Seeking 3D scanning technology that can offer an alternative to playing historic musical instruments.
The Pitt Rivers Museum collection is home to over 7000 musical instruments from around the world, from archaeological bone flutes to electronic keyboards.
Over 400 instruments in the Pitt Rivers Museum collection are made from bone or ivory, and they are often requested to be played by members of originating communities, researchers and students.
Unfortunately, many of these instruments are either too fragile to be played and risk being irreversibly damaged or have been shown to be contaminated by old pesticides treatments which now pose a health risk to anyone wanting to play them. Especially for mouth blown instruments.
In 2019 the conservation department sought to test the latest 3D scanning and printing technology to see if this could offer an acceptable alternative to playing the historic musical instruments in the collection. The ‘Plastic Fantastic?’ project tested various printing methods and materials to see if it is possible to replicate the experience of playing the instrument as authentically as possible, so that it not only looks and feels like the original, but sounds like it too.
Did we succeed?
Building on the findings of the 'Plastic Fantastic?' project, an MSc research study focused on the replication of a Palaeolithic whistle from the Pitt Rivers Museum collection, with the goal of reproducing a sound that is roughly 12,000-17,000 years old. The whistle shared the same problems as many of the musical instruments in the museum collection, with signs of heavy metal contamination and a fragility making the sound inaccessible to the museum's audience. Together with the results from the 'Plastic Fantastic?' trial, this research presents a new possibility for future work around accessing the sound of historic instruments at the Pitt Rivers Museum.
Deputy Head of the Conservation, Pitt Rivers Museum, University of Oxford
Graduate, MSc in Conservation for Archaeology and Museums at University College London
Deputy Head of the Conservation, Pitt Rivers Museum, University of Oxford
Andrew Hughes is currently the Deputy Head of Conservation at the Pitt Rivers Museum, part of the University of Oxford. Andrew has over 13 years experience working in museum conservation with 10 years working exclusively with ethnographic collections. As part of a small busy team, his role encompasses everything from pest management and bench work to couriering loaned material and emergency planning. With an interest in materials testing and identification, Andrew has collaborated on projects testing the effects of historic conservation treatments on Carbon 14 dating, and the effectiveness of current pre treatment cleaning techniques on C14 results. Over recent years Andrew has had increasing involvement with the planning and execution of several large storage projects, and is currently involved with the planning of off-site storage improvements, and improving the display/storage of objects publicly accessible in openable drawers within the museum.Graduate, MSc in Conservation for Archaeology and Museums at University College London
Reed Hudson recently completed the MSc in Conservation for Archaeology and Museums at University College London. Previously trained as a jeweller and with a background in African Studies, Reed has a particular interest in ethnographic collections, though she has worked on materials ranging from wall paintings to archaeological iron. Much of her research has focused on the sensory and experiential nature of cultural heritage, and as part of her degree she undertook a six-month placement at the Pitt Rivers Museum, where she considered the conservation and presentation of sound within the collection. She is currently serving as a conservator for the Middle Kingdom Theban Project in Luxor, Egypt, where her work is focused on archaeological organic material and carved and painted limestone reliefs from a series of monumental tombs in Deir el-Bahari.