It is surprising how easy it is to relate Zeitlin’s discussions about a highly valued, finely made musical instrument to other instruments that may not have been made for longevity, connected to well-documented dynasties, or produced in long-established instrument workshops. Over the centuries, musical instruments have travelled along trading routes, with touring performers, with musicians experiencing forced or voluntary migration, and due to the actions of collectors representing museums, archives, academic disciplines, or building personal collections
