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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]

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]

This article provides the results of a survey we conducted with contemporary composers in the Spring of 2019. Our intent was to seek new opportunities for collection development as well as to increase discoverability of contemporary composers' creations within a library context for both librarians and patrons. The aim was to learn more about accessibility of contemporary works, to identify changes in the field and learn how librarians can support the larger community. We collected information regarding distribution, format, awareness of library collection practices, as well as interest in representation in a library. An additional goal was to provide insight into how libraries can assist in the discovery, collection, and access of contemporary music scores. As librarians, we want to make contemporary musical works discoverable and accessible to our patrons regardless of medium. Our overarching goal is to create a dialog between composers and librarians as we become more informed about current composition practice. The results of this survey illustrate avenues of opportunity for librarians to initiate discussion and provide information to composers. Cet article présente les résultats d'une enquête que nous avons menée auprès de compositeurs contemporains au printemps 2019. Notre intention était de rechercher de nouvelles opportunités pour le développement des collections et d'accroître la possibilité de découvrir les créations des compositeurs contemporains dans un contexte bibliothéconomique, tant pour les bibliothécaires que pour les usagers. L'objectif était d'en savoir plus sur l'accessibilité des œuvres contemporaines, d'identifier les changements dans ce domaine et d'apprendre comment les bibliothécaires peuvent soutenir cette communauté au sens large. Nous avons recueilli des informations concernant la distribution, le format, la prise de conscience dans les pratiques de développement des collections en bibliothèque, ainsi que l'intérêt de représenter ce répertoire au sein d'une bibliothèque. Un autre objectif était de donner un aperçu de la manière dont les bibliothèques peuvent aider à la découverte, à la collecte des partitions de musique contemporaine et à leur accès. En tant que bibliothécaires, nous voulons rendre les œuvres musicales contemporaines visibles et accessibles à nos usagers, quel que soit leur support. Notre objectif principal, en devenant de mieux en mieux informés sur les pratiques actuelles en matière de composition, est de créer un dialogue entre les compositeurs et les bibliothécaires. Les résultats de cette enquête illustrent les pistes possibles qui s'offrent aux bibliothécaires pour instaurer des discussions et fournir des informations aux compositeurs. Dieser Aufsatz stellt die Ergebnisse einer Umfrage unter zeitgenössischen Komponisten aus dem Frühjahr 2019 vor. Wir verfolgten damit die Absicht, neue Möglichkeiten für den Bestandsaufbau sowie für die Auffindbarkeit von Kompositionen zeitgenössischer Komponisten für Bibliothekskunden wie auch-mitarbeiter zu finden. Ziel war es, mehr über die Zugänglichkeit zeitgenössischer Werke zu erfahren, Veränderungen in diesem Bereich zu erkennen und zu erfahren, wie Bibliothekare die Szene unterstützen können. Gesammelt wurden Informationen zur Verbreitung, zu den Formaten und dem Wissen um Arbeitsweisen von Bibliotheken sowie zum Interesse daran, in Bibliotheken vertreten zu sein. Ein zusätzliches Ziel war, Erkenntnisse zu erhalten, wie Bibliotheken Erschließung und Sammlung von sowie Zugang zu Notenausgaben zeitgenössischer Werke verbessern können. Wir Bibliothekare möchten, dass Werke zeitgenössischer Musik von unseren Kunden gefunden und genutzt werden, ganz unabhängig von der Medienart. Zuoberst steht dabei das Ziel, in einen Dialog mit den Komponisten zu treten, indem wir uns die aktuelle Arbeitsweise zeitgenössischer Komponisten bewusster machen. Die Ergebnisse dieser Umfrage zeigen Möglichkeiten für Bibliothekare auf, in den Dialog zu treten und Informationen für Komponisten zur Verfügung zu stellen. [ABSTRACT FROM AUTHOR]

This article is based on a presentation given at the first Estonian-Finnish Music Library Seminar held 26–27 May 2016 in Helsinki. It provides an overview of the foundation of the Arvo Pärt Centre, its development, collections, classification system, archival activities and future plans. The special feature of the personal archive is that its content-its core-opens, grows and reaches its eventual form and scale in a process that is closely related to the current activities of Arvo Pärt, which also requires the Centre archivists to be creatively active and flexible in solving the tasks of the archive. The article describes the activities and challenges related to the construction of an archive of a living composer. [ABSTRACT FROM AUTHOR]

The Jāzeps Vītols Latvian Academy of Music, previously the Latvian Conservatoire was founded in 1919. Its first director until 1944 was Latvian composer Jāzeps Vītols (1863-1948). The library was founded soon after the Latvian Conservatoire was established. Over the past ninety-seven years, the small library has grown and developed into a modern printed, written, and recorded data storage and distribution facility. The Library is the oldest music and related literature repository in Latvia. It houses traditional forms of materials, and the library is now creating a collection of photos about the Jāzeps Vītols Latvian Academy of Music and Latvian music history. Currently the library consists of three departments, located in different rooms and floors of the Academy: Scores Department, Books Department, and Audiovisual Department. The library's primary objective is to ensure that students, faculty, and staff of the Jāzeps Vītols Latvian Academy of Music have access to required print materials (books, scores, periodicals), as well as sound and video recordings for study and research. [ABSTRACT FROM AUTHOR]

The confluence of three technologies--personal computers, music notation software, and the World Wide Web--has made do-it-yourself publishing an attractive and practical career choice for a significant number of contemporary composers. Purchasing from these artists' personal Web sites is typically the only way to acquire their self-published scores. Cross-checking the composers' Web-based sales catalogs with WorldCat holdings indicates that self-published, self-distributed music--in contrast to scores that are being published and distributed through established mainstream channels--is largely being overlooked and underserved by libraries. Libraries must develop new routines appropriate to this distinctive new form of digital publication that would allow for the identification, selection, and acquisition of self-published and self-distributed scores. In lieu of such routines there is an inexorable danger that libraries will miss the only opportunity they may have to preserve and document--thoroughly and faithfully--the musical culture of our time. [ABSTRACT FROM AUTHOR]

Information regarding the international musicological MusMig conference with the theme "Music Migration in the Early Modern Age: Centres and Peripheries-People, Works, Styles, Paths of Dissemination and Influence," held in Warsaw, Poland from May 6-7, 2016 is presented. Topics discussed include the influence of Italian musicians in the European countries, the work of foreign composers in Poland, and the importance of music libraries in preserving the music culture.

The Center for the Documentation of 19th- and 20th-Century Polish Music holds a valuable collection, owned before the World War II by the famous Polish pianist, composer, and politician Ignacy Jan Paderewski. The collection consists of about 4,000 books, nearly the same number of musical prints and other valuable archives, including pages of Paderewski's musical manuscripts, photos and letters. An interesting part of the collection constitutes, beside the mentioned above, manuscripts of other musicians - professional composers, composition adepts and also amateurs, who offered their own works to the pianist as an expression of their admiration and affection. Notes and letters attached to several manuscripts indicate that some of the artists used to send and even dedicate their compositions to Paderewski counting on a favorable opinion or other support from the famous virtuoso. Among the existing manuscripts, there are many unique sources. Compositions that were published and are familiar to musicologists constitute a small part of the collection. Strongly represented are works of little-known or forgotten composers from Poland, the US, France, and other countries. These compositions are not always of top quality, but nowadays they are primarily of historical interest. The article includes a list of the musical manuscripts by other composers in I. J. Paderewski's private library held by the Centre. [ABSTRACT FROM AUTHOR]

In 1963, the composer Benjamin Britten and the tenor Peter Pears built a library at their home, the Red House in Aldeburgh. A venue for music rehearsal, it also accommodated an ever-increasing number of books, printed scores, literary and music manuscripts, rare volumes of early music, and many items of fine art. Originally built as a private library and music room, it attracted the attention of a number of readers in the mid-1970s before opening officially as a public research centre in 1980. Drawing upon examples from the collection, and on interviews with former staff and colleagues of Britten and Pears, this article focuses on the historical development of the Library. The article also details how, with the acquisition of further material such as retrieved manuscripts, recordings, concert ephemera, and costume and set designs - all of which disclose information about both musicians' careers - the Library began to face the ongoing problem of providing adequate storage for its wide-ranging collection. [ABSTRACT FROM AUTHOR]

A previously unknown manuscript (shelfmark BRm630.85Go42) at the Henry Watson Music Library, Manchester, contains a number of pieces by the composer Sir Edward Golding together with a small collection from Matthew Locke's Little Consort. On the basis of the appearance of the copying and the presence of inscriptions apparently indicating price, the manuscript is identified as an example of a 'manuscript publication'. The consequences of this hypothesis are explored throughout the article, both in order to elucidate the likely origins of the source and to evaluate its potential to increase our understanding of the wider phenomenon of manuscript publishing in mid-seventeenth-century England. Considerable attention is also devoted to establishing the identity of Sir Edward Golding (a composer who seems to have been misidentified in an earlier study), and to the analysis of the pieces from Locke's Little Consort, the texts of which shed new light on the history of this work. [ABSTRACT FROM AUTHOR]

The article focuses on the Edwin A. Fleisher Collection of Orchestra Music at the Free Library of Philadelphia in Pennsylvania. The Fleisher Collection is the largest lending library orchestral performance material for over three quarters of a century. It houses the entire standard repertoire and known for its many rare and out-of-print works. It represents the most important single resources on Pan American orchestral music. The Fleisher Collection has 21,000 titles from almost 3,000 composers and 6,400 uncirculated and incomplete sets in various media

Founded in 1994, the Serge Prokofiev Archive at Goldsmiths, University of London, is the key archive for Prokofiev's years outside Russia. Through careful collection development backed by thorough cataloguing provides researchers with the principal resource outside Russia on Prokofiev, and also on his family, friends, correspondents, and concert life in the early twentieth-century. [ABSTRACT FROM AUTHOR]

Hong Kong Central Library opened in 2001 and began a Hong Kong Music Collection Campaign in the same year. The main objectives were to collect materials related to music in Hong Kong, to develop public understanding in the preservation of the Hong Kong music archive, and to encourage studies and researches on Hong Kong music. Through support from musicians, composers, and music institutes over the past few years, Hong Kong Central Library has successfully collected over 50,000 music documents and facilitated local music research and publications. Hong Kong Central Library continues the development of the Hong Kong Music Collection to encourage the preservation of, study of, and research into local music. [ABSTRACT FROM AUTHOR]

The Serge Prokofiev Archive in London was established in 1994 and provides a focused resource to facilitate and open up research on Serge Prokofiev. Beginning with a donation from Lina Prokofiev, the Archive has since grown with donations from Oleg Prokofiev and reciprocal materials from the major Prokofiev collections in Russia. Future projects include coordinating an international effort to create a comprehensive catalogue of this major twentieth-century composer. [ABSTRACT FROM AUTHOR]

The music collection of the Real Colegio-Seminario de Corpus Christi (Valencia) (RCCC) is the largest in the region of Valencia. As part of a region-wide cataloguing project the holdings of the RCCC are being systematically catalogued and preserved. The music holdings are largely religious, but also include significant donations of historical treatises and correspondence from noted Spanish musicians and musicologists. This project is the beginning of a region-wide project of recovery, cataloging, and dissemination of its musical heritage at other public and private institutions. [ABSTRACT FROM AUTHOR]

The article offers information on Répertoire International des Sources Musicales (RISM). RISM is a support organization of the Association of Internationale des Bibliothèques, Archives et Centres de Documentation Musicaux (AIBM) and Société international de musicologie (SIM). It documents series of printed and manuscript transmissions of music published between 1600 and 1800. The series is published as electronic database and arranged alphabetically after composer names.

While 2004 marked the tenth anniversary of South Africa's post-apartheid democracy, it also marked the fifth anniversary of South Africa's rejoining the International Society for Contemporary Music (hereafter ISCM) after an absence of nearly four decades. While this event, needless to say, was not quite of the same magnitude as the liberation of an entire nation, it nevertheless underlined South Africa's return to the international new music stage, itself a direct outcome of this country's acceptance by the greater international community. This article gives a summary of the ISCM in South Africa from its founding in 1948 to the present day. [ABSTRACT FROM AUTHOR]

The use of a uniform title to describe western classical music is coming under increasing pressure for dismissal, seen as a relic of the time before computerization and search engines. Over the past twenty years, Heikki Poroila, with the recent assistance of Jaako Tuohiniemi, has compiled uniform title lists for 50 major composers and some 400 minor composers (www.kaapeli.fi/∼musakir/netfront.htm for online lists). In this article, Poroila makes a compelling argument for the use of uniform titles not only in classical music but for extending it to describe popular music as well. [ABSTRACT FROM AUTHOR]

The history of the music library began with the opening of the Moscow Conservatoire in 1866 and, in 1956, the library was awarded the name of S. I. Taneyev, whose activities had for many years been indissolubly linked with the conservatoire. The collection contains over three centuries of Russian music repertoire and has benefited from the addition of important private collections of many Russian composers and musicians. [ABSTRACT FROM AUTHOR]

Musical Rossica, or collections of Russian composers, musicians, musicologists and the like whose careers occurred outside Russia, is of a new concern in Russia. Archives and libraries are working to collect this information because it is seen as a significant, long-lost part of Russian history. This essay examines the international aspects of musical rossica and the activities of the Taneyev Library in this regard. [ABSTRACT FROM AUTHOR]

Presents news briefs related to music in the U.S. as of June 2006. Decision of Peter Eötvös, a composer and conductor of international stature, to deposit his working papers in the Paul Sacher Foundation in Basle; Launch of Informed Librarian Online's ILOSearch, a database index of articles from library periodicals designed to help library professionals keep up with their professional reading; Collection of marching band and drill team materials available for public use, offered by the Indiana University of Pennsylvania Music Library.

Presents an overview of a preliminary report about the acquisition of a seventeenth-century manuscript of French harpsichord music by John H. Roberts, head of the Jean Gray Hargrove Music Library at the University of California in Berkeley. Difficulties in precisely dating the Borel Manuscript; Speculations on the reasons behind the numbering of the margins of the manuscript and their disorder; Total number of composers that are ascribed in the manuscript; Musical pieces listed inside the back cover of the manuscript.

As budgets decline and the cost of acquisitions development rises, music librarians look for new and creative ways to continue to expand music library resources. This article discusses the history of Western Washington University's Friends of the Music Library and the successful methods it uses to raise money to purchase complete works of composers for the Music Library. [ABSTRACT FROM AUTHOR]

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]

The article offers the authors' insight on the second volume of a project related to art music in the Caribbean region. Topics include the influence of composers not born but long resident in the Caribbean in the island's art musical tradition, list of scores, sheet music, and libraries about composers of art music in the island, and the distinction between art and folk music.

The article offers information on the sixteenth National Conference of Music Librarians at Wrocław, Poland from November 20–22, 2017. Topics discussed include music archives and composer legacies; promotion of music collections; and the role of daughters of Polish composers Włodzimierz Ormicki and Feliks Rybicki in the conference.

The article offers updates from the Riemenschneider Bach Institute and Library. Topics include the institute's end of its partnership with the American Bach Society, its expanding story selection for Baroque performance-practice information and growing membership. It also cites two editions of composer Johann Sebastian Bach's keyboard works such as "Emory Texts and Studies in Ecclesia Life" edited by Channing R. Jeschke and "Introductory Study and Facsmile Edition" edited by Stephen A. Crist.

This article reports that the Columbus State University Libraries received a donation of solo and duo guitar music from guitar enthusiast Dan Blaylock. The collection consists of 5,439 scores and 623 compact discs which represents composers Joan Carlos Amat, Ned Rorem and Toru Takemitsu. For several years, Blaylock purchased scores and recordings as he traveled the world in his profession as a consultant drilling engineer.

The article offers information on the vault collection of the Riemenschneider Bach Institute and Library. The manuscripts include "Das Wohl-Temperirte Clavier" by Johann Sebastian Bach and "The Beggar's Opera" by John Gay. Included in the collection of prints are "Novi Thesauri Mvsici by Pietro Venice," "Versuch über die wahre art das clavier zu spielen" by Bach, and "Einige canonische Veränderungen über das Weynacht-Lied: Vom Himmel hoch da Komm ich her" by Bach.