Tim Motz    Thu 22 Dec 2004
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I am a beginner at both the playing and the building of lutes.  Two 
years ago, at the age of 51, I decided that if I put off learning to 
play an instrument much longer, both my brain and my fingers would be 
too ossified to start.  I had listened to early music for years in grad 
school while studying and had gradually focussed on the lute.  Once I 
decided on the lute I encountered the traditional two problems for 
beginning lutenists: finding a lute and finding a teacher.  I couldn't 
afford the prices for even a used lute (see non-profit job, below), so 
I bought plans and read books and built one myself.  I do things like 
that.  I wanted a new kitchen, so I built that too.  The lute was 
easier and didn't take as long as the kitchen.  My wife was very 
patient about the kitchen.  I had built several Appalachian dulcimers 
and a banjo for my son, so I had some idea what I was getting myself 
into (with the lute, anyway -- the kitchen was another story).  The 
lute in the photo is my second one (MUCH better than the first).  I'm 
working on a third, so I can keep one in the office (where I practice 
during my lunch break) and one in my home.   I've lent numero uno to a 
friend who is curious about the lute; I'm also building one for her so 
she can take lessons.

Finding a teacher was easier.  I made contact with David Nelson, a 
lutenist who lives in the same city, and started lessons with him.  
David is a very patient man;  since I have absolutely no background in 
music, he needs to explain EVERYTHING to me in simple terms.  And I 
never thought my fingers were especially big until I started taking 
lute lessons.  If I had to choose between playing and building lutes, 
it would be hard; I enjoy them both.

My education is in archaeology and art history; I have a Ph.D. in the 
history of art from the University of Michigan, with a dissertation on 
Roman portrait sculpture.  I work at the Toledo Museum of Art as 
Educational Media Coordinator, which means that I do Web and 
interactive design and manage audio tour and similar projects.  I've 
done technical illustrations of close to a thousand Roman glass vessels 
from the museum's collection for a forthcoming catalogue.  I also help 
develop interactive and interpretive materials for special exhibitions 
and the museum's permanent galleries.  Before that I spent ten years as 
assistant curator of ancient art at the Detroit Institute of Arts.  I 
think the research aspect of early music is one of things that I find 
appealing about it.  Nearly every lutenist I've met seems to be pretty 
knowledgeable about the Renaissance.

Tim Motz