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This article examines the main methods used for the retrieval of digital images we find in most websites and Web pages. Techniques for manual and automatic indexing simplifying the image retrieval process are also described. We specifically focus on the problems encountered by searchers during the image retrieval process in a multilingual context: that is to say, when the language of the query differs from the indexing language. The main objective of this study is to identify similarities and differences in the way four groups of participants with different native languages formulate their queries when searching for images on the Web. We asked four groups of ten participants from four different linguistic communities (French, English, Russian and Chinese) to indicate the categories of terms they commonly use in their queries when searching for images on the Web. The results of our study on image searchers' behaviours of these four different linguistic communities revealed significant differences in the way of searching (number of queries used, query length, conceptual and terminological attributes contained in the queries). These differences must be taken into consideration when developing the search functionalities offered by search engines dedicated to image retrieval. In addition, the image search process varies according to the image searcher's mother tongue. The challenge of accessing images regardless of the indexing method remains puzzling and complex. [ABSTRACT FROM AUTHOR]

Basing ourselves on the history of libraries, we investigate libraries as significant spaces to apprehend the non-places that are documentation and information centres. We will consider these spaces as the heart of the organization of knowledge. We use the evocative nature of literature to map out the various contributors to these spaces, in order to extract a framework for information literacy serving the history of ideas. [ABSTRACT FROM AUTHOR]

The history of musical performance is a domain that has been little studied so far by francophone researchers, while for several decades the English-speaking world has developed a field which is completely dedicated to it: the performance practice studies. These studies have until now focused on two main types of sources: scores and treatises. The case of the Société de Musique, which was one of the main musical institutions in Geneva in the first half of the 19th century, shows that relying solely on scores (conductor scores as well as orchestral parts) is not sufficient to reconstruct musical practices as they were known in this society. On the other hand, a systematic study of the numerous traces left by the Société de Musique (minutes and correspondence of the committee, concert programs and press reviews) allows us to have a better idea of how amateur and professional musicians made music together. Consequently, it seems to us that expanding the body of sources used for studying performance practice in the 19th century must be accompanied by a renewal of the historian's approach. Music libraries are an integral part of this movement, because they preserve documents and more importantly, because they provide access to them by building catalogues and bibliographies, and by establishing a dialogue between librarians and researchers. [ABSTRACT FROM AUTHOR]

The article deals with the problems that music archives pose to databases in library networks as far as access to bibliographic records is concerned. Different from books and scores which are acquired directly by libraries and which are (for modern volumes) in general identical for each copy, materials which belonged to musicians each have their own history, carrying annotations for performance, dedications, names of performers, references to specific performances, dates, etc. It is extremely important to be able to benefit from these by access. Considering this, the structure of bibliographic records (certainly dated) and new theories of library science (especially FRBR—Functional Requirements for Bibliographic Records) are particularly interesting for music, because they try to distinguish different aspects of a work, its different versions, its successive performances, its multiple arrangements, etc, and thus manage to define more precisely the distinctive characters of different copies of publications. [ABSTRACT FROM AUTHOR]

Archives giving testimony of the activities of Nadia Boulanger, as pianist, choir conductor, orchestral conductor are numerous and diverse, but remain however little used : press reviews, correspondence, sound recordings and magnetic tapes (edited versions, studio recordings, recordings of rehearsals or private concerts), annotated scores (commercial editions or manuscripts), analyses of works written up for or by students, etc. The comparison between different documents allows us to follow the successive steps taken in the interpretative work by the musician, to figure out mechanisms and constraints, even to deduce some systematic procedures. However, the implementation of such a procedure meets with a variety of problems, partly because of the geographic and institutional dispersion of the Boulanger collections, partly because of the almost total absence, in these research locations, of adapted tools (especially as far as musical data processing is concerned). A case study using madrigals by Monteverdi (studio recording in 1937 and 1951, subsequently concert recordings in 1969), enables the author to investigate these questions and to propose some answers. [ABSTRACT FROM AUTHOR]

The Academy acquired the Menuhin material in March 2004, and cataloguing began in January 2005. The archive consists of personal papers, correspondence, concert programmes, manuscripts, printed music and books, photographs, drawings, paintings, prints and objets d'art. Menuhin had a habit of collecting, this appears to have been a family trait, as his father collected press cuttings about Menuhin from his first concert at the age of 8 onwards. This paper concentrates on the method used by the librarians to organise and catalogue the materials and sets the collection in the context of the other Special Collections at the Academy. [ABSTRACT FROM AUTHOR]

The article describes the collection of the conductor Jean Martinon, bequeathed to the multimedia centre of the National Conservatory of Lyon in 1981 and which comprises around 1500 scores as well as orchestral materials and a card index. After a short sketch of the artist's life, the author describes the card index set up by Martinon and the annotations occurring in the scores he conducted. These are very interesting to conductors as the entrance of instruments is indicated (with a blue pencil in case of solo instruments) and dynamics are underlined with a red pencil, all indications which form an analysis of the work. [ABSTRACT FROM AUTHOR]

Geneviève Thibault de Chambure (1902–1975), musicologist specialized in French chanson and instrumental music from 1450 till 1550, collector of rare scores and musical instruments, curator of the Instruments Museum of the Paris Conservatory from 1962 till 1973, founder of a team of specialists in organology and musical iconography supported by the CNRS, is also known to posterity as the founder of the Société de Musique d'Autrefois. Between 1927 and 1932 and between 1952 and 1975, two annual concerts were organised under her presidency, one of religious music, the other of secular music. The programmes covered four centuries of ‘early’ music and enabled a select audience, in Paris but also in the regions and even abroad, to discover these repertoires performed on historical instruments collected by G. Thibault, nowadays all in the Museum of Music. Starting from these collections of rare manuscripts and prints, preserved since 1980 in the National Library of France (Music Department), the successive heads of the SMA (Roger Désormières, Pierre Chaillé, Antoine Geoffroy Dechaume) were able to prepare most of the used materials. The author, after having portrayed the history of the SMA, describes briefly the fifty archive boxes now preserved in the Museum of Music and which, besides an abundant correspondence and a complete collection of the Society's programs, also contain the orchestral materials used for the concerts that are not yet catalogued. Problems that may occur in conservation and analysing are discussed, as well as several aspects of cataloguing, research and utilization. [ABSTRACT FROM AUTHOR]

The study of musical sources enriched by added annotations by ‘interpreters’ has not been part of the musicological field for a long time. The arrival of collections from identified interpreters such as those in library collections, is however not a recent development. Supported by some examples (collections originating from Robert et Gaby Casadesus, from Igor Markevitch or from the Société des Concerts du Conservatoire …), the author attempts to sketch a typology of these sources and their annotations, and wonders about the way in which an online catalogue can do justice or not to this type of written documents. A list of the collections from performers kept in the music department of the National Library of France is given in the appendix. [ABSTRACT FROM AUTHOR]

Some (private) musical collections such as collections of books, scores or sound recordings of artists and/or teachers raise specific problems for professionals working in library science as well as in research workshops in performance practice. These collections of documents are of great importance to the historian. Many of them show marks of former use (for example in annotated scores) and there is much to explore into how these collections were compiled: a kind of material basis on which the artistic or pedagogic career of the owner was built. This relatively recent awareness gives rise to an evolution of methods used by libraries. They traditionally favoured the individual document and not the collection as a whole compiled for a specific use, in this case that of musical performance. Several specialists assembled at the Conservatory of Geneva to consider these questions on January 7, 2006. [ABSTRACT FROM AUTHOR]

What place should be given to annotated scores in a music library? In general, librarians are only interested in authors and those secondarily responsible such as editors, arrangers, illustrators, etc. If later additions to the printed document such as the musician's annotations, deserve more attention, then librarians must find a means to integrate these special collections or think of a technique to catalogue them, in a way best suitable to a future researcher. [ABSTRACT FROM AUTHOR]

The author gives an account of how the collections of the library of the Music Conservatory in Geneva, which mainly consist of donations and bequests, were compiled. The Conservatory is fortunate in regularly receiving libraries from performers who were at the heart of Genevan and Swiss musical life, amongst them many professors of the school. Some collections here presented, such as the ones of Ernest Ansermet, Dinu Lipatti or Dimitry Markevitch, are particularly significant because of their contents and the special problems they pose to librarians. [ABSTRACT FROM AUTHOR]

User behaviour and reduced budget allocations are challenging the assumptions of the traditional library. However, in order for libraries to survive in the future there are many challenges facing librarians now that should be met such as the proliferation of new media, the internationalisation of collections, digitisation, new types of publishing and collection preservation. The key to immediate success is library cooperation in the creation of web guides and e-repositories and in collection sharing. [ABSTRACT FROM AUTHOR]

The article reports on a 2011 announcement from the Board of the Canadian Association for Information Science (CAIS), in which the board indicated that the new editor of the "Canadian Journal of Information and Library Science" (CJILS) is Dr. Cle´ment Arsenault of the Universite´ de Montre´al and that Arsenault would begin his role as editor on January 1, 2011. A profile of Dr. Arsenault, who is an Associate Professor and Director of l’E´cole de bibliotheconomie et des sciences de l’information (EBSI) at the Universite´ de Montre´al, is presented.