Chair
Christina Linsenmeyer (she/her)
Yale Collection of Musical Instruments
15 Hillhouse Ave, New Haven, CT 06511, United States
email: cimcim.president (at) gmail.com

 

 

Christina Linsenmeyer has been Associate Curator at the Yale University Collection of Musical Instruments since May 2019. Previously, she was an Academy of Finland Researcher at University of the Arts Helsinki, Sibelius Academy; and founding Curator and interim Head of Curatorial Affairs at MIM–Phoenix, USA (est. 2010). She holds a PhD in Musicology (Washington University in St Louis) and a diploma in Violin Making (North Bennet Street School, Boston). She served two terms on the AMIS Board (2010–16), and helped organise AMIS, Galpin Society, WoodMusICK, and CIMCIM conferences. She collaborated on CIMCIM’s identity renewal, website redesign, the Bulletin Editorial Board, and spearheaded a revision of the travel grant procedure and a new CIMCIM Proceedings publication series. She was CIMCIM Secretary from 2016–19 and Vice Chair 2019–22, navigating COVID-19, the museum definition process, ICOM Executive Board external review, and Ukraine wartime aid. As Chair, she would continue to represent CIMCIM to ICOM’s IC Committee; and promote aims and initiatives relating to various provenance issues and strengthening CIMCIM’s network, especially in Latin America.

 

Vice-Chair and Webmaster
Emanuele Marconi (he/him)
Staatliche Institut für Musikforschung
Preußischer Kulturbesitz (SIMPK)
Tiergartenstrasse 1, 10785 Berlin, Germany
email: cimcim.vicepresident (at) gmail.com

 

Organologist and Curator, Emanuele Marconi holds a diploma in Musical Instruments Restoration (Civica Scuola di Liuteria, Milan), a MA in Conservation (Paris1 Panthéon-Sorbonne) and a PhD in Music and Musicology (Sorbonne Université). He has worked at the Milan Museum of Musical Instruments, the Correr Museum in Venice, the Musée d’art et d’histoire in Geneva, the Musée de la musique in Paris, the National Music Museum in Vermillion (USA), the Wind Instruments Museum of La Couture Boussey (France) and taught Musical Instruments Conservation and Organology at the University of South Dakota, at the École du Louvre, and at the Université de Versailles Saint-Quentin-en-Yvelines. Since July 2024 he is Director of the Musikinstrumenten-Museum in Berlin. He has served as CIMCIM board member 2019-2022.
Research interests include the History and Philosophy of Restoration, through the study of the written and sources, and investigating all aspects related to the understanding of the relationship between society, culture, technical evolution, and aesthetic perception, as wells and analyzing myths and symbolism related to musical instruments.

 

Secretary
Marie Martens (she/her)
Musikmuseet / The Danish Music Museum
Rosenørns Allé 22, DK-1970 Frederiksberg C, Denmark
email: cimcim.secretary (at) gmail.com

 

 

Marie Martens is the curator of The Danish Music Museum – Musikhistorisk Museum & The Carl Claudius Collection in Copenhagen. She is a musicologist from the University of Copenhagen. Her
daily work focuses on collection management, including the museum’s library and archives. As for research, the museum’s history and the provenance of the collections are her current center of attention. She has been an active member of CIMCIM since 2014, when she was on the organising committee of the CIMCIM conference in the Nordic countries. Since being elected CIMCIM Secretary in 2019,
she has among other things assisted with CIMCIM’s process for ICOM’s New Museum Definition, conference proceedings, the planning of the annual conferences, and the Business Meetings.

 

Treasurer
Pascale Vandervellen (she/her)
Musée des instruments de musique
Montagne de la Cour 2, B-1000 Brussels, Belgium
email: cimcim.treasurer (at) gmail.com

 

 

Pascale Vandervellen has been working as curator of keyboard instruments at the Musical Instruments Museum (MIM) in Brussels since 1995. She holds a master in Management (Solvay Business School/University of Brussels) and a PhD in Art History and Archaeology (University of Paris IV/ La Sorbonne & University of Brussels). As treasurer of CIMCIM since 2019, she is ensuring the fair allocation of the association’s resources and in particular the follow-up of travel grants.

 

Advisory Board Members

Murat Alihan (he/him)
Nilüfer Municipality Dr. Hüseyin Parkan Sanlıkol
Musical Instruments Museum
Odunluk Mahallesi, Liman Caddesi, Harmony Towers A3 Blok No: 4C/G
Nilüfer/Bursa, Turkey

 

 

Murat Alihan completed his undergraduate and graduate studies at Eastern Mediterranean University and Near East University where he studied Music Education and classical guitar performance. He has written articles on the Kodaly approach to music in relation to classical guitar education and coordinated several musical festivals in Cyprus, including the Northern Cyprus International Choirs Festival (2013, 2015, 2017) and the Northern Cyprus International Classical Guitar Festival (2016, 2018, 2019). In 2021, he started working as a musicologist at the Nilüfer Municipality Dr. Hüseyin Parkan Sanlıkol Musical Instruments Museum. Prior to that he attended seminars on museology, museum exhibits, museum education. The museum organizes workshops for young visitors, especially children, and regularly organizes instrument-making workshops.

 

Christian Breternitz (he/him)
Staatliches Institut für Musikforschung Preußischer Kulturbesitz,
Musikinstrumenten-Museum
Tiergartenstraße 1, D-10785 Berlin, Germany

 

 

 

Christian Breternitz is research associate and curator for wind and percussion instruments at the Musikinstrumenten-Museum of the
Staatliches Institut für Musikforschung in Berlin since June 2020. He studied musicology, education and psychology in Weimar and Jena. In
2019, he completed his doctorate at the Universität der Künste Berlin on “Berliner Blechblasinstrumentenbau im 18. und 19. Jahrhundert”. His research focus is on wind and percussion instruments and the biographies of their makers as well as the cultural transfer processes in musical instrument making. As a board member, Christian would like to contribute to the topics of sustainability in exhibitions and collections as well as colonial heritage of musical instrument collections.

 

Sabari Christian Dao (he/him)
Musée National du Burkina Faso
Secteur 23, Ouagadougou, Burkina Faso

 

 

 

Sabari Christian DAO holds a master’s degree in museology and a degree in project management. He specializes in the creation of digital content. Artist and author of several publications, Mr. DAO’s work focuses on the safeguarding of intangible cultural heritage in Burkina Faso, in particular elements related to traditional musical instruments. Agent of the Ministry of Culture since 2010, he is currently Director of Communication and Marketing and Member of the Scientific Council of the National Museum of Burkina Faso. He is also a founding member of the Association of Museum Professionals of Burkina Faso (APMBF) created in 2016. He has been a member of ICOM and CIMCIM since 2011. In September 2021, Mr. DAO was elected President of the Burkinabe Committee of the International Council of Museums (ICOM). He was a member of the Resolutions Committee created on the occasion of the ICOM Prague 2022 General Conference.

 

Sarah Deters (she/her)
St. Cecilia’s Music Museum & Concert Hall
50 Niddry Street, Edinburgh EH1 1LG, United Kingdom

 

 

 

Sarah Deters is the St Cecilia’s Hall curator where she is responsible for museum interpretation, display, and visitor engagement at The University of Edinburgh’s musical instrument museum. At St Cecilia’s Hall, Sarah also shares responsibility for cataloging, researching and managing the more than 5,500 musical instruments in the Collection.
Sarah completed a PhD in organology from The University of Edinburgh in 2017. As a researcher, she has a particular interest in examining the history of musical instrument collecting and the display of musical instruments and their interpretation. Additionally, Sarah researches 20th-century musical instrument manufacturing and how socio-economic issues, such as war and labour movements, affect musical instrument making.
Prior to moving to Scotland in 2011, Sarah was curator of musical instruments at the National Music Museum at The University of South Dakota, Vermillion, and she has worked as a classroom music teacher in her home state of West Virginia.

 

Jean-Philippe Echard
Musée de la musique – Philharmonie de Paris
221, avenue Jean Jaurès, 75019 Paris, France

 

 

 

 

 

Manu Frederickx (he/him)
The Metropolitan Museum of Art
1000 Fifth Avenue,  New York, NY 10028

 

 

 

Manu Frederickx is a conservator at the Metropolitan Museum in New York and is responsible for the conservation and technical study of The Met’s Musical Instruments collection. He received an MFA in musical instrument making from the Royal Conservatory in Ghent in 2002 and has worked as an independent maker-restorer of harpsichords and plucked string instruments. Manu studied conservation of wooden artifacts at the Royal Academy of Fine Arts in Antwerp. From 2004 to 2015 he was a lecturer at University College Ghent’s School of Arts, where he became head of the Musical Instrument Making Department in 2013. He worked as a conservator at the Brussels Musical Instrument Museum from 2009 until joining the Department of Objects Conservation in 2015. He is currently conducting a PhD study on the construction of Antwerp virginals at Ghent University.

 

Jimena Palacios Uribe (she/her)
CENIDIM Centro Nacional de Investigación,
Documentación e Información Musical Carlos Chávez
Río Churubusco No. 79 col. Country Club
Piso 7 y 8 de la Torre de Investigación, Centro Nacional de las Artes
Alcaldía Coyoacán, C.P. 04220, Ciudad de México, Mexico

 

Jimena Palacios Uribe is a Mexican conservator and historian interested in the social and cultural impact of the use of musical instruments, especially in México and Latin America. She has worked at the National School of Conservation, at the National Institute of Anthropology and History, and at the National Institute of Fine Arts, where she has organized exhibitions, seminars, workshops and conferences about conservation, restoration, organology and musical iconography. Currently, she is writing her PhD thesis about the commercial and cultural implications of the importation of musical instruments in the late XIXth century in Mexico. Her interests are also related to the dissemination of musical cultural heritage and the formation of students into organology and conservation. She belongs to the CIMCIM, the AMIS and the HBS, where she is editor of the newsletter for content originated in spanish-speaking countries. She eventually plays her trombone while she walks her dogs in the park.

 

Saskia Willaert (she/her)
Musée des instruments de musique
Montagne de la Cour 2, B-1000 Brussels, Belgium

 

 

 

Saskia Willaert (Ph.D. Musicology King’s College, University of London) is a curator at the Brussels Musical Instrument Museum (MIM – 4th department of the Royal Museums of Art and History), in charge of non-western collections. Her publications include research on the history of the MIM. Being in charge of the MIM’s digitization projects, she brought the collection of the MIM to the MIMO platform and digitized partner museums in Africa.

 

Co-opted Board Members

Giovanni Paolo Di Stefano (he/him)
Rijksmuseum
Museumstraat 1, 1071 XX Amsterdam, Netherlands

 

 

 

 

Giovanni Paolo Di Stefano is Curator of musical instruments at the Rijksmuseum, Amsterdam. He studied musicology in Palermo and Rome where he earned his Ph.D. His research interests focus on the history and technology of musical instruments and music iconography. He has published widely and has taught organology at Italian universities and conservatories for more than fifteen years. Since 2016, he has served as a member of the Advisory Executive Board of CIMCIM. He is the coordinator of the CIMCIM International Directory of Musical Instrument Collections project.

 

Cleveland Johnson (he/him)
DePauw University, Greencastle, Indiana
United States

 

 

 

Cleveland Johnson is Professor Emeritus and past Dean of the School of Music (DePauw University, Greencastle, Indiana, USA). He served as Executive Director of the Thomas J. Watson Fellowship (New York, New York, USA), the National Music Museum (Vermillion, South Dakota, USA), and CEO of the Morris Museum (Morristown, New Jersey, USA). At the Morris Museum he led a strategic realignment of the organization around the art, sound, and motion of the Guinness Collection of Mechanical Musical Instruments and Automata, embracing contemporary kinetic art and STEAM education, while building strong connections to the museum’s performing-arts programming.

Johnson holds the B.Mus. degree from the Oberlin College Conservatory of Music and the D.Phil. from Oxford University. As a performer, he focuses on the historic north-European organ, performing often from his own editions prepared from original tablature manuscripts. Together with Claudia Wortman, he recorded the complete organ works of Heinrich Scheidemann on original instruments of the period. As an academic, his early musicological research and teaching foresaw the future methodologies of the digital humanities. His research specialties encompass the German Baroque as well as the music and instruments of South Asia. His scholarship has been funded by such organizations as the American Institute of Indian Studies, ASIANetwork, DAAD, Lilly, Mellon, NEH, and Watson.

 

 

Arnold Myers (he/him)
University of Edinburgh and Royal Conservatoire of Scotland
United Kingdom

 

 

 

Arnold Myers is a Senior Research Fellow at the Royal Conservatoire of Scotland and a Professor Emeritus of the University of Edinburgh; he serves as President of the Galpin Society. His Edinburgh University doctorate developed acoustically based techniques for taxonomic classification of brass instruments and his current research is at the interface of musical acoustics and the history of brass instruments. He formerly worked as Curator and Director of Edinburgh University Collection of Historic Musical Instruments. He served as Vice-President of CIMCIM (1992-98) and subsequently for several terms as an Advisory Member of the CIMCIM Board. He created the first CIMCIM website (in 1995) and has moderated the listserv CIMCIM-L since 1995. He is a member of the CIMCIM working groups for Classification and for Sigla for Musical Instrument Collections and of the CIMCIM Bulletin Editorial Board.

 

Carla Shapreau (she/her)
University of California, Berkeley
United States

 

 

 

 

Carla Shapreau is the Curator of the Ansley K. Salz Collection of Stringed Instruments in the Department of Music, University of California, Berkeley, drawing on her background as a violin maker and restorer.  She holds a Juris Doctor degree and is a Continuing Lecturer in the School of Law, where she teaches art and cultural property/heritage law. Shapreau is also a Senior Fellow in the Institute of European Studies, where she conducts cultural property research; she leads the Lost Music Project, which seeks to reconstruct the history of Nazi-era musical losses. Shapreau is a recipient of a National Endowment for the Humanities fellowship and an American Musicological Society Claude V. Palisca Award in connection with her cultural property research.