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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]

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]

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]

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]

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]

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.)

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]

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 BSB's music department (entrusted since 1949 with the management of the national information service on music) is one of the largest music libraries in the world in terms of the size and quality of its collection, but also in terms of the breadth and depth of its collection acquisition policy. The various materials are widely catalogued and indexed in a very articulate way, using a wide range of catalogues and according to specific rules. The BSB currently uses the RDA and MARC21, according to national policies. The Gemeinsame Normdatei (GND), the authority files of the German-speaking library world, are used both in cataloguing and in subject classification. The GND is nowadays used even outside the library world by archives, museums and other kinds of institutions, as well as for the cataloguing of websites. The BSB participates in the RISM (Répertoire International des Sources Musicales) international online catalogue of music sources, and, together with the Staatsbibliothek zu Berlin, manages its OPAC. The presentation will describe these projects, as well as the cataloguing workflow, the application of the RDA in specific cases, the special rules (and cataloguing system) for personal archives and musical legacies (RNA), and finally the futuristic service 'musiconn'. This last service is included in the national service for music information Fachinformationsdienst Musikwissenschaft and has been developed by the BSB: it offers the possibility to search by melody, as part of a project based on Optical Music Recognition (OMR), a software tool that allows automatic recognition of compositions after they are printed. [ABSTRACT FROM AUTHOR]

This essay traces contemporary and historical conflicts between lesbian- feminist and queer feminist tendencies, but also their common goals. Women’s and feminist archives, libraries, and documentation centres are part of these discourses, that need to be addressed in a respectful manner. [ABSTRACT FROM AUTHOR]

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid 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.)

This paper describes the creation of new and revised subject guides on diversity in music at the Marvin Duchow Music Library at McGill University, focusing on the objectives, selection criteria, and pedagogical vision that guided the process. We present our rationale for developing a taxonomy of resources organized according to use and how it responds to our primary objective of creating a guide that meets the teaching, performance, and research needs of the Schulich School of Music. While guided by a set of evaluation criteria for our selection of resources, we chose to include a wider range (from blogs to vendor websites) to acknowledge the prevalence of resources developed by various stakeholders, from professional associations to community groups. The guides, with their high percentage of externally available resources, reflect the network logic of facilitated collections as articulated by Lorcan Dempsey (2016). Finally, the guides function as a pedagogical tool for outreach and information literacy initiatives, helping the Music Library forge a stronger connection with the community it serves. [ABSTRACT FROM AUTHOR]

In June of 2020, alumni from the University of Toronto's Faculty of Music submitted a Call to Action to the Faculty, asking it to address systematic oppression, racism, and coloniality within the Faculty's programming. Fuelled by a desire for the university to decolonize education systems in wake of the Truth and Reconciliation Commission's Calls to Action (2015), and the Black Lives Matter protests related to the deaths of George Floyd and Regis Korchinski-Paquet, the Call articulated how academic institutions are perpetuating injustices that unfairly advantage certain peoples over others, and that music faculties are complicit in this outcome. As a critical support structure for the Faculty of Music's research and educational programming, the library quickly initiated a self-assessment to identify its BIPOC (Black, Indigenous, People of Colour)- related holdings and gaps, come up with a plan to address shortcomings, and ensure the availability of resources to support changing curricula. This essay charts the library's process of critical self-reflection and action across the past year. Specifically, it discusses in-progress plans to expand our collection of BIPOC materials, the collaborative process of developing a BIPOC music research guide, and efforts to go beyond highlighting BIPOC content to embedding it in the everyday activities of the Music Library and in the educational materials produced. This essay also provides an update on our activities since our November 2020 presentation at the Music Library Association NYSO chapter meeting. [ABSTRACT FROM AUTHOR]

Digital and streaming audio and video (A/V) content have usurped the primacy of physical media materials and their playback technology within institutional music libraries, notwithstanding throwbacks to and resurgences of physical media in commercial and personal contexts. Music libraries are challenged with the conflicting responsibilities of maintaining legacy format materials that are not digitally available, continuing to collect physical resources that are not available either digitally or through institutional streaming subscriptions, and acquiring born-digital and digitized resources. They must also reconcile these responsibilities with the fact that many streaming A/V resources are freely available to individual consumers. In an era of dwindling resources and appreciation for curated music collections, how will libraries ensure that their A/V resources, in all formats, remain relevant to current and future users? This paper presents the results of an A/V usage survey administered to affiliates of the University of Alberta's Music Department to learn about the attitudes, preferences and experiences of music library users' practises for accessing recorded music. [ABSTRACT FROM AUTHOR]

This paper presents a parallel system for searching a digital score of classical music in a personal library. The application scenario of the system is for a musician who wants to search for a specific score in its own device by playing an excerpt of a few seconds of the composition. We propose a solution, based on audio-to-score alignment, which allows to identify the correct score in a database of musical pieces in real time. This is a challenging task because we focus on a real-time system targeted for handheld devices characterized by both mobility and low power consumption. Experimental results show that it is possible to achieve real-time execution in the tested scenarios using parallel computing techniques with ARM processors. [ABSTRACT FROM AUTHOR]

Historical archives are institutions holding historical sources, in particular deeds and files, that is to say records created in the past for administrative and legal purposes. Today, historical archives are responsible for preserving administrative documents that will become sources of history in the future. This paper reviews the connection – and disconnection – between archives of this type and musicology. In the field of music-historical research, it is most common to use music libraries and other special music collections, particularly to examine original manuscripts of musical compositions. Music historians have focused less on archival sources, though these are increasingly valued thanks to the influence of cultural history. On the other hand, historians dealing with general history have been little interested in the history of the arts and, particularly, in music history, instead focusing mainly on political, social and economic issues. Archivists have shared these preferences. By contrast, this article presents examples of the potential of archival sources for music-historical research, and shows that Archival Science contributes to the management of written cultural heritage in the field of music as well. [ABSTRACT FROM AUTHOR]

Music can motivate many daily activities as it can regulate mood, increase productivity and sports performance, and raise spirits. However, we know little about how to recommend songs that are motivational for people given their contexts and activities. As a first step towards dealing with this issue, we adopt a theory-driven approach and operationalize the Brunel Music Rating Inventory (BMRI) to identify motivational qualities of music from the audio signal. When we look at frequently listened songs for 14 common daily activities through the lens of motivational music qualities, we find that they are clustered into three high-level latent activity groups: calm, vibrant, and intense. We show that our BMRI features can accurately classify songs in the three classes, thus enabling tools to select and recommend activity-specific songs from existing music libraries without any input required from user. We present the results of a preliminary user evaluation of our song recommender (called PepMusic) and discuss the implications for recommending songs for daily activities. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)

Adults listen to music for an average of 18 hours a week (with some people reaching more than double that). With rapidly changing technology, music collections have become overwhelmingly digital ushering in changes in listening habits, especially when it comes to listening on personal devices. By using interactive visualizations, descriptive analysis and thematic analysis, this project aims to explore why people download and listen to music and which aspects of the music listening experience are prioritized when people talk about tracks on their device. Using a newly developed data collection method, Shuffled Play, 397 participants answered open-ended and closed research questions through a short online questionnaire after shuffling their music library and playing two pieces as prompts for reflections. The findings of this study highlight that when talking about tracks on their personal devices, people prioritise characterizing them using sound and musical features and associating them with the informational context around them (artist, album, and genre) over their emotional responses to them. The results also highlight that people listen to and download music because they like it–a straightforward but important observation that is sometimes glossed over in previous research. These findings have implications for future work in understanding music, its uses and its functions in peoples' everyday lives. [ABSTRACT FROM AUTHOR]

The Functional Requirements for Bibliographic Records (FRBR)'s hierarchical system defines families of bibliographic relationship between records and collocates them better than most extant bibliographic systems. Certain library materials (especially audio-visual formats) pose notable challenges to search and retrieval; the first benefits of a FRBRized system would be felt in music libraries, but research already has proven its advantages for fine arts, theology, and literature--the bulk of the non-science, technology, and mathematics collections. This report will summarize the benefits of FRBR to next-generation library catalogs and OPACs, and will review the handful of ILS and catalog systems currently operating with its theoretical structure. [ABSTRACT FROM AUTHOR]