral Award to pursue study at City University (London) and the Horniman Museum, and is currently researching the corporate history of Boosey & Hawkes and related musical instrument companies. She is contributing to the New Grove Dictionary of Musical Instruments. Cleveland Johnson Cleveland Johnson is Director of the National Music Museum (University of South Dakota) and Professor Emeritus of Music (DePauw University). He holds the B.Mus. from the Oberlin College Conservatory of Music and a D.Phil. from the University of Oxford. Funded by such organizations as AIIS, DAAD, Lilly, Mellon, NEH, and Watson, he recorded the complete works of Heinrich Scheidemann on historic organs, edited Orphei Organi Antiqui: Essays in Honor of Harald Vogel (Westfield Center, 2006), and transitioned to research in India, documenting colonial pipe organs there, raising funds for their restoration, and unearthing the early history of the indigenous Indian harmonium. Bruno Kampmann Bruno Kampmann is an expert in musical instruments in Paris. Always interested in music, he has collected wind instruments for more than forty years, now owning nearly 600 instruments. He plays euphonium and serpent in amateur bands. His special interests are the unusual valve systems and compensating devices, and more generally all the inventions and patents that flourished during the XIX° century. In 1988 he founded the ACIMV (association of wind instrument collectors), editing and publishing the journal Larigot. In this journal he wrote many papers about wind instruments and published several catalogues of private collections. Martin Kirnbauer Martin Kirnbauer was trained as a instrument maker and worked as a conservator for historical musical instruments at the Germanisches Nationalmuseum in Nuremberg. After studying musicology at the universities in Erlangen and Basel, he obtained his Ph.D. with a work on a late-medieval songbook in 1998, followed by a second thesis (‘Habilitation’) on microtonal music in the 17th century in 2007. Since 2004 director of the Museum for Music in Basel and curator of the collection of musical instruments of the Historical Museum, as well as ‘Privatdozent’ for musicology at the University of Basel. Numerous publications concerning Early Music, performance practice, organology and musical iconography. Sabine K. Klaus Sabine K. Klaus is the Joe R. and Joella F. Utley Curator of Brass Instruments and Professor of Music at the National Music Museum, University of South Dakota. After receiving her PhD from Tübingen University, she worked at several European museums and held an Andrew W. Mellon Fellowship for research at The Metropolitan Museum of Art in New York. In 2000, she was awarded the Frances Densmore Publication Prize by the American Musical Instrument Society. The first volume of her book series, Trumpets and Other High Brass, was published in 2012; the second volume is expected in 2013.

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John Koster John Koster is Conservator, Curator of Keyboard Instruments, and Professor of Music at the National Music Museum, the University of South Dakota. After earning the A.B. with Honors in Music at Harvard College, he was for many years a harpsichord maker in the Boston area, where he also cared for the historical keyboard instruments in the Museum of Fine Arts. Koster has held research fellowships at The Metropolitan Museum of Art in New York and with the National Endowment for the Humanities. He has lectured and published extensively on organological and musicological topics and is Editor of Early Keyboard Journal. Darcy Kuronen Darcy Kuronen, Pappalardo Curator of Musical Instruments, has worked since 1986 at the Museum of Fine Arts, Boston, where in 2000 he organized the critically acclaimed exhibition, Dangerous Curves: Art of the Guitar, celebrating the diversity of guitar design over four centuries with 130 rare instruments from private and public collections. Kuronen additionally serves as volunteer curator for the collection of historical instruments owned by the Boston Symphony Orchestra. He attended the University of South Dakota in Vermillion where he received his undergraduate degree in harpsichord performance and a Master of Music with a concentration in the history of musical instruments. Priscille Lachat-Sarrete Priscille Lachat-Sarrete attended the University of Paris-Sorbonne (France), where she was awarded a Doctorate in musicology with distinction for excellence and is now Associate Researcher and part-time Lecturer. She also teaches the violin at the music school (CRD) of Chartres. Regularly, she appears in duets and with chamber music ensembles in Paris and the surrounding region, particularly the Animato String Quartet. Her research focuses on the concerto repertoire of the eighteenth and nineteenth centuries. Her interests include analytical, historical, theoretical aspects and music performance research. Michael Latcham With degrees anthropology and music (harpsichord) and a PhD in musicology, Michael Latcham was active as harpsichord teacher and as an early piano restorer. From 1990 to 2010 he was musical instrument curator at The Gemeentemuseum, The Hague (where the music department is now definitively closed) but is presently temporary curator for the Rijksmuseum, Amsterdam (where the best instruments loaned to The Hague since 1952 are now permanently displayed). He published an edition of the notebook of the piano makers Johann David and Johann Lorenz Schiedmayer and will shortly publish the notebook of Johann Andreas Stein, the famous organ and piano maker.

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Dr Alastair Laurence Dr Alastair Laurence is a director of the piano-making firm, John Broadwood & Sons Ltd. His family have been attached to the piano industry since the year 1787. He is the author of a number of books dealing with pianos, including Five London Piano Makers (2010). From 2007, he has held the post of curator of keyboard instruments at Finchcocks Musical Museum, Goudhurst, Kent.

Sandie Le Conte Sandie Le Conte has been working as a researcher in the Laboratoire de recherche et de restauration in Musée de la musique since 2005. She has a master degree (2000) and a PhD (2004). Her field is the development of mechanical measurements dedicated to the characterization of musical instruments and their materials. Karen Loomis Karen Loomis is a PhD candidate in organology at the University of Edinburgh, where she is researching the construction of the 'Queen Mary' and 'Lamont' harps of National Museums Scotland. Karen is the 2011 co-recipient of the American Musical Instrument Society's Fredrich R. Selch prize, awarded for her presentation on the historical damage to the Lamont harp. In 2010 she was awarded an MMus in Musical Instrument Research with Distinction from the University of Edinburgh. Karen also holds a BSc in Physics and an MA in Astronomy. Patrícia Lopes Bastos Dr. Patrícia Lopes Bastos has made research on different organological and museological techniques during a Post-Doctoral project supported by the Foundation for Science and Technology in Portugal. In her “Guide to cataloguing and analytical description of musical instruments” she mentions, besides measuring systems, visual and audio methodologies for museum practice, including 3D graphics, giving examples of useful applications. Among other projects, she is involved in the study of the sound properties in archaeological settings and the acoustical analysis of musical instruments. She is the President the National Association for Musical Instruments (ANIMUSIC-Portugal) and has organized pioneering organological activities in Portugal. Monika Lustig Monika Lustig studied musicology at the Martin-Luther-Universität Halle from 1981 to 1986. She is the curator of the musical instrument collection at the Stiftung Kloster Michaelstein – Musikakademie Sachsen-Anhalt für Bildung und Aufführungspraxis where she has worked since 1986. In the Michaelstein institute she also organizes international conferences about historic musical instruments every year, and is the publisher of the corresponding conference reports. Her research interests include organology and music archaeology. She has published articles in the Michaelsteiner Konferenzberichte and in Studien zur Musikarchäologie. Her  main  work  in  the  last  two  years  was  the  realisation  of  the  new  permanent  exhibition  “KlangZeitRaum”.

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Douglas MacMillan Douglas MacMillan studied the recorder with the Dolmetsch family, and in 1980 Carl Dolmetsch encouraged him to study the recorder in the nineteenth century. A thesis completed in 1982 led to the award of the Fellowship of Trinity College, London. In 2006 he took his PhD on 'The recorder 1800-1905' at the University of Surrey and is currently completing a DMus thesis at the Royal College of Music on the flageolet in the nineteenth-century England. Douglas is a semi-retired Ear, Nose and Throat Surgeon, a Deacon in the Church of England and a glider pilot. Darryl Martin Darryl Martin is Principal Curator of the Musical Instrument Museums in Edinburgh. He has worked at the Collection as a Curator and Lecturer in Music since 2004, having completed his PhD in 2003. Prior to that Darryl was a maker of early keyboard instruments, something which he still occasionally does. His first full-length book - "The Art of Making a Harpsichord" - was published by Robert Hale Ltd. in 2012, and he is currently towards the completion of his transcription of the Talbot Manuscript. Kathrin Melanie Menzel Kathrin Melanie Menzel studied musicology, with a focus on organology, and bibliology (book-science) in Erlangen and Madrid. She worked at the Kunst- und Kulturpädagogisches Zentrum for the collection of musical instruments at the Germanisches Nationalmuseum in Nuremberg. Since 2007, Kathrin is musical instrument custodian at the Schola Cantorum Basiliensis – University of Early Music in Basle and consultant for the Musikmuseum Basel. Performance and academic projects, research and teaching have led her to publish various articles on historical performance practice, organology and music aesthetics. Nicholas Mitchell Nicholas Mitchell is a singer who is also a player of wind instruments. He has published several articles arguing for a common set of pitches throughout Europe in the sixteenth century derived from woodwind, keyboard, brass and other evidence. He is a counter tenor at The Chapel of the Savoy. He learnt much about early wind instruments from Anthony Baines in the Bate Collection as an undergraduate and academical clerk at Christ Church. Arnold Myers Arnold Myers has worked successively as Honorary Curator, Director, and Chairman of Edinburgh University Collection of Historic Musical Instruments, and has overseen many developments in the collection and museums of instruments in Edinburgh. He has also been Senior Lecturer and Professor of Organology in the Reid School of Music, University of Edinburgh, engaging in teaching, scholarship and research. He has served as Vice-President of CIMCIM (1992-1998), Vice-President of the Galpin Society (since 2006) and Vice-President of Association RIdIM, Répertoire International d'Iconographie Musicale (since 2011). He was the recipient of the 2007 Curt Sachs Award of the American Musical Instrument Society.

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Sonja Neumann Sonja Neumann studied musicology, political science, philosophy and book science at the University of Munich, the College of Music in Weimar, and the University of Jena, completing an M.A. She received her Ph.D. in musicology at the University of Hamburg. She plays baroque and classical oboe. Between 1997 and 2012 she worked as a scientific assistant for research projects concerning exhibitions, congresses and publications. Since 2012 Sonja works at the musical department of the Deutsches Museum in Munich. Her research interests centre on the connection of music and politics, popular music, and issues of music and technology. Jenny Nex Following her early education in Cambridge, Jenny Nex studied music at the University of Edinburgh from where she went on to specialise as a singer in early music at the Guildhall School of Music & Drama. She gained her MA in Museum & Gallery Management in 1997 and in 2005 took over as Curator of the Museum at the Royal College of Music. Jenny’s research interests include the context, design and construction of historical musical instruments and she is working towards a PhD at Goldsmiths College, studying ‘The Businesses of Musical Instrument Making in Early Industrial London’ (c1760–1820). Panagiotis Poulopoulos Panagiotis Poulopoulos is an organologist and musical instrument conservator. After completing a BA in Conservation of Antiquities and Works of Arts and a MMus in Musical Instrument Research, in 2011 he was awarded a Ph.D. in Organology from the University of Edinburgh for his thesis ‘The Guittar in the British Isles, 1750-1810’. Between 2007 and 2011 he also worked in various projects for the Edinburgh University Collection of Historic Musical Instruments and the National Museums Scotland. In 2012 Panagiotis was ‘Scholar-in-Residence’ at the Deutsches Museum Munich, where he is currently working as an assistant curator in the musical instrument department. Adriana Rizzo Adriana Rizzo is Associate Research Scientist in the Department of Scientific Research at the Metropolitan Museum of Art. She graduated in Industrial Chemistry from the University of Venice, Italy, and received a Postgraduate Diploma in the Conservation of Easel Paintings from the Courtauld Institute of Art in London. Following internships in the scientific departments of the National Gallery in London and the Getty Conservation Institute in Los Angeles, she joined the Met in 2004. Here she conducts analysis of materials from artwork of different periods and cultures, to inform on their technique of manufacture as well as on their conservation. Gabriele Rossi Rognoni Gabriele Rossi Rognoni is researcher at the University of Florence, and curator of the Musical Instrument Department of the Galleria dell’Accademia in Florence. He was Andrew W. Mellon Fellow (2002) and C. Coleman and Pamela Coleman Fellow (2006) of the Metropolitan Museum in New York and Wissentschaftlicher Mitarbeiter at the Stiftung für Musikforschung Preußischer Kulturbesitz in Berlin. He is Vice-President of CIMCIM and a corresponding Board member of

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the American Musical Instrument Society. His work mainly concentrates on the history of Italian stringed instruments of the late Renaissance and Baroque and on museological issues related to musical instruments. Olesya Rostovskaya Olesya Rostovskaya is a researcher at the Glinka National Museum Consortium of Musical Culture. She completed her postgraduate studies at the Moscow P.I. Tchaikovsky Conservatory. She also graduated from Saint Petersburg State University (carillon) and from the Royal Carillon School ‘Jef Denyn’ (Mechelen, Belgium). She composes music for orchestras, choirs, bands and solo instruments as well as music for films and radio plays. Rostovskaya is active as a performer on the thereminvox, organ and Russian bells. She is a member of the Union of Composers, the Russian Association of Electro-Acoustical Music, the Association of Russian Organists amd a representative of the Russian Carillon foundation.

Anneke Scott Anneke Scott's work covers a number of aspects of period horn playing ranging from the early eighteenth century up to the present day. She is principal horn of many ensembles including the Orchestre Révolutionnaire et Romantique, The English Baroque Soloists, the Orchestra of the Sixteen, the Avison Ensemble, Irish Baroque Orchestra, Dunedin Consort and Europa Galante. Her recent solo recordings have included “Sonatas for horn and fortepiano” (Beethoven, Krufft, Leidesdorf and Haydn) with fortepianist Kathryn Cok and “Preludes, Caprices, Fantaisies - Concerts Cachés - the solo works of Jacques-François Gallay”. Further information on her work can be found at www.annekescott.com. M. Emin Soydaş Dr. M. Emin Soydaş is an assistant professor within the department of Music at Çankırı Karatekin University in Turkey. After graduating from the History department of Boğaziçi University, he completed his MA in ‘Turkish Religious Music’ at Marmara University. He received his PhD in ‘Musicology and Music Theory’ from İstanbul Technical University in 2007, with a thesis on the musical instruments at the Ottoman court. He has done post-doctoral research at SOAS, University of London. His research interests include several aspects of Turkish music, mainly its history, and he is currently working on a project concerning the reconstruction of kopuz. Matthew Spring Matthew Spring read music and history at Keele University and at Magdalen College, Oxford, where he completed his D.Phil on the Lute, and went on to study lute at the Royal College of Music. Matthew is a senior lecturer at Bath Spa University. Formerly he taught at London Guildhall University, where he held a Leverhulme Research Fellowship, and at Birmingham University. His History of the Lute in Britain was published by OUP in 2001, and his edition of the Balcarres Manuscript was published in 2010. He performs with a number of early music ensembles and has made a large number of recordings.

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Hayato Sugimoto Hayato Sugimoto learned the skill of guitar making from a Spanish guitar maker and his colleagues in England between 2000 and 2005. Through this experience he developed an interest in the history, technology and socio-cultural aspects of guitars. In 2009 he completed an MMus in Musical Instrument Research at the University of Edinburgh focusing on aspects of nineteenth-century French guitars. He is currently a PhD candidate in Organology at the University of Edinburgh researching the history of generically called ‘harp lutes’, which were highly popular plucked instruments in Britain during the first half of the nineteenth century. Geerten Verberkmoes Geerten Verberkmoes (b1968) initially studied chemistry. While subsequently working as chemistry teacher, he studied jazz guitar at the Rotterdam Conservatory and the Dutch Schumann Academy. Having an affinity for design, woodworking and acoustics, he started making violins in 2002. Since 2003 he was trained in violin making at CMB (Puurs, Belgium) and later at the School of Arts of the University College Ghent (Belgium), where, since 2010, he teaches violin making. Besides teaching in Ghent, and making and repairing musical instruments, he also works for a Japanese acoustical instrument company. Currently, he lives in Bergen op Zoom (The Netherlands). Adrian von Steiger Adrian v. Steiger is a musicologist, musician and pedagogue. He is involved in a series of research projects on brasswind instruments by the Berne University of the arts, including organology, publishing of facsimiles and studies into materiality, and is writing his PhD on the Karl Burri Collection of Wind Instruments in Berne. Lance Whitehead Lance Whitehead studied music and organology at the University of Edinburgh (1983–94), and later various subjects – including 19th-century socio-economic history and Renaissance art – with the Open University. He has had a portfolio career, as school music teacher, museum curator, crime scene investigator and what-not. He currently edits The Galpin Society Journal and has just completed a long-term research project with Jenny Nex to transcribe and analyse all insurance policies held by musical London with the Sun Fire Office, 1710–79. D. Quincy Whitney D. Quincy Whitney was the primary arts feature writer for the Boston Globe NH Weekly for fourteen years. As a Research Fellow sponsored by the Musical Instruments Department of the Metropolitan Museum of Art, Whitney completed her research on Hutchins and toured Europe to interview musicians, physicists, luthiers, composers and curators who had all worked with Hutchins. Hidden History of New Hampshire (2008), a research project for the Smithsonian, is her first book. A Eugene O’Neill Critic Fellow and a Salzburg Seminar Fellow, Whitney had also written a prose / poetry memoir about her life as an estranged identical twin. Owen Woods Owen Woods is an Acoustic Consultant, Musician and independent researcher. He graduated from the University of Cambridge with a BA and MEng in Mechanical Engineering, specialising

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in the acoustics of musical instruments. Since then he has been studying the acoustics of free reed instruments, when not working for SRL Technical Services in Suffolk. His is particularly interested in diatonic accordions and South American stringed instruments. Media Panelists