Excerpt from Catalogue of the Stearns Collection of Musical Instruments This Catalogue is neither a treatise on the phenomena of sound, nor a disquisition on the origin and evolution of musical instruments. It is obvious, however, that the scientific principles on which the various processes of tone-production are based must be stated it is equally evident that some theory as to the priority of type must be accepted as a starting point in the evolution of instruments, and, also, that no classification is possible that I does not rest on a definite evolutionary sequence Therefore, the ultimate foundation for the facts noted in these pages must rest on those phases of the subject the full exploitation of which is specifically disavowed as its end. In the attempt to make this publication of real assistance to those who wish to view the Collection intelligently, particular stress is laid on the musical possibilities of specific groups, not neglecting to bring to notice the frequently strongly marked individual note of single representatives of these families. Again, those instances in which humanity makes the appeal are accentuated. Possibly a realization of all the personal and communal implications inhering in the uses of certain instruments may give even to those who look upon on a collection as furnishing the means for satiating curiosity while killing time, worthier and more inspiring points of view. That the restrictions of space forbid an extended consideration of these implications is regretted, but it is hoped that the limited references to them will encourage further investigation. Great collections are, in the main, reflections of the personality and individual bias of their founders. Historical or personal associations; decorative beauty and grace of form; a penchant for a certain class of instruments may be guiding factors in selection. Collections thus influenced reveal personality, and frequently are of greater interest than the larger collections assembled under the aegis of some government. It is interesting to note that most of our private collections are domiciled on some university campus. The "Steinert" (Yale); the "Frismuth" (Pennsylvania), and "Steams" (Michigan) Collections support this interesting statement The largest American collection, the "Crosby Brown" (Metropolitan Museum, New York), is not remote from Columbia University, and may therefore be utilized for purposes of general instruction and specific research. For such purposes the Steams Collection is peculiarly adapted, as it is pre-eminently a collection of types. It may be questioned whether any gift to the University has added more, if as much, to its resources for original work than this. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Excerpt from Catalogue of the Stearns Collection of Musical Instruments This Catalogue is neither a treatise on the phenomena of sound, nor a disquisition on the origin and evolution of musical instruments. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.