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Note: This is an academical lecture.

Young musicians in the Historically Informed Practice world devote a significant portion of their lives to cultivating a craft rooted in the insights gleaned from valuable historical sources. Curricula in conservatories are becoming increasingly advanced and academic, while emerging performers now rely on the accumulated knowledge passed down by generations of musicians and researchers. However, within this natural progression of the Early Music movement, the new generation faces a unique challenge. The initial freedom and boundless possibilities that characterized its inception have gradually given way to a well-structured, competitive, and demand-driven industry. Consequently, the upcoming generation of artists is at risk of losing touch with the visionary aspirations set by the pioneers of our musical heritage and its primary sources.

One might argue that original instruments constitute an undeniable primary source, offering an insight into specific informed practices that written sources cannot convey. In an endeavor to construct a more profound understanding of his own instrument, Emile ter Schegget delves into the role historical instruments play in the training and growth of young musicians. He examines their interactions with these instruments, comparing their experiences with those of instrument builders, and explores their significance in revitalizing an age-old craft.