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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.

Theme libraries have emerged as a new service model to meet the demand from the public for a diverse service with resources that are both inclusive and specialized. The "a library within a library" is currently the main practice model of theme libraries. Influenced by that concept, the recently constructed and opened Suzhou Second Library includes a number of theme libraries, such as "Suzhou Literature Library," "Music Library," and "Design Library." The establishment of these theme libraries within the Suzhou Second Library allows the library to build special community-focused collections that are culturally rich, to collaborate with local cultural organizations to create quality public programs that highlight the collections, and to actively engage the public with special events and exhibits surrounded by multimedia, digital special effects. These programmatic efforts have greatly improved public's awareness of the valuable resources held at the library and thus increased the effectiveness of this new service model. [ABSTRACT FROM AUTHOR]

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]

The Packard Humanities Institute has released a new edition of Johann Christian Bach's operas and dramatic works, available in both printed and digital formats. The University of Iowa's Rita Benton Music Library has received a grant to digitize and preserve early recordings of Czech music. The RISM Editorial Center is seeking updates to its Series C, the Directory of Music Research Libraries. The Leon Fleisher papers at the Peabody Institute of the Johns Hopkins University are now open for research, documenting Fleisher's career as a concert pianist and educator. The Music Library Association awarded the Diversity Scholarship to support candidates from underrepresented groups pursuing a master's degree in library and information science. The text also provides information about various awards and grants given by the Music Library Association, as well as highlights from the journal Notes. [Extracted from the article]

The height of the COVID-19 public health emergency saw libraries conducting collection audits of their materials, including their print music collections. The trend in contemporary public libraries in the United States is one which emphasizes generalization in its workforce regarding domain specialty knowledge and skills. This has necessitated an influx in inquiries delivered to the Music Library Association’s Public Libraries Committee on the topic of print music collection development from public library staff who lack the necessary training and experience. In response, the Public Libraries Committee created a document focusing on best practices in print music collection development that recommends 250 print music titles for public library acquisition. Selecting Printed Music in Public Libraries was produced using strategies similar to focus group research methods and addresses a novel dilemma found in public libraries – library workers tasked with managing music collections without the knowledge, skills, and abilities to effectively do so. This article is framed as a case study and offers an overview of the development of the Public Libraries Committee’s (PLC) document, Selecting Printed Music in Public Libraries. Additionally, this article describes the content included within the PLC’s document and offers recommendations for how to improve it moving forward. [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]

The staff of the Anne Potter Wilson Library at Vanderbilt University has faced the challenge of providing digital scores to our users since 2016. This article describes procedures developed for acquiring, cataloguing, storing, seeking out usage permissions, and making accessible digital scores. Our collections of scores, whether print or electronic, have traditionally focused on contemporary works and more recently, scores of underrepresented composers. The only way to be responsive to the needs of our users in the Blair School of Music at Vanderbilt University has been to establish a workflow for purchasing self-published scores for our collections, often only available in digital format. It takes more time and effort to locate, purchase, seek out appropriate licensing permissions, and make accessible digital scores, but if we, as music information professionals, are to continue our efforts in advocating for new music and encouraging our users to explore the repertoire of diverse composers, then we must find solutions in our libraries. This article is a description of our digital scores acquisition and cataloguing workflow, and how it has evolved over a seven-year period. Alma Digital, a hosting and access tool for digital files, is described as one way a library can provide access to digital scores. [ABSTRACT FROM AUTHOR]

This article explores the importance of diversity, equity, and inclusion in the music library profession. It acknowledges the presence of racism, sexism, and microaggressions in the workplace and professional conferences. The author emphasizes the need for recruitment and the development of systems that support diversity, equity, and inclusion as librarians from underrepresented communities enter the field. The article also mentions other essays in the volume that cover topics such as training, hiring, faculty status, and collection management. Overall, the article calls for action to address the lack of diversity in librarianship. [Extracted from the article]

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]

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]

The article discusses two biographies of composers. The first biography is about Percy Aldridge Grainger, an Australian-born British-US composer, pianist, and polemicist. The author of the biography, Teresa Balough, provides a comprehensive overview of Grainger's life and work, focusing on the positive aspects and his contributions to music. The second biography is about Vagn Holmboe, a Danish composer who was active in the second half of the 20th century. The author, Thomas Michelsen, highlights Holmboe's significance as a composer in Scandinavia and his influence on the music scene in Denmark. [Extracted from the article]

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]

With a large inventory of Veeh-Harps and music cases, the Reutlingen City Library can offer people with and without assistance needs opportunities to make music together and to network. Full-time and voluntary multipliers attend seminars to use the instrument in their work. Instruments and music cases can be borrowed from individuals as well as from social institutions. [ABSTRACT FROM AUTHOR]

The article focuses on the historiographical challenges and importance of photoplay music from the silent film era. Topics include the scarcity of original handwritten scores, the proliferation and significance of stock photoplay music collections, and the necessity of an interdisciplinary approach. It reports that many original scores are lost, it mentions the prominence of Italian film score composer Giuseppe Becce's Kinothek, and it highlights the need for new historiographical methods.

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.

The article is a review of the book "Careers in Music Libraries IV" edited by Misti Shaw and Susannah Cleveland. The book is part of a series that explores the field of music librarianship and provides advice and guidance for professionals in the field. The review highlights several essays in the book, including topics such as technical services in libraries, careers in music archives and special collections, and diversity in music librarianship. The reviewer praises the volume for its comprehensive coverage and recommends it as an essential resource for music library professionals. [Extracted from the article]

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]

Purpose: The purpose of the article was to describe how the legacy of Woman's Choir Milko Škoberne Jesenice was processed in the library of Music School Jesenice. Methodology/approach: If we want to process a legacy, then we must first know as much as possible about the legacy itself. Therefore, in the first part we described the history of Women's Choir Milko Škoberne Jesenice. We collected the data about the choir in local newspapers and also some former choir singers helped us to obtain the data through the telephone interviews. In the second part of the research the chronological presentation of the processing of the legacy of Woman's Choir Milko Škoberne Jesenice is described. Results: The result of the first part is a short history of the choir. The result of the second part is a collective bibliographic record for the legacy of Woman's Choir Milko Škoberne Jesenice in the system COBISS. Research limitation: The first limitation presented the fact that the choir no longer exists. The second limitation presented the fact that we had no experience regarding collective bibliographic records. Originality/practical implications: We wanted to collect the data about Woman's Choir Milko Škoberne from Jesenice in one place and to present this special collection that is a part of library collection. We also wanted to show how data on such a special collection can be entered in system COBISS as an example for future work in this area. [ABSTRACT FROM AUTHOR]

The University of Toronto Music Library is the largest music research collection in Canada, with over 350,000 books, music scores, and periodicals, and over 250,000 sound recordings in various formats. Thanks to a healthy acquisitions budget and generous in-kind donations we have exceeded our shelving capacity. Further challenges include open stacks with shelves too close together for users to easily navigate through, poor lighting that makes reading call numbers difficult, and high shelving that the University's Environmental Health and Safety Office determined put materials too close to the sprinkler heads in the ceiling. Changes needed to be made. Tentative plans began for a major renovation of the space in conjunction with the faculty that houses the library; unfortunately, those plans were put on indefinite hold due to geographical constraints, competing University capital project priorities, and (more recently) a new dean of music who needed to focus on accusations of systematic oppression, racism, and coloniality within the faculty's programming and pedagogical practices, in which the library was also implicated. To address these many challenges, the authors of this article began a large-scale project in 2019 to assess space planning and accessibility, update the collections policy, and address issues of equity, diversity, and inclusion within the library's holdings. This article outlines the journey our process took and the key takeaways: a literature review on collection assessment; a summary of our approach to learning about the diversity in our collection; an overview of the collection assessment summit we held in April 2021; designing a user needs survey and interpreting its results, and the next steps in our journey. La bibliothèque musicale de l'Université de Toronto est la plus vaste bibliothèque de référence en matière de musique au Canada, avec plus de 350 000 livres, partitions et périodiques, et plus de 250 000 enregistrements sonores sous différents formats. Grâce à un budget d'acquisition sain et à des dons généreux de documents, nous avons dépassé notre capacité de stockage sur les rayonnages. Parmi les défis à relever, citons les rayonnages ouverts avec des étagères trop proches les unes des autres pour que les utilisateurs puissent s'y retrouver facilement, un mauvais éclairage qui rend la lecture des cotes difficile, et des étagères hautes qui, selon le bureau de la santé et de la sécurité environnementales de l'université, placent les documents trop près des têtes des gicleurs situés au plafond. Des changements s'imposaient. Des plans provisoires ont été élaborés en vue d'une vaste rénovation de l'espace, en collaboration avec la faculté qui abrite la bibliothèque. Malheureusement, ces plans ont été ajournés pour une durée indéterminée en raison de contraintes géographiques, de priorités concurrentielles dans les projets d'investissement de l'Université et (plus récemment) de la nomination d'un nouveau doyen de la faculté de musique qui devait se concentrer sur les accusations d'oppression systématique, de racisme et de colonialisme dans la programmation et les pratiques pédagogiques de la faculté, dans lesquelles la bibliothèque était également impliquée. Pour relever ces nombreux défis, les auteurs de cet article ont lancé un projet à grande échelle en 2019 pour évaluer l'aménagement de l'espace et l'accessibilité, mettre à jour la politique documentaire et aborder les questions d'équité, de diversité et d'inclusion dans les fonds de la bibliothèque. Cet article décrit le cheminement de notre processus et les principaux résultats obtenus : une revue de littérature sur l'évaluation des collections ; un résumé de notre approche pour appréhender la diversité de nos collections ; un bilan du séminaire d'évaluation des collections que nous avons organisé en avril 2021 ; la conception d'une enquête sur les besoins des utilisateurs et l'interprétation de ses résultats, ainsi que les prochaines étapes de notre démarche. Der Bestand der Musikbibliothek der Universität von Toronto umfasst über 350.000 Bücher, Noten und Zeitschriften sowie mehr als 250.000 Tonaufnahmen in verschiedenen Formaten und ist damit die größte wissenschaftliche Musiksammlung in Kanada. Dank eines stabilen Anschaffungsetats und großzügiger Sachspenden haben wir unsere Regalkapazität mehr als ausgereizt. Darüber hinausgehende Herausforderungen sind zu eng stehende und daher den Durchgang erschwerende Regale in den Freihandmagazinen, schlechte Beleuchtung, die das Lesen von Signaturen erschwert, und so hohe Regale, dass die darin untergebrachten Materialien – nach Auffassung der Sicherheitsbeauftragten der Universität – als zu nahe an den Sprinklerköpfen befindlich angesehen werden müssen. Es war also höchste Zeit für Veränderungen. In Zusammenarbeit mit der zuständigen Fakultät, die die Bibliothek beherbergt, wurden vorläufige Pläne für eine umfassende Renovierung der Räume erstellt. Leider wurden diese aufgrund räumlicher Einschränkungen und konkurrierender Prioritäten bei Hauptprojekten der Universität auf unbestimmte Zeit ausgesetzt. Zuletzt kam hinzu, dass der jüngst eingesetzte Dekan der Fakultät für Musik sich vordringlich mit auch die Bibliothek betreffenden Vorwürfen der systematischen Unterdrückung, des Rassismus und der Kolonialität innerhalb der Aufgaben und der Didaktik der Fakultät befassen musste. Um diesen vielen Herausforderungen zu begegnen, haben die Autoren dieses Artikels 2019 ein groß angelegtes Projekt zur Raumplanung und Bewertung der Zugänglichkeit, zur Aktualisierung des Sammlungsauftrages und zur Positionierung zu Gerechtigkeit, Vielfalt und Inklusion im Kontext der Bibliotheksbestände gestartet. Dieser Artikel skizziert den Weg, den unser Prozess genommen hat und die daraus gewonnenen wichtigsten Ergebnisse: eine Literaturrecherche zur Bestandsbewertung, eine Zusammenfassung unseres Ansatzes, wie mehr über die Vielfalt in unserer Sammlung herausgefunden werden kann, einen Überblick über unsere im April 2021 abgehaltene Veranstaltung zur Bestandsbewertung, den Entwurf einer Umfrage zu den Benutzerbedürfnissen und die Interpretation deren Ergebnisse sowie die nächsten Schritte auf unserem Weg. [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]

Svetislav Stančić (1895-1970), a piano pedagogue, pianist, composer, and founder of the Zagreb Piano School, was considered a central musical and cultural figure in the former Yugoslavia from late 1920s until his death in 1970. During the five decades of artistic and pedagogical work, he taught several generations of piano pedagogues and performers. His valuable personal library (the Svetislav Stančić Library), and personal papers (Personal papers of S. Stančić) provide information on his personal, artistic and pedagogical interests and connections. After his death in 1970, his widow Linda Stančić-Carnelutti donated this entire collection to the Piano Department of the Zagreb Academy of Music. The Stančić Library was stored in room 21, and the Personal papers are stored in the archive of the Croatian Music Institute. In 2015, the Academy of Music Library, which moved to a new building in 2014, received all of the materials of the Stančić Library (648 books, 2261 printed music, 188 gramophone records, 25 manuscripts of other composers and some periodicals), and in 2021 his personal papers were also transferred to the Academy of Music Library. In 2022, the processing of the Stančić Library was completed, making it available to all users and researchers in the Academy of Music Library. Information about the titles in the Stančić Library is available through the Academy of Music Library online catalogue. The value of this collection comes from the variety of materials, themes, authors, composers, editors, performers and editions represented. A variety of topics and approaches to the problem of piano technique is represented in the books, and the Stančić Library contains a wide range of editions of the piano repertoire. Stančić’s hand-written comments and notes in the books and sheet music enable a detailed analysis of his critical attitude towards the methods of other piano pedagogues of his time. They also provide insight in his pedagogic and methodological approach, technical solutions (fingerings, pedal), his approach to interpretation and his redactions of works by other composers. Also of great importance is the collection of 25 autographs of Croatian and Slovenian composers, some of which are the only existing copies (part of the Stančić Library), as well as the collection of Stančić autographs (part of the Personal papers of Stančić). The diverse material of the Stančić Library and Personal papers is a very valuable source of information, important for piano pedagogues as well as performers, musicologists and other interested researchers. The collections can form the basis of research on Stančić’s approach to technical and pedagogical issues, on his place as a composer in Croatian music, on history of the piano department of the Academy of music, and on the general history of Croatian cultural and musical life of Stančić’s time. [ABSTRACT FROM AUTHOR]

The Library of the Academy of Music of the University of Zagreb keeps a particularly valuable collection of personal papers – personal documents, manuscripts and other archives created and collected by local musicians, conductors, music teachers and music historians during the performance of their duties. In many cases, those materials came into the Library’s possession as a part of private donations and legacies. Recently, the librarians at the Library of the Academy of Music have started to arrange and describe those materials according to the principles of archival arrangement and description, and so far the personal papers of Theo Tabaka, Ivan Pinkava, Petar Dumičić and Zinka Kunc (Milanov) have been processed. The purpose of this paper is to point out the significance and value of such materials and to provide a brief overview of the contents of the personal papers processed so far. [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]

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]

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]

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.)