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THE STEARNS COLLECTION OF MUSICAL INSTRUMENTS
The Stearns Collection of Musical Instruments, which comprises some 1,500 pieces, is housed in the second-floor lobby of Hill Auditorium. Until new or different accommodations can be obtained the collection may be visited only during such times as the building is open for public functions.
The main body of the collection was a gift from Frederick Stearns (1831-1907), a Detroit manufacturer of pharmaceuticals, whose philanthropy greatly benefited the University over a period of many years. The instruments were first offered to the University in October, 1898, and the gift was gratefully accepted by the Board of Regents at their January, 1899, meeting:
Resolved, That the thanks of this Board be returned to Frederick Stearns, Esq., of Detroit, for his gift to the University of his very valuable collection of musical instruments, which represent the musical art of several centuries and of many lands, and that we have pleasure in complying with his request to place the collection in a fire-proof room in the Museum.
Resolved, That we also thank Mr. Stearns for the further gift of new cases in which to install the collection.
R.P.
At that time, the exhibit numbered 904 pieces and was described as "one of the best classified collections in the possession of any institution or individual in any country" (Angell Papers, Vol. 24). Stearns estimated the value of his instruments to be at least $25,000. Since the collection was established, it has been enlarged by further gifts from Stearns and other individuals.
The collection, first exhibited in the University Museum, was moved to Hill Auditorium in 1914. During the next several years Professor Albert A. Stanley (1851-1932) performed a monumental task in developing the present display, reclassifying the instruments, and publishing a catalogue of the collection. The exhibit has remained almost untouched since Stanley's time.
Although the group was once considered one of the world's most important instrument collections, its reputation has diminished in recent years. Lack of upkeep, of use, and of important additions has contributed to this.
The collection is often criticized for its failure to include "genuine" antiques and outstanding instruments of certain types. It should be noted that Stearns's intention was to illustrate the evolution of musical instruments and to present the amazing varieties and forms that were created by peoples from the past. That Stearns was not primarily concerned with establishing a museum of priceless antiques is revealed in his letter of presentation. He stated: "While none of the instruments is of especial interest historically … the collection very completely represents all classes, genera, and species" (Angell Papers, Vol. 24). Although Stearns succeeded admirably in his aim, some of the pieces which were accumulated are frankly freaks, curiosities, or hybrids, a fact which he himself recognized.
Outstanding among the instruments is an early seventeenth-century Italian octavina (No. 1334), designated as "Spinetta. Eighteenth century." Professor Stanley's description says, "The instrument proper lifts out of the beautifully decorated case. An artistically cut rose ornaments the sounding board. Compass: three octaves and one note…