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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]

Music sharing on social media increasingly involves 'imagined listening', a form of sociality based on how we think that others listen to music (as well as on our own imagining of sounds) and typically mediated by the exchange of visual prompts, such as the thumbnail images associated with a particular streaming link or recording. Drawing on ethnographic research conducted online and offline with Spanish migrants in London, I show how practices of music sharing based on imagined listening articulate specific moral economies. In these economies, users imbue the sharing of music with positive value, as something that contributes to human flourishing and balances the negative aspects of social media and the world. I also consider how users reckon with the algorithmic manipulations of social media platforms and the fleeting forms of user engagement characteristic of an online world in which there is more music than could ever be heard. [ABSTRACT FROM AUTHOR]

The article focuses on working in a cultural institution such as a music library or archives that is providing access to and caring for collections, comprised of local copies of items which may be available to anyone with the budget to acquire them, as well as unique items either created for or deposited in collections.

Music streaming services all provide affordable and easy access to massive databases of music and instead attempt to increase customer loyalty by optimizing personalized recommendations and offering opportunities for listeners to build their 'own' music libraries. In this paper, these features are operationalized as the convenience, price, archive and algorithmic value of streaming services. Existing studies detail the multitude of ways of making sense of these services, but do not allow for specifying what features matter more. Drawing on an online survey and interviews, this study indicates that price, convenience and archive value predict continued intention to use music streaming services. Survey results negate the importance of algorithmic value, but the interviews suggest that for some, algorithmic individuation is too evasive to be noticed. Those who 'see' and value recommendations 'cater for algorithms' and consider their own listening and archiving practices as input for optimizing output. Combined, the different features set the stage for both overt and covert tethering of people and streaming services. [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]

ABSTRACT Japanese Americans were involuntarily confined en masse during World War II. They were heavily scrutinized: their senses of belonging and identification were interrogated, contested, always fraught, and often ambiguous. [...]

The article presents updates on music-related issues and events as of April 2019. Topics include the completion of the processing of the Richard J. Howe Collection of Musical Instrument Literature by the Archive of Record Sound at Stanford University, the completion of a project funded by a grant from the Grammy Museum announced by Yale University's Irving S. Gilmore Music Library, and the Miami University Copyright Conference on September 26-27, 2018 attended by a number of music librarians.

In the past decades, a large number of music pieces are uploaded to the Internet every day through social networks, such as Last.fm, Spotify and YouTube, that concentrates on music and videos. We have been witnessing an ever-increasing amount of music data. At the same time, with the huge amount of online music data, users are facing an everyday struggle to obtain their interested music pieces. To solve this problem, music search and recommendation systems are helpful for users to find their favorite content from a huge repository of music. However, social influence, which contains rich information about similar interests between users and users' frequent correlation actions, has been largely ignored in previous music recommender systems. In this work, we explore the effects of social influence on developing effective music recommender systems and focus on the problem of social influence aware music recommendation, which aims at recommending a list of music tracks for a target user. To exploit social influence in social influence aware music recommendation, we first construct a heterogeneous social network, propose a novel meta path-based similarity measure called WPC, and denote the framework of similarity measure in this network. As a step further, we use the topological potential approach to mine social influence in heterogeneous networks. Finally, in order to improve music recommendation by incorporating social influence, we present a factor graphic model based on social influence. Our experimental results on one real world dataset verify that our proposed approach outperforms current state-of-the-art music recommendation methods substantially. [ABSTRACT FROM AUTHOR]

The music library of the Elizabethan Nuns in Prague contains a collection of music that was copied by cantors of the Studnička family from the village Suchomasty near Beroun. The first cantor in Suchomasty from 1769 was Josef Jan Jakoubek (1751-1810), the uncle of Jakub Jan Ryba, and after his departure for Mníšek pod Brdy in 1785, his successor was František Vincenc Studnička (1764-1826). František Ladislav Studnička (1797-1864) carried on the family tradition, followed by Otomar Studnička (1845 - after 1900), who later went to Prague and took the family music collection with him. He worked as a teacher at a public school in Libeň, then at the Saint Wenceslas Prison in Prague's New Town. From 1884 he continued his work as a teacher at the prison in Pilsen-Bory. In 1889 he donated the family music collection to a convent of the Elizabethan Nuns. That material was integrated into the convent's collection, and it was still being used in the twentieth century. [ABSTRACT FROM AUTHOR]

Europeana Sounds is a project co-funded by the European Commission within the ICT Policy Support Programme as part of the Competitiveness and Innovation Framework Programme. The project aimed to enhance the total amount of the sound contents available through Europeana. Currently, more than 600,000 audio items and more than 300,000 audio-related contents have been aggregated thanks to the activities carried out by Europeana Sounds. The project has achieved other important objectives such as the enrichment of the metadata related to the digital objects, the realisation of a set of Policy Recommendations, the launch of the first thematic channel of Europeana entirely devoted to the music named Europeana Music and a Radio that makes 200,000 music tracks available online. Europeana Sounds will continue to pursuit its objectives through the Task force established within the International Association of Sound and Audiovisual Archives (IASA). [ABSTRACT FROM AUTHOR]

This article is an expanded and corrected version of a presentation given at the International Association of Music Libraries, Archives, and Documentation Centres (IAML) Congress in Rome on 8 July 2016. It explores the Hauschild Music Collection at the Cushing Memorial Library & Archives at Texas A&M University and places it in an historical context. The music in this collection is little known, yet it gives a vivid picture of musical life in south Texas at the turn of the twentieth century. [ABSTRACT FROM AUTHOR]

Paer, Ferdinando (1771-1839) Add. 39. Sinfonia / Dell' Opera intitolata il Sargino / ossia L'Allievo d'Amore / Musica del Sig:re Ferdinando Per [sic] / Ridotta p Solo Cimbalo o Pian [...]

This section offers news briefs on the Music Library Association Inc. as of June 2019. Topics discussed include recipients of the Ralph Papapkhian Travel Grant including Britt Burns and Joshua Dieringer, completion of the processing of the Maria Callas Sub-Collection of the Robert Baxter Collection by the Archive of Recorded Sound at Stanford University and a research guide from the Yale University Oral History of American Music.

Recently, musical sounds from pre-recorded orchestra sample libraries (OSL) have become indispensable in music production for the stage or popular charts. Surprisingly, it is unknown whether human listeners can identify sounds as stemming from real orchestras or OSLs. Thus, an internet-based experiment was conducted to investigate whether a classic orchestral work, produced with sounds from a state-of-the-art OSL, could be reliably discerned from a live orchestra recording of the piece. It could be shown that the entire sample of listeners (N = 602) on average identified the correct sound source at 72.5%. This rate slightly exceeded Alan Turing's well-known upper threshold of 70% for a convincing, simulated performance. However, while sound experts tended to correctly identify the sound source, participants with lower listening expertise, who resembled the majority of music consumers, only achieved 68.6%. As non-expert listeners in the experiment were virtually unable to tell the real-life and OSL sounds apart, it is assumed that OSLs will become more common in music production for economic reasons. [ABSTRACT FROM AUTHOR]

The article offers news briefs relating to music libraries in the U.S. as of December 2017. The Michael Schwartz Library at Cleveland State University acquired the Darius Milhaud Society collection from the estate of its founder, Katherine Warne. The Fine Arts Library at the University of Texas in Austin is transforming its spaces to accommodate new students in the College of Fine Arts. The Irving S. Gilmore Music Library at Yale University was one of the 2017 Grammy Museum Grant recipients.

The article focuses on the music of the "Dirge" composed by 18th-century British musician Charles Avison for "Romeo and Juliet." Topics include availability of Avison's music in the music library of Burghley House, near Stamford, England; setting of Garrick's "Solemn Dirge" music by Avison, and works of ther musicians like Niccolo Pasquali.

Over the past decade, audio consumption experienced several significant transitions: from a paradigm of CD purchases to audio downloads to—most recently—a streaming model. In order for academic librarians to best support student needs, an understanding of their listening practices and preferences is essential. This study surveyed students in 11 music courses with listening assignments and examined their academic use of various music resources. Results indicated that most commercial streaming audio services enjoyed for personal use are not as appropriate for course study. The one exception was YouTube, which ranked as the most commonly cited resource for both personal and academic consumption. [ABSTRACT FROM PUBLISHER]

In the library world, the demand for modern catalog systems has long been articulated. The library of the University of Music and Drama Leipzig (Germany) installed a new VuFind-based discovery system, called “MT-Katalog,” in 2012. In this context, we reflected intensely on the demands for and opportunities offered by music discovery. By analyzing, exploring, and enriching the existing metadata, we optimized the ease of use for our patrons. By integrating selected external music resources, we succeeded in extending the search scope in a patron-focused way. For optimizing music discovery any further, more collaborative efforts are needed. [ABSTRACT FROM PUBLISHER]

Information about Canadian music can be an elusive commodity. Perhaps this is due to our self-deprecating nature, or our longstanding tendency to wait until our artists succeed elsewhere before we [...]

The article offers information on the Naxos Music Library (NML) and contributions to musicians. Topics covered include details of the service, benefits of libraries from the service and impact on music streaming. Also mentioned is the use of the concepts of information architecture in the browse and search capabilities of NML.

The nature of music collections and their use means that patrons have always required specialized guidance from librarians to access what they need. Currently, library patrons' expectations are growing as collections and their delivery modes evolve. Music reference services must adapt to effectively address these needs. This article examines the challenges to delivering effective music reference service, the basics of reference assessment, and how assessment models such LibQual+, the Wisconsin-Ohio Reference Evaluation Program, and the Reference Effort Assessment Data Scale can help librarians build patron-centered music reference services. [ABSTRACT FROM PUBLISHER]

At present the following are online in the RISM-OPAC (www.rism.info, since June 2010): about 6,800 titles from the Music Archives of the Cistercian Monastery Stams (A-ST); approximately 4,000 titles from the Diocesan Archives Bressanone (I-BREd), around 1,800 listed titles, mainly music manuscripts, from the Music Archives of the Franciscan Monastery of Salzburg (A-Sfr) and about 140 librettos from A-Sfr. These sources were, in part, evaluated in publications already. Identifications of works of significant international importance were made. Systematically, concerts have been, and are still being staged, and scores and CD editions produced, which are based on sources made available by the RISM. Yet again, there is more to report on about these three music collections: Recently new and surprising findings came to light during the ongoing work being done by RISM. From Stams, these unique pieces date back to around 1700, both sacred works and chamber music. They point to relations with the court music in Innsbruck. In Bressanone, choir-books from the early 17th century came to the fore. They were created within the circle of the Innsbruck Court music, and in many cases contain primary pieces of evidence or the oldest proof of works, like by Johann Stadlmayr, Rudolph di Lasso and others. They can be ascribed highest authenticity. Also, a rarity from Bressanone is a concentrated pool of about 100 music scores of brass band music from the mid-19th century. Through it we have, for the first time, got unmistakable insight into the history of brass band music in Tyrol, which has been dominant for centuries. The regional and international significance of the Music Archives of the Franciscan Monastery of Salzburg is illustrated, for example, in the now, for the first-time, elicited sources on works of the legendary 19th century Fran - ciscan Father Peter Singer or by Egon Wellesz. A newly-discovered manuscript collection from ca. 1780 from "Vipiteno"/South Tyrol was found in a private home in the Tyrolean Lechtal. It contains piano music by leading composers from the Southern German-Austrian areas, and Italian area, including an array of first-time substantiated pieces. Although much has already been accomplished by RISM Tyrol-South Tyrol & OFM Austria, there is no end in sight for the need to continue crucial documentation research in the future. [ABSTRACT FROM AUTHOR]

Making decisions about gift donations to the library can be overwhelming when you accept your first professional music librarian job. The authors provide insight into their academic institutions and offer practical advice based on personal experience and a review of the literature. The goal is to help newer music librarians explore ideas and documents they can implement at their institutions and to give more experienced librarians an opportunity to revisit their gifts policies and procedures. [ABSTRACT FROM PUBLISHER]

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.)

Purpose - The purpose of this paper is to provide a general review and historical context for cooperative and collaborative management of musical materials. Design/methodology/approach - The paper explores historical instances and modern contextual parallels. It applies management of music - within collaborative knowledge creation hierarchies - to conceptual continua in collections. It applies theoretical business concepts to music libraries and vendors. It explores changing roles of subject specialists and the roles of business partnerships. Findings - Selection of musical materials has become less the realm of subject specialists, and more that of corporations, as publisher's power spreads across supply chains. This power has influenced musical content and access, both in historical and modern contexts. Corporations should yield to the wisdom of subject specialists and librarians, to the benefit of the art of music. Practical implications - For cost-saving purposes alone, cooperative collection management of music is generally too troublesome to undertake. Assessment, in terms of mutual benefit of access, use, and conceptual continua across collections, is practically impossible, owing to myriad conditions. Problems of cooperative business partnering between vendors and music libraries relate to the material complexity and assessment. Cooperation requires standardized policy statements detailing individual and collective goals/outcomes. These policy statements are speculative and unpredictable. Originality/value - The paper brings an historical champion of music library cooperation (Otto Kinkeldey) into the light of modern day, and reveals key aspects of cooperation/collaboration for music materials that remain of the same nature today as in history. It provides context for future cooperative initiatives. [ABSTRACT FROM AUTHOR]

This article looks at the use of streaming audio technologies in Canadian academic libraries. We examine the issues of access, technology, metadata, workflow, and copyright through two case studies: a digital archive of sound recordings at the University of Toronto and an electronic course reserves system at Concordia University. We also present the results from a survey of Canadian music librarians, which reveal minimal use of streaming audio technologies. [ABSTRACT FROM AUTHOR]

The article offers news briefs related to music. A symposium entitled "Digital Editions-Perspectives for Editors and Users," was held at the University of Copenhagen, Denmark on January 19, 2008. A merger of Dutch music institutes has been completed and it will be called Muziek Centrum Nederland. The subsidized cultural institutions of the Netherlands endangered the music collection of the Toonkunst bibliotheek.

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.

The IAML(US) Donated Music Materials Program began in 1995 and in the 10 years since its inception, has facilitated the donation of nearly 3500 books and scores and over 4000 periodical issues, hundreds of LPs, and numerous CDs and videos. Beginning with a mailing to 65 institutions in 24 countries, the Program now reaches 90 institutions in 34 countries. [ABSTRACT FROM AUTHOR]

Purpose - To describe lessons learned about the process of designing effective tasks for digital library user tests. Design/methodology/approach - Illustrated examples are drawn from eight separate user tests run over the course of three years during development of Variations2, the Indiana University digital music library. Findings - Four major considerations for effective task design are described and illustrated. Areas explored include iterative task development, design of authentic activities, recruitment of authentic users and how to deal with unrealistic testing scenarios. Practical implications - Lessons learned in task design are matched with examples that illustrate how to balance real-world constraints with ideal testing conditions to gather useful results. Originality/value - User tests that consider a balance between real-world constraints and ideal conditions are more apt to provide useful design ideas for complex systems such as digital libraries. Practitioners may use these guidelines to develop and run their own effective user tests. [ABSTRACT FROM AUTHOR]

Finding a song in a score anthology or finding descriptive information on a specific musical work in a book (concert or listener's guide or analytical anthology) is as problematic today as it was two decades ago. Many libraries have turned to creating their own in-house indexes to find the songs or needed information. The University of Tennessee Song Index and The University of Tennessee Analysis Index at the George F. DeVine Music Library help library users find this information. Included in this article is a bibliography of online song indexes. [ABSTRACT FROM AUTHOR]

The article reports on the city library of Vienna, which contains archives of Schubert and Johann Strauss. The Wiener Stadt-und Landesbibliothek or the Vienna City Library is the public research library of Vienna. However, the music collection is housed in an apartment unlike the other collections, which are placed in the City Hall of Vienna.

Outlines requirements for a symbolic music representation to be used beginning with a future version of Variations2, a large-scale digital library project under development at Indiana University. Functions of a symbolic music representation; Definition of musical terms; Functions of schemas.

Examines issues that are considered in the planning for the future of academic libraries and discusses music reflected in such libraries in the U.S. Discussion on the changing nature of academic music collections and their audience; Instances which show the influence of music in contemporary life; Advantages of digitization to libraries.

Provides information about the Nederlands Muziek Instituut housed in the Royal Library in Hague, Netherlands. History to the founding; Overview of the collections; Availability of the collection of Daniel Francois Scheurleer from his own music library.

Focuses on the importance of musical works in the information retrieval process. Creation of digital music libraries of musical works; Concept of documentary entity; Purpose of a physical instantation of a work.

Offers a look at the extent of the music collection of Thomas Bever, an English music collector in the 18th century. Role of private collectors in the preservation of rare music books and manuscript; How the World War II reduced and damage some of the collections of Bever; Description on the sources discovered at the library in Hamburg, Germany.

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.

Focuses on what music archives are and what they do. Curatorial role of archivists; Backlogs as anathema in archives; Unpredictability of what can be important in an archive as causing confusion; Efforts of music archivists to make known to their potential users the contents of their archives.

Discusses commerce in antiquarian music materials. Distinction between dealers in truly antiquarian materials and dealers in scholarly materials; Music librarians' advocacy for funding of antiquarian acquisitions; Libraries' increasing use of computerization to replace antiquarian collections; Growth of the market despite a decrease in institutional purchasing of antiquarian music.

Describes the contents of the Scottish Music Information Centre located in Glasgow, Scotland. Unpublished scores by 300 composers; Files of information on Scottish music and composers; Services offered.

Focuses on the music collection in the British Library in London, England. Availability of materials from the National Sound Archive; Open access to reference sources; Delivery system; Cataloging backlog.