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Journal articles on the topic 'Music in historic house museums'

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Author: Grafiati

Published: 26 July 2024

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1

Kim, Jihye, and Jongoh Lee. "A Study on the Pansori Regional Resource Culture and the Possibility of Eco Museum in Jeonju 'Hagindang'." Korean Society of Culture and Convergence 45, no. 11 (November 30, 2023): 427–38. http://dx.doi.org/10.33645/cnc.2023.11.45.11.427.

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The purpose of the study is to apply the function of the Eco Museum to the local resource culture of Pansori and to examine its possibility. In particular, this study focused on Jeonju's ‘Hagindang’, and derived the value of the Pansori Eco Museum as a way to revitalize the Pansori local culture in Jeonju, and the results of the study are as follows. First, ‘Hagindang’ is an old house of more than 100 years and a historical space as the first Pansori performance hall. Second, it is a town with the reputation of traditional music called “Jeonju Daesaseup”. Third, it includes “museum activities” in which both local residents and tourists participate. Fourth, if the infrastructure of Jeonju Hanok Village, the home of traditional culture and sound, is utilized, it has a utility value as a sustainable cultural salon space. Fifth, in order for Hakdang to function as an eco-music museum, the participation and service of the region and residents are important. Through this study, it is hoped that research on eco-museums related to more diverse Korean traditional music spaces will be conducted.

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2

Werling, Donn Paul, Sherry Butcher-Youngans, and Sherry Butcher-Younghans. "Historic House Museums." Michigan Historical Review 20, no. 1 (1994): 123. http://dx.doi.org/10.2307/20173440.

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3

Pustz, Jennifer. "Interpreting Historic House Museums." Annals of Iowa 62, no. 2 (April 2003): 272–73. http://dx.doi.org/10.17077/0003-4827.10703.

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4

Pinna, Giovanni. "Introduction to historic house museums." Museum International 53, no. 2 (April 2001): 4–9. http://dx.doi.org/10.1111/1468-0033.00306.

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5

Birchfield, James D. "Preventive Conservation for Historic House Museums." Collections 7, no. 1 (March 2011): 30–31. http://dx.doi.org/10.1177/155019061100700111.

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6

Vagnone, Franklin, Deborah Ryan, and Olivia Cothren. "The Anarchist Guide to Historic House Museums." Public Historian 37, no. 2 (May 1, 2015): 97–111. http://dx.doi.org/10.1525/tph.2015.37.2.97.

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7

West, Patricia. "Interpreting Historic House Museums Jessica Foy Donnelly." Public Historian 25, no. 3 (July 2003): 107–9. http://dx.doi.org/10.2307/3379189.

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8

Hodge, Christina J., and Christa M. Beranek. "Dwelling: transforming narratives at historic house museums." International Journal of Heritage Studies 17, no. 2 (March 2011): 97–101. http://dx.doi.org/10.1080/13527258.2011.541063.

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9

Uzwiak, Beth A. "Memorializing Dinah and Reckoning with Enslavement." Public Historian 43, no. 3 (August 1, 2021): 55–86. http://dx.doi.org/10.1525/tph.2021.43.3.55.

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Inequality in Bronze is a two-year project (2018–20) reckoning with the history of slavery at Stenton, a plantation house museum in Philadelphia, by commissioning a new memorial to Dinah, a woman enslaved at the property in the mid-1700s. Drawing on data collected throughout the project, this article argues that historic house museums need to move from “community participation” to “community integration” in their efforts to forefront racial equity. This article asks how we can redress centuries of erasure and the absence of Black lives at historic sites. It offers points of consideration for other historic house museums contemplating similar projects as the collective work to address the legacies of American enslavement continues.

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10

Addy, Shadrick. "History Re-Experienced: Implementing Mixed Reality Systems into Historic House Museums." International Journal of Machine Learning and Computing 11, no. 4 (August 2021): 311–16. http://dx.doi.org/10.18178/ijmlc.2021.11.4.1053.

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As immersive technologies have become ubiquitous today, traditional museums are finding success augmenting existing exhibits to increase visitors’ satisfaction. However, due to the immutable nature of house museums, and their tendency to place visitors in direct contact with historical artifacts, museum managers are seeking original approaches to cultural preservation. Implementing mixed reality systems into historic house museums is one such approach. The goal of this study is to develop and test a conceptual matrix that guides how designers use the affordances of mixed reality systems to create experiences that align with the range of historical narratives found in house museums. Experiences that can contribute to improving visitors’ satisfaction, self-interpretation, and understanding of the homeowner’s life and the community within which they lived. Building on human-centered design methods, the researcher developed and tested a prototype of an augmented reality (AR) mobile application centered on the Pope House Museum in Raleigh, North Carolina. The outcome of the research suggests house museum visitors should have agency in deciding the lens through which they experience the variety of historical narratives present in the home.

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11

Willingham, William F. "Exploring Oregon's Historic House Museums Kathleen M. Wiederhold." Public Historian 24, no. 1 (January 2002): 109–11. http://dx.doi.org/10.2307/3379035.

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12

Venturini, Anna. "Constructions of Authenticity at Scottish Historic House Museums." Collections: A Journal for Museum and Archives Professionals 16, no. 2 (February 6, 2020): 139–61. http://dx.doi.org/10.1177/1550190620903310.

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This study investigates how authenticity is perceived and negotiated by curators at a selection of Scottish historic house museums (HHMs). Many HHMs are preserved so as to recreate the dwellings of remarkable historical personalities, thus showcasing a unique blend of period artifacts, replicas, and original objects once in the possession of their inhabitants. Focusing on three different case studies, this research investigates how these authentic museum objects are displayed to and interpreted for the public; how relevant their authenticity is from a curatorial perspective; what are the factors influencing curatorial perceptions of authenticity; and how (or, if) HHMs help visitors negotiating the inauthenticity of replicas and period objects displayed onsite. While most studies have examined constructions of authenticity at tourism sites and in terms of their impact on consumers’ behavior, this work aims to shed light on how museum professionals conceive of authenticity within the under-researched context of HHMs, by discussing the outcomes of interviews with curators at the Robert Burns Birthplace Museum and Cottage (Alloway), Broughton House (Kirkcudbright), and Ellisland Farm (Auldgirth).

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13

Lowe, Hilary Iris. "The Queerest House in Cambridge." Public Historian 41, no. 2 (May 1, 2019): 44–69. http://dx.doi.org/10.1525/tph.2019.41.2.44.

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One of the great challenges for public historians in LGBTQ history is finding and developing interpretation of the history of sexuality for public audiences at current historic sites. This article answers this challenge by repositioning historic house museums as sites of some of the most important LGBTQ public history we have, by using the Longfellow House–Washington’s Headquarters National Historic Site in Cambridge, Massachusetts, as a case study. At this house museum, we can re-see historical interpretation through a queer lens and take on histories that have been until recently “slandered, ignored, and erased” from our public narratives of the past.1

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14

Pavoni, Rosanna. "Towards a definition and typology of historic house museums." Museum International 53, no. 2 (April 2001): 16–21. http://dx.doi.org/10.1111/1468-0033.00308.

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15

Potter, Amy E. "“A Pledge of Allegiance to the South”." Public Historian 44, no. 3 (August 1, 2022): 110–38. http://dx.doi.org/10.1525/tph.2022.44.3.110.

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Research examining representations of the institution of slavery at historic house museums in the United States has overwhelmingly privileged southern plantation museums. Increasingly, however, there is a call to resist the urge to center discussions of enslavement only in the South and to expand our understandings of how slavery permeated all aspects of US society. Utilizing interviews, narrative mapping, and visitor surveys, this study seeks to show how two house museums in Kansas City, Missouri, are commemorating enslavement. This research is part of the larger initiative of Tourism RESET (Race, Ethnicity and Social Equity in Tourism).

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16

Elias, Megan. "Summoning the Food Ghosts: Food History as Public History." Public Historian 34, no. 2 (2012): 13–29. http://dx.doi.org/10.1525/tph.2012.34.2.13.

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Abstract Although historic homes are increasingly popular sites for exploration of the past, such museums seldom, and for practical reasons, are able to give visitors an actual taste of the past. The desire for just such a taste, however, is part of what brings many people to historic homes. An interest in how people lived in the past often begins with questions of what and how they ate. This article explores ways in which what I term the “food ghosts” can be summoned up in historic house museums. Based on research for the New York Tenement Museum, this study explores methods for making food history powerfully present in public history sites.

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Hobbs, Stuart D. "Exhibiting Antimodernism: History, Memory, and the Aestheticized Past in Mid-twentieth-century America." Public Historian 23, no. 3 (2001): 39–61. http://dx.doi.org/10.1525/tph.2001.23.3.39.

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In "Exhibiting Antimodernism: History, Memory and the Aestheticized Past in Mid-Twentieth-Century America," Stuart D. Hobbs explores the reasons why aesthetic concerns have trumped history and turned too many historic house museums into decorative arts museums. Hobbs uses the 1950s restoration of a house designed by Benjamin Henry Latrobe as a case study. He argues that the painstaking research required for the restoration created a momentum of its own, and the story of the house as architecture and the story of the interior as decorative arts became the story at this and other historic sites. More fundamentally, though, he maintains that the antimodernism of many history museum professionals drew them to decorative arts interpretations. These antimodernists rejected twentieth century urbanism, mass production, and perceived cultural homogeneity. Anxious about a contemporary American society they interpreted as in decline, antimodernists celebrated an idealized artisan past as a means to cultural renewal.

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18

Cabral, Magaly. "Exhibiting and communicating history and society in historic house museums." Museum International 53, no. 2 (April 2001): 41–46. http://dx.doi.org/10.1111/1468-0033.00311.

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19

Lowe, Hilary Iris. "Dwelling in Possibility." Public Historian 37, no. 2 (May 1, 2015): 42–60. http://dx.doi.org/10.1525/tph.2015.37.2.42.

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Challenges to historic house museums are often mired in the rhetoric of crisis. Toward countering that rhetoric, this essay attempts to draw attention to it and to the complicated history of narrative (and storytelling) in interpretation and the academy. It argues that literary house museums are sites of innovation within the house museum sector with lessons for us all. These lessons include a willingness to leverage “the old, bad history” toward reflective practice and continuity for multigenerational audiences; creating inventive university and school partnerships toward insuring strong community stakeholders; embracing the history of race, gender, and sexuality; and perhaps most importantly, making the most of fiction toward embracing multiple points of view about the past.

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20

Brown, Pete. "Telling the Truth in Historic Houses: How Substitutes Can Be Authentic." Collections: A Journal for Museum and Archives Professionals 16, no. 1 (February 17, 2020): 94–103. http://dx.doi.org/10.1177/1550190620904795.

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Many historic house museums are a hotchpotch of architectural styles, furnishing, and fittings, reflecting the tastes and financial situations of generations of owners, and therefore rarely entirely “genuine” or complete. A few examples have been “frozen” at a point in time and remain an unchanging representation of the lives of the last owners, while others are carefully constructed art installations or pieces of theater. And yet, over centuries, museums have cultivated an aura of authenticity which leads visitors to assume that what we show them is “the real thing,” even if the evidence in front of them suggests the opposite. This case study explores two questions: by allowing historic house visitors to believe that what they are seeing is original (when it is not), are we jeopardizing a relationship based on trust? And conversely, will revealing the truth destroy the aura of realism that attracts our audiences in the first place?

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21

Adair, Joshua. "Oh [Queer] Pioneers! Narrating Queer Lives in Virtual Museums." Museum and Society 15, no. 2 (July 12, 2017): 114–25. http://dx.doi.org/10.29311/mas.v15i2.827.

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This study examines the current approach of virtual museums in presenting the lives of queer subjects, especially when a subject’s queerness is either almost completely obscured or seriously misrepresented in favor of a less controversial, more readily marketable version. Examining the Willa Cather Foundation virtual museum, this study critiques the selective erasure of various facets of historic figures’ lives and explores alternative approaches to reconcile similar situations.Key Words: queer theory, virtual house museums, Willa Cather

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22

Christensen, Kim. "Ideas versus things: the balancing act of interpreting historic house museums." International Journal of Heritage Studies 17, no. 2 (March 2011): 153–68. http://dx.doi.org/10.1080/13527258.2011.541068.

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23

Stroja, Jessica. "My history, your history, our history: Developing meaningful community engagement within historic sites and museums." Queensland Review 25, no. 2 (December 2018): 300–321. http://dx.doi.org/10.1017/qre.2018.29.

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AbstractVarying models of community engagement provide methods for museums to build valuable relationships with communities. These relationships hold the potential to become ongoing, dynamic opportunities for active community participation and engagement with museums. Nevertheless, the nuances of this engagement continue to remain a unique process that requires delicate balancing of museum obligations and community needs in order to ensure meaningful outcomes are achieved. This article discusses how community engagement can be an active, participatory process for visitors to museums. Research projects that utilise aspects of community-driven engagement models allow museums to encourage a sense of ownership and active participation with the museum. Indeed museums can balance obligations of education and representation of the past with long-term, meaningful community needs via projects that utilise aspects of community-driven engagement models. Using an oral history project at Historic Ormiston House as a case study,1 the article argues that museums and historic sites can encourage ongoing engagement through active community participation in museum projects. While this approach carries both challenges and opportunities for the museum, it opens doors to meaningful and long-term community engagement, allowing visitors to embrace the museum and its stories as active participants rather than as passive consumers.

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24

Carson, Cary. "The End of History Museums: What's Plan B??" Public Historian 30, no. 4 (2008): 9–27. http://dx.doi.org/10.1525/tph.2008.30.4.9.

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Abstract Are historic sites and house museums destined to go the way of Oldsmobiles and floppy disks?? Visitation has trended downwards for thirty years. Theories abound, but no one really knows why. To launch a discussion of the problem in the pages of The Public Historian, Cary Carson cautions against the pessimistic view that the past is simply passéé. Instead he offers a ““Plan B”” that takes account of the new way that learners today organize information to make history meaningful.

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25

Howe, Barbara J. "Voices from the Back Stairs: Interpreting Servants' Lives at Historic House Museums." Annals of Iowa 69, no. 4 (October 2010): 480–81. http://dx.doi.org/10.17077/0003-4827.1498.

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26

Krill, Rosemary T. "Voices from the Back Stairs: Interpreting Servants’ Lives at Historic House Museums." Curator: The Museum Journal 54, no. 1 (January 2011): 107–10. http://dx.doi.org/10.1111/j.2151-6952.2010.00074.x.

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27

Osthus, Hanne, and Ulrike Spring. "Digging into Downstairs: Exhibiting Domestic Service." Museum and Society 14, no. 3 (June 9, 2017): 431–45. http://dx.doi.org/10.29311/mas.v14i3.655.

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This article is a case study of a newly opened exhibition at one of the most significant lieux de mémoire in Norway, the historic house museum Eidsvoll House. Eidsvoll House has, since 1814, played a key role in Norwegian stateand nation-building narratives and continues to do so today. The article explores the tenacity of national narratives by investigating the role museums play in contemporary nation-building processes. It particularly looks at attempts to integrate domestic servants into this dominant and controlling narrative, and investigates the complex relationship between social history, national narratives and museum communication strategies. It problematizes the exhibition strategy, popular at historic houses, of recreating the past at a specific juncture of time and argues that such an approach might help to reaffirm social hierarchies. On a more general level, the article aims to contribute to a productive exchange between academic and museum approaches to history.

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28

Cansado, Júlia Ascencio, and Sheila Walbe Ornstein. "Historic house museums and their change of use: searching for balanced building performance: a case study in São Paulo, Brazil." PosFAUUSP 30, no. 57 (November 30, 2023): e203174. http://dx.doi.org/10.11606/issn.2317-2762.posfauusp.2023.203174.

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A house museum has its own particularities, presenting many challenges in terms of conservation of the building itself and its surroundings. This article aims to present integrative methods that can be adopted by museum managers and teams to monitor the building performance of a historic house museum. An exploratory study was carried out using Post-Occupancy Evaluation (POE), a multi-methods non-invasive application, at the Ema Klabin historic house museum in São Paulo, Brazil. This approach analyses qualitative and quantitative aspects of the environments to evaluate their performance and the context in which they operate, including the point of view aired by researchers/evaluators, other experts, and regular users. Summary charts and maps regarding diagnosis and recommendations were developed to demonstrate the results achieved with these methods. They are the result of cross-sectional surveys, providing input to aid decision making and developing possible guidelines for future projects with similar characteristics.

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29

Morris, Caroline Z. "Historic house museums in the United States and the United Kingdom: a history." Museum History Journal 12, no. 1 (January 2, 2019): 108–9. http://dx.doi.org/10.1080/19369816.2019.1613787.

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30

Bryol, Radek. "In the Shinkansen Country: Life from Open-air Museums in Japan." Muzeum Muzejní a vlastivedná práce 55, no. 1 (2017): 42–47. http://dx.doi.org/10.1515/mmvp-2017-0024.

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Historical wooden buildings can be seen not only in Japanese open-air museums and in the Japanese countryside, but also in the largest metropolises. On the individual Japanese islands we can find almost ten open-air museums, all of a different character. They include local, regional and national museums - thereby presenting several areas at the same time. Most of them are rural buildings that are primarily related to agricultural subsistence, while some of them also exhibit urban life. In addition to exhibitions of real life and thematic exhibitions, the museums also prepare such programmes as traditional festivities and handicraft courses. Numerous information boards in the museums that are visited, however, are already obsolete in terms of their technical workmanship and their graphics while at the same time they display a lot of information, which also makes the exhibitions chaotic. An interesting concept for using historic buildings is The Art House Project, where endangered buildings were offered to leading Japanese artists and architects for their up-to-date adjustment. A brief encounter with Japanese architecture at the same time confirms that the practical implementation of basic needs to ensure living is similar across the world.

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31

Ponikvar, Laura M., and Mark L. Clemente. "Exploring Cleveland: Arts, culture, sports, and parks." College & Research Libraries News 79, no. 10 (November 8, 2018): 553. http://dx.doi.org/10.5860/crln.79.10.553.

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We’re all very excited to have you join us April 10–13, 2019, in Cleveland for the ACRL 2019 conference. Cleveland’s vibrant arts, cultural, sports, and recreational scenes, anchored by world-class art museums, performing arts institutions, music venues, professional sports teams, historic landmarks, and a tapestry of city and national parks, offer immense opportunities to anyone wanting to explore the rich offerings of this diverse midwestern city.

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32

Zannieri, Nina. "Report From the Field: Not the Same Old Freedom Trail——A View from the Paul Revere House." Public Historian 25, no. 2 (2003): 43–53. http://dx.doi.org/10.1525/tph.2003.25.2.43.

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One of the key public history venues in the country is Boston's Freedom Trail. The Trail is a wonderfully confusing collection of public buildings, churches, museums, and historic markers. The manner in which the sites along Boston's Freedom Trail interpret history is a function of many factors, including the impact of evolving scholarship, how the sites are governed, and audience expectations. Over the years, how the story of the American Revolution is related has changed. The Paul Revere House provides an informative example of one site's response to changing times and heightened expectations.

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33

Keim, Laura C. "Review: Anarchist’s Guide to Historic House Museums by Franklin D. Vagnone and Deborah E. Ryan." Public Historian 38, no. 2 (May 1, 2016): 100–102. http://dx.doi.org/10.1525/tph.2016.38.2.100.

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34

Herrick, Pamela. "Historic House Museums: A Practical Handbook for Their Care, Preservation, and Management. Sherry Butcher-Younghans." Winterthur Portfolio 29, no. 1 (April 1994): 86–87. http://dx.doi.org/10.1086/496650.

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35

Borovkova, Natalia V., Anastasiya R. Pilipenko, and Mar’ya N. Yakimaha. "From England to Russia: Fluorite Vases from the Second Half of the 18th — Beginning of the 19th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 380–95. http://dx.doi.org/10.21638/spbu15.2022.208.

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The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.

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Al-Belushi, Mohammed Ali Khamis, and Nawal Ahmed Al-Hooti. "Towards Inclusivity: Enhancing Access to Oman's Private Heritage House Museums for Individuals with Mobility Impairments." Journal of Law and Sustainable Development 11, no. 6 (September 13, 2023): e654. http://dx.doi.org/10.55908/sdgs.v11i6.654.

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Objectives: This paper aims to investigate and assess the accessibility of Oman's private heritage house museums for individuals with mobility impairments. The study focuses on two case studies, namely Bait Al Zubair Museum and the Place and People Museum, to examine the level of inclusivity and the effectiveness of Omani legislation in addressing accessibility concerns. Method: The research is conducted through a comprehensive analysis of the two selected case studies. Three main areas are investigated: (a) the accessibility provided for individuals with mobility impairments, (b) the relevance of Omani legislation concerning accessibility, and (c) the extent to which these historic sites align with the United Nations Sustainable Development Goals (SDGs) regarding inclusivity. Results: The findings indicate that although Bait Al Zubair Museum has made efforts to accommodate individuals with mobility impairments in both its external and internal environment, there are still some challenges related to internal accessibility. On the other hand, the Place and People Museum faces significant obstacles both externally and internally, significantly impeding the enriching experience for visitors with mobility impairments. Furthermore, the study highlights that while existing Omani legislation emphasizes the rights of individuals with physical disabilities, it lacks specific legislative tools and policies dedicated to accessibility in museums and heritage sites. Conclusions: This paper emphasizes the importance of enhancing inclusivity in Oman's Private Heritage House Museums for Individuals with Mobility Impairments. To achieve this, implementing comprehensive accessibility policies and collaborating with disability organizations are recommended. Additionally, creating educational programs on disability awareness can promote public understanding and sensitivity. By prioritizing inclusivity and accessibility, these museums can enrich cultural experiences for all visitors, fostering a sense of belonging and social cohesion. Aligning with the UN SDGs, such measures contribute to sustainable development and cultural preservation, ensuring equal opportunities for all individuals to access and appreciate the country's cultural heritage.

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ELAYDA, JAYSON, and JIMFORD TABUYO. "DISASTER PREPAREDNESS OF THE HISTORIC CHURCHES (HOUSE OF WORSHIP) IN THE PROVINCE OF CAVITE." Quantum Journal of Social Sciences and Humanities 4, no. 6 (December 12, 2023): 15–27. http://dx.doi.org/10.55197/qjssh.v4i6.287.

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Cavite is a historical province in the Philippines the province is also known for historical Churches. This study assessed the disaster preparedness of the historical churches. The method is qualitative in nature and utilized interviews as the instrument of the study. The respondents are representatives of each historical church. The results show that NHCP is aware of the ancient churches' vulnerability to disasters based on their findings. Disaster response is a problem since historical churches aren't given priority and because of the geographical characteristics that rendered them vulnerable. Due to their significance to religion, culture, history, and identity, historic churches have social significance. Due to its age, worth to the community, and importance, historic museums must be prepared for disasters. While local governments have developed measures to reduce flooding, floods can be avoided provided that government policies and regular water level monitoring are put into practice. Earthquakes can cause the historical churches to shake. For disaster readiness in the event of ground shaking, the NHCP and the local government coordinate. Finally, since ground shaking cannot be entirely avoided, precautions like routine structural inspections are made.

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Ellersgaard Sørensen, Mikkel, and Jesper Bækgaard. "Lyden af autenticitet." Nordisk Museologi 35, no. 1-2 (January 2, 2024): 37–55. http://dx.doi.org/10.5617/nm.10818.

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From 2020 to 2022 Struer Museum in collaboration with academics from Aarhus University worked on the implementation of a soundscape for the historical house of author Johannes Buchholtz. The task was to make a historic soundscape that enhances the visitor experience without interfering with the authentic feeling of the house itself. It is argued that producing soundscapes for historical houses is made difficult partly by their defined settings and partly by demands for historization. By adopting an approach inspired by R. Murray Schafer’s acoustic design and thoughts of constructivist authenticity we produced a soundscape that was less restricted by historicizing thereby making it more flexible and better suited for enhancing visitor experience. We suggest that this is one way to engage more museums in the production of soundscapes for historical houses and discuss the experiences we made in the process.

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Pharaon, Sarah, Sally Roesch Wagner, Barbara Lau, and María José Bolaña Caballero. "Safe Containers for Dangerous Memories." Public Historian 37, no. 2 (May 1, 2015): 61–72. http://dx.doi.org/10.1525/tph.2015.37.2.61.

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Since 1999, the International Coalition of Sites of Conscience has worked with historic house museums around the world who assist their visitors in connecting past and present, use dialogue as a central strategy in addressing needs in their immediate community, and encourage visitors to become active in the social issues their sites raise. Featuring case studies from Coalition members Centro Cultural y Museo de la Memoria (Montevideo, Uruguay), Matilda Joslyn Gage Foundation (Fayetteville, New York), and the Pauli Murray Center for History and Social Justice (Durham, North Carolina), this article reviews the revolutionary approaches Sites of Conscience take toward addressing challenging histories and their contemporary legacies.

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Goring, Elizabeth, and Margaret Maitland. "A curious account of ancient Egyptian Treasure Trove in Scotland." Proceedings of the Society of Antiquaries of Scotland 152 (November 30, 2023): 365–86. http://dx.doi.org/10.9750/psas.152.1374.

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An ancient Egyptian object buried in the grounds of a historic house near Monimail in Fife was found by chance in 1952 and acquired at the time by the then Royal Scottish Museum (now National Museums Scotland). A second object from the same location appeared by chance in 1966 and was shown to the Museum but not accessioned. The revelation of a third object in 1984 prompted an investigation that produced clear evidence there had once been a larger collection of Egyptian antiquities at Melville House. This paper offers the first published account of how these events unfolded and discusses the possible origins of the collection through a visit to Egypt by members of the Leslie-Melville family in 1856–7. The third object and the finds made in 1984 during the investigation were claimed by the Crown as Treasure Trove and all are now in the collections of National Museums Scotland. They are apparently the only ancient Egyptian items to have been declared as Treasure Trove in Scotland. A catalogue of these objects, along with the original find, is provided. The main text of the paper is by Elizabeth Goring with additional comments by Margaret Maitland; the catalogue is by Margaret Maitland. Canmore ID 30153

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Kay, Michael, Abigail Harrison Moore, and Graeme Gooday. "Electrifying the country house: taking stories of innovation to new audiences." Museum and Society 17, no. 1 (March 10, 2019): 1–18. http://dx.doi.org/10.29311/mas.v17i1.2690.

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Could country house museums be indispensable sites for learning about both science as well as history? Given current logistical constraints, would it be worthwhile for school teachers to arrange student visits to such places to learn about STEM subjects? At first sight such epitomes of British heritage do not appear to offer much to such audiences. However, recent research shows that some country houses were once key sites of technological innovation, especially in the Victorian invention of electric lighting. Our collaborative work with staff at Cragside, Lotherton Hall and Standen demonstrates their capacity and enthusiasm to use such insights to present more STEM-related content to visitors within the context of their existing historical offers. Drawing on the results of an AHRC-funded impact and engagement project, we show how co-produced stories of household electrification can supply fresh inter-disciplinary ways of engaging STEM audiences with the historic country house.

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van Balgooy, Max A. "Review: Historic House Museums in the United States and the United Kingdom: A History by Linda Young." Public Historian 39, no. 4 (November 1, 2017): 187–89. http://dx.doi.org/10.1525/tph.2017.39.4.187.

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Mearns, Rosalind. "Did They Really Wear That? Authenticity and the Construction of Historical Dress-ups." Collections: A Journal for Museum and Archives Professionals 16, no. 1 (February 26, 2020): 104–28. http://dx.doi.org/10.1177/1550190620903314.

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An experimental archeology framework was used to examine the construction of historical dress-ups at a selection of historic house museums in the southwest of England. Of the twenty properties within the study area, thirteen were found to have dress-up installations with volunteers most commonly constructing the garments. Forty-eight dress-ups from six properties were then selected for further investigation. All of these garments were found to have made only limited reference to archeological and historical evidence in their construction. This then distorted their ability to authentically represent clothing from the past. Using these results, the challenges surrounding historical dress-ups will be explored and a new set of practical guidelines for their construction will be proposed.

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Harper, Robin A. "The meaning of doing." Teaching Public Administration 36, no. 2 (April 26, 2018): 143–62. http://dx.doi.org/10.1177/0144739418770486.

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Governments write us into being by compelling the public to fill in tiny boxes on forms revealing our most private information. These personal details become matters of public record. What if students thought about how writing in public administration shapes us? In the spring of 2015, my Public Administration class joined with New York City Historic Houses Trust and its LatimerNOW project a not-for-profit organization affiliated with the New York City Parks department whose goal is to reimagine the use of historic house museums, Louis Latimer House and Writing On It All (a participatory art not-for-profit exploring space and identity through writing) to learn public administration through participation in a public participatory art project. The immediate goal was for the students to use public administration theory to design, implement, participate and evaluate a one-day project. The hope was to offer a chance to practice on a real project in a safe space so that they could later use the skills once they were employed in public administration (and the stakes were higher). I engaged reflective practice to get them to move from theory to practical application, forcing them to defend and make explicit their administrative choices, thus offering a common vocabulary for critical conversations about the process and the results. In this article, I describe the experience and critically evaluate how reflective practice can add to the teaching and learning of public administration.

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Migalska, Kinga. "The Question of Appropriateness. Museums Established in Synagogues in Communist Poland: The Cases of Łańcut and Włodawa." Arts 8, no. 4 (December 17, 2019): 167. http://dx.doi.org/10.3390/arts8040167.

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World War II and the subsequent period of communist rule severely diminished the amount of historic Jewish architecture in Poland. It is estimated that in the mid-1990s there were about 321 synagogues and prayer houses in the country, all in various states of preservation. This article examines two case studies of synagogues that were salvaged by being transformed into Judaica museums. The first of these is the synagogue in Łańcut and the second concerns the complex of two synagogues and one prayer house in Włodawa. The article contains an analysis of both examples from the perspective of the following factors: the circumstances under which the institution was established, the place that the history and culture of Jews took in the Museum’s activity, the way that Judaica collections and exhibitions were constructed, the substantive, educational, and research activities that were undertaken, as well as the issue of what place these monuments occupy in the town’s landscape.

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Katz-Hyman, Martha B. "Review: Reimagining Historic House Museums: New Approaches and Proven Solutions, edited by Kenneth C. Turino and Max A. van Balgooy." Public Historian 43, no. 2 (May 1, 2021): 164–67. http://dx.doi.org/10.1525/tph.2021.43.2.164.

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Theou, Efthimis, and Katerina Kopaka. "‘Gavdos: The House’. A Theatre/Archaeology Narrative and Pieces of Knowledge of Diachronic Home Life." Heritage 2, no. 2 (May 1, 2019): 1286–99. http://dx.doi.org/10.3390/heritage2020083.

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At the site called Katalymata, on the island of Gavdos off the south western Cretan shores, the University of Crete is excavating a spacious building complex dating back to the Bronze Age (3rd and mainly 2nd millennia BC). In this paper, we discuss a theatrical performance inspired by this discovery and investigation, which was first presented in situ on the field in 2012. The play was created by young members of the research team, who are themselves both archaeologists and actors. It is based on the accounts in the excavation notebooks of the prehistoric activities revealed in the building’s stratigraphy and enlivened by the memories of the modern islanders of their happenings at home. It also draws upon wider cognitive pieces of relevant knowledge—philosophical, literary and other. This combination was moulded to produce a structured narrative of domestic life on the island through time, and illustrate some specific aspects and overall meanings, material and symbolic, of ‘dwelling’ down the ages. Since its Gavdiot premiere, the work has been adapted for different media to travel in Greece and elsewhere in Europe, as a performative guided tour played in historic houses, as a lecture performance for conferences and art venues, and as an audiovisual installation in museums of contemporary art.

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Palau-Saumell, Ramon, Santiago Forgas-Coll, and Javier Sánchez-García. "The Role of Emotions in a Model of Behavioral Intentions of Visitors to the Gaudí Historic House Museums in Barcelona, Spain." Visitor Studies 19, no. 2 (July 2, 2016): 156–77. http://dx.doi.org/10.1080/10645578.2016.1220188.

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Neal, Jocelyn R. "Grand Ole Opry at Carnegie Hall. Gaylord Entertainment Company DVD, 2006." Journal of the Society for American Music 1, no. 2 (May 2007): 293–95. http://dx.doi.org/10.1017/s1752196307071118.

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Backstage at the Grand Ole Opry is one of my favorite places in Nashville. After checking in at the security desk, guests are free to wander the maze of hallways that connect the historic dressing rooms. Onstage, guests crowd into seats between the musicians and the red country-barn backdrop, watching the bustle of the show as the curtain rises and falls between segments. Announcers read famous slogans in advertising copy; legendary singers in sequins and rhinestones chat with up-and-coming performers in the wings; the Carol Lee Singers and house band keep the music humming along. Headliners take the stage and crack jokes with the audience, who, in turn, applaud their approval at the beginning of favorite songs. Square dancers kick up their heels while fans gather at the footlights to snap scrapbook pictures. The live broadcasts of the Grand Ole Opry on WSM, on the air continuously since 1925, represent a collision of country's past and present in a beloved, nostalgic, and slightly chaotic performance tradition.

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Miller, Leta E. "Opera as Politics." California History 92, no. 4 (2015): 4–23. http://dx.doi.org/10.1525/ch.2015.92.4.4.

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This article describes the troubled, politically fraught path to the realization of San Francisco's War Memorial Opera House, the first municipally owned operatic performance venue in the nation. Although envisioned prior to the 1906 earthquake (in which the two most important opera houses in the city were destroyed), the realization of an innovative concept in which the people of the city would found and maintain an opera house took a quarter century to materialize. Supporters of the idea ascribed to the common sentiment of the time that classical music had an “elevating” and “ennobling” potential to “uplift” the poor and create a more responsible citizenry, but opera's historic association with wealth and elitism counteracted these arguments and blocked progress on the building until at last, in the 1920s, San Franciscans raised $2 million in direct contributions and voted for a $4 million bond issue.

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