Contributor essay
by
Alexandra E. Hui (Mississippi State University)
Early European settlers brought firearm technology to waterfowl hunting in the Americas. In the late eighteenth century, market hunting of the goose and duck flocks of the Atlantic and Mississippi Flyways proliferated. Hundreds of bird species move along the Atlantic coast and from the headwaters of the Mississippi River in Minnesota and Ohio to the Gulf of Mexico, migrating between breeding grounds and wintering grounds, and in the nineteenth century, hunters began using sound to draw down these passing birds.
Contributor essay
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Viktoria Tkaczyk (Max Planck Institute for the History of Science)
Sound is ephemeral. For a long time, it escaped scientific scrutiny, and the invention of the phonograph in the 1870s was celebrated as a long-awaited research tool in both the humanities and the sciences. Before long, various scientific sound archives had been founded for the systematic collection, preservation, and study of sound recordings. Two of these early archival endeavors were located in Berlin: the Phonogramm-Archiv (“phonogram archive”), today part of the Ethnological Museum’s department of ethnomusicology, and the Lautarchiv (“sound archive”), now based at the Humboldt University, Berlin.
Contributor essay
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Leon Chisholm (Materiality of Musical Instruments, Deutsches Museum)
The standard interface of pianos, organs, and other keyboard instruments, with its pattern of twelve interlocking keys, is a compromise by design. The twelvefold division of the scale into fixed pitches has both shaped and served Western music since medieval times. Yet the notes of this scale form pitch relationships that, for the most part, only approximate the intervals of the natural harmonic series. Over the centuries, scientists, inventors, instrument makers, composers, and musicians have explored myriad ways of accommodating and even overcoming this discrepancy. One strategy for mitigating the limitations of the standard keyboard’s twelve-tone octaves has been to add extra notes to create within the keyboard’s scale microtonal divisions, or intervals smaller than a semitone (the distance between two adjacent notes on the piano). Consideration of some notable early modern examples of microtonal keyboards, including those associated with Nicola Vicentino and Gioseffo Zarlino, can help to contextualize later developments in the nineteenth and twentieth centuries, when microtonal instruments served a variety of aesthetic, philosophical, and scientific ends.
Contributor essay
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Paolo Brenni

The scientific instruments used for research and teaching in the nineteenth and early twentieth century are beautiful and fascinating artifacts.

Contributor essay
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David Pantalony; Erich Weidenhammer; Victoria Fisher

The University of Toronto acoustics collection consists of a comprehensive series of instruments made in the Parisian workshop of Rudolph Koenig (1832