This article explores musical instruments in colonial Micronesia in their sonic, material and historical contexts. Using archival and oral sources and museum artefacts this study investigates the movements of instruments, including the abandonment of some and the acceptance of other types within Micronesian communities in the late 19th and early 20th centuries. The study argues for critical attention to the interplay of sound and silence within imperial enterprises in the Pacific, and it addresses the agency of musicians and listeners within a musical and material modernity. Specifically, this study also provides the first in-depth, comparative investigation of indigenous flutes from the Caroline Islands, as well as the first detailed cultural study of nose flutes from Chuuk in the Federated States of Micronesia. Through the investigation of historical flutes and colonial-derived instruments such as the harmonica I query how we understand the movements of things in their material and aesthetic forms, and I argue for the role of musical instruments in the unfolding of Pacific pasts and presents.

中文翻译：

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运动中的乐器：长笛，口琴以及密克罗尼西亚殖民地的声音与寂静的相互作用

本文探讨了密克罗尼西亚殖民地的声音，材料和历史背景下的乐器。本研究使用档案和口头资料以及博物馆的文物，对乐器的运动进行了调查，包括在19世纪末20世纪初在密克罗尼西亚社区中放弃了某些乐器并接受了其他类型的乐器。这项研究主张对太平洋帝国企业内部声音与沉默之间相互作用的关注，并针对音乐和物质现代性中的音乐家和听众的代理问题。具体而言，该研究还首次对来自卡罗琳群岛的土著笛笛进行了深入的比较研究，以及对密克罗尼西亚联邦Chuuk的鼻笛进行了首次详细的文化研究。