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In 2022, US President Donald Trump and UK Prime Minister Rishi Sunak faced public scrutiny over the background music used in official videos promoting their political agenda. Press articles and social media users claimed that the library (or 'stock') music heard in the videos consisted of so-called 'soundalikes', and questioned whether this choice was a public endorsement of problematic individuals or groups connected with the tracks in question: namely, conspiracy-theory movement QAnon, and convicted rock singer Gary Glitter. This article explores how library music is used strategically in these videos, highlighting the urgency of inquiring into its fundamental role in the construction and dissemination of political messages in media today, with moral and ethical implications that remain underresearched. Departing from these cases, the article also examines how library music, a once unseen musical practice, is now reaching the foreground of public attention, gaining unprecedented visibility due partly to its use in politically motivated videos. This allows us to rethink longstanding notions of library music as something that lacks a public existence, and to focus instead on what happens when it gains media coverage – prompting misunderstandings that reveal how unfamiliar the wider public is with the workings of this industry. [ABSTRACT FROM AUTHOR]

The article focuses on the presentations delivered during the American Library Association (ALA) Core Metadata Interest Group's session on metadata in shared digital libraries. Topics include maintaining a shared controlled vocabulary in the Chicago Collections, challenges in creating and sharing date metadata, and developing a metadata application profile for a digital music library to support research and interoperability.

The wartime work of the BBC is widely remembered, but the focus on the live broadcasting of news across Britain and occupied Europe which characterises most previous studies overlooks the extensive production of transcription recordings for both allied and neutral countries during the conflict. Transcription programmes, along with other neglected fields such as library music, have left more robust archival traces than the more celebrated and 'ephemeral' live programming, thereby challenging the continued centrality of 'liveness' to scholarly understandings of radio as a medium. This article looks at the programmes produced by the BBC's London Transcription Service (LTS) through the case study of an unstudied collection of wartime discs which are preserved at the Czech Radio Archive in Prague. These programmes, produced by international teams for a truly global audience, offer further insights into the wartime 'projection of Britain' and show how the specificities of transcription were used to ensure audiences received an impression of Britain and the Allied cause that was carefully tailored to them. [ABSTRACT FROM AUTHOR]

Reasonable music feature library construction methods are of great significance to the realization of accurate music retrieval. In view of the limitations of current music multimedia retrieval, a ranking learning model is introduced in this paper, constructing corresponding models by fusing local and global indexes, constructing and mapping the attributes and characteristics of music multimedia using feature matrix to clean the data; looking on the global search, nodes are used to search, aiming to improve the efficiency of music multimedia retrieval and measurement quality model construction. The results show that the ranking learning model can effectively support the construction of music multimedia retrieval and measurement quality model. [ABSTRACT FROM AUTHOR]

The ongoing war of aggression by Russia in Ukraine has brought international attention to the conflation of Ukrainian and Russian cultures and identities. Such conflation exists in various forms, at its most dangerous in weaponized distortions of history and pretexts for violence. These two distinct cultures can also be misunderstood unintentionally in ways that appear harmless, even in music libraries. Cataloging the Ukrainian music materials contained within the Margarita Mazo Collection at Indiana University has necessitated an examination of the historical relationships between Ukraine and Russia in general and the influence of the Soviet Union on music publications in particular. Best practices for catalogers, such as appropriate use of controlled vocabularies and accurate transcription of text, are expanded upon to promote understanding and appreciation of Ukrainian music and to ensure access to users who search in the Ukrainian language – perhaps the users for whom these materials are most vital. Librarians must be critical and well-informed to understand Soviet publications of Ukrainian music, intrinsic to which are state control, censorship, and the manipulation of cultural expression for ideological purposes. Here lies a crucial opportunity for reparative cataloging, in which music catalogers can provide authentic representation in bibliographic and authority records. [ABSTRACT FROM AUTHOR]

An edited transcript of a roundtable presentation held on Thursday, June 9, 2022, at the Canadian Association of Music Libraries (CAML) 2022 virtual conference. Through a series of six questions chosen to fit in a one-hour format, music librarians from three Canadian universities discussed their experiences with the acquisition of e-score databases. Topics included motivation for acquisition, selection criteria, marketing strategies, patron responses, resource issues, and impact on print collections. This article is offered to a broad audience of library professionals in the belief that topics discussed will be applicable to collection development in subject areas apart from music. [ABSTRACT FROM AUTHOR]

This study compares the performances of the resource type facets and format facets in Primo and WorldCat Discovery respectively. Through looking at librarians' perceived understanding of selected facets, the information retrieval mechanisms employed, and the search results yielded, the author reveals gaps between users' perception and the information actually retrieved. The goals are to see how successful Primo and WorldCat Discovery are in making themselves a one-stop shop for music information, and to determine whether the resource type or format facets in these tools facilitate information discovery. The findings also prompt librarians to reflect on what can be done to enhance information discovery through the teaching of information literacy and through collaboration with information and systems providers. [ABSTRACT FROM AUTHOR]

The industry of library music (pre-existing pieces that can be licensed for use in media) has grown considerably in the past two decades with its transition to a digital medium. A rising number of composers rely on this music as a source of income, along with audiovisual creators who increasingly use it in their productions. This expansion has accentuated a fundamental aspect of library music: the creation of large quantities of tracks at breakneck speed. Parallel to this, the video editors and videographers who form library music's main client base experience tight production deadlines where the choice of music is often left as an afterthought. This article explores the implications of the sped-up creation and use of library music in the current online media landscape. Although the interactions of composers and videographers with this music are often fraught with concerns of limited time, their attitudes towards this acceleration vary considerably: for instance, composers describe their fast-paced work in widely different ways, viewing it as a constraint, or, on the contrary, as a positive and freeing aspect. That being said, the sense of urgency shared by these agents has wide-ranging impacts on every step of the 'life' of a library track, from its composition and presentation to its selection and synchronisation with images. As composers attempt to appeal to hurried videographers browsing libraries, these, in turn, resort to this music as an invaluable strategy to retain their audience's attention. Furthermore, sonic stereotypes that are prevalent in library music are valued as communication shortcuts in audiovisuals where messages must be conveyed through instantly recognisable musical formulas. In addition to broader impacts on the workings of library music, this widespread perception of 'lacking time' is also a vital factor that shapes its sonic characteristics themselves, making library music truly a matter of time. [ABSTRACT FROM AUTHOR]

Copyright of Bibliothek Forschung und Praxis is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Local/Independent Music Initiative of Texas (LIMIT), an ongoing project to collect, preserve, and disseminate music from Texas, meeting a need in the Denton music community. The University of North Texas (UNT) Libraries possess the necessary skills and resources to preserve local music history, including pertinent recordings and archival materials. This study discusses innovative ways of connecting with potential donors through outreach and programming, initially supported by a grant-funded project. The project team actively participated in the local music community, organizing events and attending others, seeking out music for the collection, making connections with potential donors, and championing LIMIT. [ABSTRACT FROM AUTHOR]

The article focuses on the Aaron Cohen Collection of Japanese Madame Butterfly Materials at the Music Library, University of South Carolina. Topics include the collection's contents, the collaboration between Aaron Cohen and Kunio Hara in acquiring the materials, and insights into the life and career of Tamaki Miura, a Japanese soprano associated with Madame Butterfly.

Copyright of ABI Technik is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The terraced concert hall offers a wide range of design options. Yet the knowledge barrier within a design team makes it difficult to effectively deliver a design that satisfies both the needs of creativity and acoustics. The study aims to explore the integration of generative parametric design collaboration workflow into the design of terraced concert halls and apply the cumulative results of the pilot study to the Taipei Music and Library Centre design competition. We propose an enhanced collaborating model between architects and acoustic consultants, integrating geometric design with acoustic verification in concert hall design. This cooperating model embraces and integrates three key steps: defining basic parameters and reference geometries, efficiently generating and composing geometric elements, and conducting geometric and acoustic statistical assessments. This design strategy enables integration of diverse viewpoints, covering both the acoustics within the hall and the space integration with the surroundings. The outcome is a terraced concert hall with an acoustic performance comparable to traditional shoebox-shaped halls. [ABSTRACT FROM AUTHOR]

While music libraries fundamentally face the same preservation concerns as any other library, their collections face unique problems. Sheet music is heavily used in distinct ways, and comes in a wide variety of sizes, shapes, and formats, all of which lead to maintenance issues that apply specifically to these materials. Arguing that genre and use inform the formats and damage we see in sheet music, this paper systematically explores the different features of scores, including bindings, sizes, and uses. I discuss the major preservation issues faced by circulating, printed music collections and suggest possible solutions. [ABSTRACT FROM AUTHOR]

Countless academic libraries are unable to commit staff time to handle the multiple workflows required by a music library, such as ordering, procurement, and cataloging. Music librarians often rely on support from staff in other departments with limited musical backgrounds. Drawing from resources offered by the central library, a University of Tennessee music cataloger created guidelines for training non-musical library staff in identifying various musical formats. The training was meant to improve the workflow of music materials from acquisitions, cataloging, and processing departments. The training focused on illustrating the differences between a variety of commonly found musical score formats. The goal was to increase staff effectiveness and reduce errors in ordering and processing music materials. Ultimately, the training enabled library staff to identify best options and apply sound judgment when fulfilling order requests. These guidelines included illustrations with examples of different formats with cover images, title pages, music notation pages, and a brief bibliographic description of MARC fields 100, 245, 240, 250 and 300. By evaluating bibliographic records from WorldCat and showing physical examples of various musical manifestations, non-musical library staff were able to contribute more effectively to the operations of the music library. Furthermore, during the process of training and following up with staff, it became clear that the need for basic music training was greater than initially perceived and that numerous other units within the library needed this training. This paper offers guidelines for music library training from both the University of Tennessee and the music library literature. [ABSTRACT FROM AUTHOR]

The National Library of Spain (Biblioteca Nacional de España, BNE) is the head of the Spanish library system. It holds all books published in Spain, and also several collections of different types, including the Music and Audiovisuals Department's sound recordings and sheet music. Its Department of Bibliographic Control of Periodicals catalogues both newspapers and magazines. In addition, the BNE offers a number of online services including the Hispanic Digital Library (Biblioteca Digital Hispánica, BDH) and the Digital Newspaper Library (Hemeroteca Digital, HemD). The BDH, was created in 2008 and currently provides free and open access to more than 220,000 digitized documents, including recordings and scores. In contrast, HemD, which is part of the BDH, focuses on the public dissemination of the digital collection of Spanish historical presses. It currently offers around 2,500 titles and more than 70,000,000 pages. Newspapers and magazines are available in PDF format and searches are facilitated by OCR (Optical Character Recognition). [ABSTRACT FROM AUTHOR]

Deconstruction, a concept that originated from French philosopher Jacques Derrida's post-structuralist theories, has significantly influenced architecture and graphic design. It has evolved into a rhizomatic network of styles and concepts ranging from new architectural geometry to AI. Despite its limited explicit application in music, this paper explores deconstruction within musical aesthetics, especially in the post-1945 serial school. Computer-Aided Design (CAD) methods have become an important part in the deconstructivist architectural design process; similarly, in music, Computer-Aided Composition (CAC) techniques have become important from generative algorithms to AI techniques. In graphic design, such systems (i.e. GANs, VAEs, CNNs, RNNs, Stable Diffusion, Transformers, etc.) have been experimented with. Google's Imagen or OpenAI's DALL-E 2, which automatically generate images from text prompts given by users, use, for example, diffusion models. Also, Google LM is a music equivalent to these. This paper delves into the novel aesthetics brought about by the application of GANs on multichannel polyphonic MIDI data in music, discussing the conceptual grounding of such usage and overcoming the challenges associated with it. Effectively, using our concept of distance matrices rather than, for example, Hidden Markov Models, is more suitable for GAN generation. [ABSTRACT FROM AUTHOR]

Copyright of Museologica Brunensia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Literacy is a common goal of early childhood programs in libraries. Through the "Every Child Ready to Read" initiative of the American Library Association, librarians emphasize educating caregivers and parents to work with their children on early literacy skills (Every Child Ready to Read, n.d.).This program identifies singing as one of five core practices in early childhood library literacy programming. Based on this priority on singing in early childhood library programming, there seems to be a valuing of music by library organizers. However, little is known about the musical background and preparation of librarians and library associates who lead storytimes. This instrumental case study of children's librarians and library associates' documented the use of music by participants in library storytime programming (n = 13) as well as their perceptions about music. The researchers employed qualitative data analysis procedures to arrive at four themes, which encompassed the participants' positive perceptions of the role of music in children's lives; participants' passion for early literacy; their emphasis on family mentoring; and the diverse music backgrounds that led to diverse approaches of incorporating music into library programming. In our discussion we note the similarities between our population and early childhood generalist teachers who use music in their classrooms, suggesting potential application of prior research. We conclude with implications for librarians and library associates, early childhood teachers, and the early childhood music community. [ABSTRACT FROM AUTHOR]

This paper explores the challenges currently faced by music cataloguers, with particular regard to their training and the systems they work with. It asks whether music catalogers feel they have enough support and training to do their work; it investigates the skills they require, and how they might be taught. It also examines whether systems need to be adapted to suit printed music. The project focuses on staff responsible for cataloging printed music at music libraries in the UK (public, academic, legal deposit and specialist). Here, the term "cataloger" refers to any member of staff who catalogs printed music. [ABSTRACT FROM AUTHOR]

Copyright of Circuit: Musiques Contemporaines is the property of Circuit: Musiques Contemporaines and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An interview with Callie Holmes, music collections librarian, and Matthew Vest, music inquiry and research librarian at the UCLA Music Library, is presented. They talk about the UCLA Music Library, the emergence of California as the first state in the nation to issue a statewide shelter-in-place order, and the first steps they took to ensure that students and faculty had access to Music Library services and materials.

Musical water landscape combines landscape design with audiovisual art and is loved by the general public. However, the performance control form of musical water landscape generally adopts the manual offline preprogramming method, which needs to use the human subject's consciousness to perceive the style, emotion, and other advanced features of the music first and then choreographs the corresponding landscape performance, which is a high-cost design form and low usage rate of the landscape and is not conducive to the expansion of the music library. In this paper, we design and implement a musical water landscape simulation system using OpenGL and 3Dmax technology in combination with wireless music buzzer sensors, extract and analyze the music features based on this system, and study the system control of musical water landscape. Open GL particle system technology is used to realize the dynamic simulation of weather and fountain inside the landscape and improve the drawing scheme from both modeling and rendering aspects. For the fountain, the physical model and the wireless music beep sensor are combined to design a variety of water type actions for a single spout, and the parameter interface to control the water type changes is reserved. We propose a style recognition method based on CRNN and residual network, which has a higher accuracy rate compared with the existing methods; we use the DP algorithm to segment the pitch sequence of the music to reduce the redundancy of information and improve the calculation speed of the system. [ABSTRACT FROM AUTHOR]

This paper presents extensive new biographical information, assembled from newspaper articles, about Ogreta McNeill, Canada's first professional music librarian: pianist, singer, teacher, single mother, Toronto Public Library branch director, writer and bibliographer, impresario, founder and first chair of the Canadian Music Library Association. The early accomplishments and influences of her formative years in Victoria BC offer were fully realized in her later identity as a generous contributor to the wider musical community. [ABSTRACT FROM AUTHOR]

Copyright of Bibliotheksdienst is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Library music (also known as 'stock' or 'production' music) plays an important role in the depiction of Donald Trump in media productions, be it to cast him as a bold political hero, a glamorous millionaire, an authoritarian ruler or a clownish character. The various facets of Trump's public brand are reflected in library music catalogues: tracks tagged with the keyword 'Trump' highlight, for example, his notoriety as business tycoon and host of reality show The Apprentice, or his candidacy and mandate as the 45th US president. In this article, we draw together original qualitative library music data with a close reading of specific television case studies to examine two main research areas. Firstly, how is Trump represented in library music catalogues, and what does this reveal about popular perceptions of him? Secondly, which library music tracks are used in media content about Trump? Where are the 'Trump'-tagged tracks used in television, and what other kinds of library music are used in series about this president? This article explores the musical strategies which were deployed to depict Trump's mandate and its political upheavals, and, more broadly, reappraises library music as a vital – yet underexplored – element in the construction of audio-visual meaning. [ABSTRACT FROM AUTHOR]

Music sharing on social media increasingly involves 'imagined listening', a form of sociality based on how we think that others listen to music (as well as on our own imagining of sounds) and typically mediated by the exchange of visual prompts, such as the thumbnail images associated with a particular streaming link or recording. Drawing on ethnographic research conducted online and offline with Spanish migrants in London, I show how practices of music sharing based on imagined listening articulate specific moral economies. In these economies, users imbue the sharing of music with positive value, as something that contributes to human flourishing and balances the negative aspects of social media and the world. I also consider how users reckon with the algorithmic manipulations of social media platforms and the fleeting forms of user engagement characteristic of an online world in which there is more music than could ever be heard. [ABSTRACT FROM AUTHOR]

In order to improve the efficiency and accuracy of collecting theater music data and recognizing genres, and solve the problem that a single feature in traditional algorithms cannot efficiently classify music genres, the technology of collecting data based on the Internet of Things (IoT) and Deep Belief Network (DBN) is firstly proposed for application of collecting music data and recognizing genres. The study firstly introduces the scheme of collecting music data based on the Internet of Things (IoT) and the theoretical basis of the recognition and classification of music genres by DBN. Second, the study focuses on the construction and improvement of the music genre recognition algorithm under DBN. In other words, the algorithm is optimized by adding Dropout and momentum to the network, and the optimal network model after training is implemented. And finally, the effectiveness of the algorithm is confirmed by experiment and research. The experimental results show that the efficiency of the optimized algorithm of identifying the music genres in the music library reaches 75.8%, which is far better than the traditional classic algorithms in the past. It is concluded that the technology of music data collection and genre recognition based on IoT and DBN has strong advantages, which will greatly contribute to reducing the workload of manual collection and identification of classification features, and improve efficiency. Meanwhile, the optimized algorithm model can also be extended to other fields. [ABSTRACT FROM AUTHOR]

The article focuses on working in a cultural institution such as a music library or archives that is providing access to and caring for collections, comprised of local copies of items which may be available to anyone with the budget to acquire them, as well as unique items either created for or deposited in collections.

In this report, I consider the impact of a new way of musical research in the small world of Italian Conservatories. Until a few years ago, not many Conservatories activated a course in music bibliography. The dissemination of courses led to a new series of reflections on how the discipline could be taught. In practice, even if not consciously, the introduction to musical research, implied in the bibliography of music objectives, has been transformed in 'music information literacy'. Indeed, the aim of Italian bibliography of music courses is to provide a first basic knowledge on Internet or paper music resources, and furthermore how to recognize and choose Urtext and critical music editions etc. Today more than ever, bibliography of music, as a global musicological discipline, makes use of free or commercial digital or digitalized resources on the Web. These resources improve and broaden means for those looking for music and writings on music. Undoubtedly, music knowledge benefited in this context, even though today few scholars critically explored the teaching methods in music bibliography. [ABSTRACT FROM AUTHOR]

Copyright of 3C TIC is the property of Area de Innovacion y Desarrollo, SL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)