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Maryvonne Kendergi (1915-2011) was of Armenian origin, born in Turkey; she lived in France and became a Canadian citizen in 1960. She played a major role in the development of contemporary music in Quebec, as a teacher, communicator and organizer. Her contributions to Quebec culture are closely linked to the history of the Faculty of Music at the Université de Montréal, to Radio-Canada, and organizations such as the Société de musique contemporaine du Québec (scmq) and the Association de recherche en musique du Québec (armuq, which later became the sqrm). This survey, carried out in 2022, brings together the personal testimonies of four people who were close to her: Marie-Thérèse Lefebvre, Françoise Davoine, Louise Bail and Mario Gauthier. Together they form a plural portrait of this multi-faceted pioneer, looking at her role as an educator, her contributions as a communicator (particularly on the radio), the publication of her biography, and the organization of her archives. [ABSTRACT FROM AUTHOR]

The article offers information on the 8th Annual Meeting of the Quebec Chapter of the Canadian Association of Music Libraries, Archives and Documentation Centres (QCCAML) hosted by Library and Archives Canada on November 4, 2017 in Quebec. Topics discussed include presentation by Marc-André Goulet, optical recognition tools for music, and music collection development in music libraries.

The article discusses the activities of various sub-committees and ad-hoc committees of the International Association of Music Libraries, Archives and Documentation Centres (IAML) as of October 2012. It addresses the congress of the Association Internationale des Bibliothèques Musicales (IAML) that took place in Montréal, Québec in July 2012, as well as provides information on the Ad-hoc committee on Electronic Fontes and the Broadcasting and Orchestra Libraries Branch.

Copyright of Bulletin des bibliothèques de France is the property of ENSSIB 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.)

Copyright of Bulletin des bibliothèques de France is the property of ENSSIB 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.)

Since the sixties, in the French public libraries, music has been identified as a "sound recording lending library": this model stood out everywhere like a standard. Nevertheless, this supremacy is now debatable because of the crisis of the sound recordings industry and the loss of interest in the disc as an item: the MP3 appeared so music becomes nomadic and can be consumed anywhere at any time. The impact of this cultural revolution on libraries, just about everywhere, results in a fall of the amount of the loans as well of the registrations. The French music librarian is quite weak because he neglected the other kinds of musical documents such as books, periodicals, and printed music, now he is torn between two requirements: he can go on increasing the CD collection for lending (even if the item is condemned) so he answers a still important need; he also can embark on experiments, such as music on-line services, even if he does not know how it will be successful (neither the economic standard nor the "virtual music" use are yet stabilised). This is the real challenge to assure the future of music in the public libraries. [ABSTRACT FROM AUTHOR]

The development of new means of disseminating information begs the following question how do libraries adapt to the new cultural practices, including the consultation of texts and audiovisual materials, and still comply with copyright considerations? In that context, how do libraries offer a service that is better than what is easily accessible on the Web, especially given the free access to downloading systems, and still respect the copyright law and meet user needs [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]

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 Mediatheque Hector Berlioz has a strong involvement with outreach activities around the world. The staff work within the framework of the conservatoire's external affairs department, welcoming visitors as requested, donating scores and books for missions organised by this service and organising meetings, disseminating information, etc. The external affairs department was created in 1992, with numerous goals and activities, including cooperation with other institutions, joint projects for creation and dissemination of musical works, exchange of faculty members and students, study trips and missions of expertise, sharing of knowledge and dissemination of our heritage and knowledge of other musical heritages. There are exchanges with different European countries, the USA, Japan, but also with less privileged countries. In addition to library-based outreach, projects include support for masterclasses, curriculum development, and technical and audio-visual initiatives. Partner countries include Kazakhstan, China, Georgia, Cameroon, Lithuania, and Vietnam. A recent initiative in Palestine is the plan to open music schools for Palestinian children in refugee camps. There are many positive aspects to these activities, including the sharing of cultural heritage and the dissemination of musical works. For the library, the programmes enable the establishment of contacts and development of the collections. Some projects do not develop, for various reasons, but many are very successful. The needs are real and urgent, and it is not always possible to wait for perfect conditions before making donations. In the future, the Mediatheque Hector Berlioz would like to develop real partnerships with a variety of institutions, and ensure the long life of at least some projects. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin des bibliothèques de France is the property of ENSSIB 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.)

A Norwegian researcher reports on his doctoral work on the composer Henry Du Mont (ca 1610–84). When Skaadel began his work, in 1995, Du Mont was hardly known in Norway, and few recordings or modern scores were available. Fortunately Du Mont enjoyed royal patronage at the French chapel royal, which meant that his works were published by the royal printer, Robert Ballard, and preserved in Parisian libraries such at the Bibliothèque nationale de France and Bibliothèque Sainte-Geneviève. This allowed research into Du Mont's Cantica Sacra (1652, 2nd edition 1662), Airs à quatre parties (1663), Motets à deux voix (1668) and Moteta a II.III et IV. parties, all published by Ballard; as well as some works that survive only in manuscript, such as the motet Media vita in morte sumus (currently in Uppsala, Sweden), and various works in the Brossard Collection at the BnF. Some Marian motets now in the Brussels Conservatoire seem beyond the limits of Du Mont's recognized style, and are not by the composer. An interesting feature of Du Mont's works is that certain motets from the 1652 Cantica borrow their texts, forms and melodic motives from Netherlandish or Belgian models by such composers as Sweelinck, Peter Philips or Leonard de Hodemont, and their music from Italian composers such as Giovanni Rovetta or Gasparo Casati. Furthermore, Du Mont's Jubilemus exultemus is based on a motet by Hodemont that in turn uses as a model a madrigal from Monteverdi's Seventh Book. This is surprising, since the three composers did not know each other, and suggests wide dissemination of their publications. A copy of Hodemont's Armonia recreatione in the Bibliothèque Sainte-Geneviève has an ex libris notice ‘Ad usum H. a Monte’, which suggests that Du Mont once owned it. It is also possible that he owned several other prints now in F-Psg. Although the computer, and, especially, electronic communication between computers, along with the availability of microfilms, has somewhat simplified some aspects of research, today's researcher may still need to use ‘real’ copies of material from libraries, along with a notebook and pencil. If libraries disappear, our collective memory goes with them. [ABSTRACT FROM AUTHOR]

Presents the results of research into resources relating to music and musicians from Eastern Europe which are available in France. History of cultural links between France and Eastern Europe; Founding of Eastern European musical institutes in France; Visits to France by Eastern European music figures; Detailed description of collections.

Discusses the French music library field as of 2000. Lack of attention given to music in French libraries; Growing public demand for music; Lack of coordination and planning with respect to music collections; Resurgence of professional activity in music librarianship.

Focuses on a project known as L'inventaire du patrimoine musical regional francais which aims to chart France's musical heritage. Aim of discovering and cataloging pre-19th century music materials; Establishment of links with other agencies; Published material; Funding problems.

The article presents a conference proceeding concerning music libraries. The conference was held at the offices of the Cité de la musique and the Bibliothèque nationale de France (Bnf) from March 23-25, 2009. The French Dadvsi Internet copyright law was a topic of conversation at a round table discussion at the meeting.

The article discusses a meeting that was held close to Paris, France on December 12, 2008. The topic of the meeting was the management of musical collections by libraries and multimedia libraries. Other topics included the technological changes to music in the digital music era, cataloging of music, and the future role of multimedia libraries and librarians.

The article presents a report on seminars which were held on March 31 and April 1, 2008, at the Rencontres nationales des bibliothécaires musicaux, in Toulouse, France, and discusses the role of music libraries and librarians as the discs are slowly disappearing to be replaced by digital media. The article states that the occupation of music librarian has to adapt to this change not by opposing to it but by becoming a mediator between the users and the constant flow of music emerging from the Internet.

The article offers information on the Répertoire international de littérature musicale (RILM). RILM is engaged in abstracting, editing and indexing current and retrospective music publishing to improve online search. The organization develops interactive online thesaurus, index browse, data storage of Unicode and expansion of classification system. It publishes non-English abstracts without editorial revision for online vocabulary search as well as develops new website for primary users.

The article focuses on music and the Internet and discussions that were held by a group of French music librarians in March 2007 in Lille, France. The author discusses transformations to the ways that music is listened to as a result of blogs, wikis and social networking Web sites such as MySpace. The article discusses the use of MySpace by amateur musicians to build a fan base before approaching major recording companies. The implications of the Internet for music libraries are discussed.

The article focuses on the role of media libraries in France in the promotion and diffusion of music to the public. The author discusses how libraries are seeking to remain relevant to users in a new media world that allows for the downloading of music from home and does not require listeners to purchase or borrow CDs. Media libraries can serve an important role in the diffusion of regional music and offer cataloging of musical genres as well as public forums with musicians.

The article focuses on the role of libraries and librarians in the cataloging and diffusion of music and video content. The article discusses France's Dadvsi law, which regulates copyright related to audiovisual materials published on the Internet. The author discusses the rise of online sales of music and movies as well as peer to peer networks for sharing this content. The author reports on a discussion of media library administrators concerning the role of libraries in the Information society.

The article discusses library musical collection lending practices, copyright laws, and the legal system. The author comments on the "fair use" copyright law and asks why libraries with music collections have not been confronted with more lawsuits. Further topics include the music industry and the symposium Rencontres nationales des bibliothécaires musicaux held in 2009, in Paris, France.

The article offers information on the reconstruction of the Répertoire International des Sources Musicales (RISM). The reconstruction is influenced by the new program which strengthens the workflow and collaboration process, and free-of-charge data access via the German Virtuelle Fachbibliothek Musikwissenschaft. The initiative is undertaken to minimize the cost by 2009 and so on, however, RISM would continue support the activities of working groups and other parties related to source studies.