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Owing to the presence of numerous Warsaw artists coming to Gdańsk in the 1920s, the city (and even the entire Tricity area) gained significance as a new Polish music cultural centre. The culture immediately gained the status of high culture due to dynamically developing music education, which had not collapsed even in the face of the outbreak of World War II. Despite excellent cultural conditions, musical activity with regard to publishing sheet music was at the other extreme. Basic Polish music literature was not available in the library of the State High School of Music (established in 1947), therefore, in order to study the students used the sheet music gathered by the lecturers, who would purchase them in Warsaw antiquarian bookshops, selecting the best publications. At present their history constitutes valuable material for provenance and musicological research, mainly due to the proprietary marks and personal notes in the documents. Out of 371 titles of Warsaw publications that appeared between 1875 and 1918 and stored in the Main Library of the Stanisław Moniuszko Academy of Music in Gdańsk, the author selected musical prints coming from the largest collections of the school's former teachers: the singers Kazimierz Czekotowski (1901-1972), Maria Bojar-Przemieniecka (1897-1982), and Halina Mickiewiczówna (1923-2001), as well as pianist Zbigniew Śliwiński (1934-2003). They are a perfect example of the influence the Warsaw music centre had over the Tricity area since the interwar period, which resulted mainly from the Warsaw origin of the sheet music owners, the higher number of titles published in Warsaw, their content, and similarity of functions the studied publications had in Warsaw after 1875 and the functions they have currently in Gdańsk. Cet article présente et analyse les résultats de la recherche sur la provenance de documents musicaux sélectionnés par les éditeurs de Varsovie entre 1875 et 1918, actuellement conservés dans les bibliothèques de Gdańsk. La plus grande collection appartient à la Bibliothèque principale de l'Académie de musique Stanisław Moniuszko. La recherche vise à présenter les sources de ces Varsaviana dans le but de déterminer l'importance des publications musicales de Varsovie pour l'histoire de l'enseignement de la musique dans les écoles de Gdańsk, pour promouvoir la culture musicale polonaise à Gdańsk et pour répondre aux questions posées par l'inclusion de documents musicaux imprimés de Varsovie dans les collections de livres de Gdańsk. L'article se concentre uniquement sur la provenance des partitions musicales conservées à la Bibliothèque principale de l'Académie de Musique et découvertes dans l'histoire des pédagogues les plus remarquables de l'Académie : les chanteurs Kazimierz Czekotowski (1901-1972), Maria Bojar-Przemieniecka (1897-1982) et Halina Mickiewiczówna (1923-2001) et le pianiste Zbigniew Śliwiński (1934-2003). L'examen de l'origine de ces documents musicaux est fondé sur des notes et dossiers manuscrits, des ex libris d'anciens possesseurs et de libraires, ainsi que sur l'analyse de données provenant des notices de la bibliothèque documentant l'entrée dans les collections. Dieser Artikel stellt die Ergebnisse der Provenienzforschung zu ausgewählten musikalischen Dokumenten Warschauer Verlage aus dem Zeitraum von 1875 bis 1918 im Bestand Danziger Bibliotheken vor und zur Diskussion. Die Hauptbibliothek der Musikakademie Stanisław Moniuszko besitzt die größte dieser Sammlungen. Die Untersuchung möchte die Herkunft dieser Varsoviniensien klären und damit versuchen, die Bedeutung musikalischer Veröffentlichungen aus Warschau für die Geschichte der Musikpädagogik in Danziger Schulen und die Förderung der polnischen Musikkultur in Danzig herauszuarbeiten. Außerdem sollen die Gründe für die Einbeziehung von Warschauer Notendokumenten in Danziger Bibliotheksbestände beleuchtet werden. Der Beitrag beschränkt sich hauptsächlich auf die Provenienz der Noten in der Bibliothek der Musikakademie und erläutert dabei auch die Geschichte der herausragendsten Pädagogen der Akademie: der Sänger Kazimierz Czekotowski (1901-1972), Maria Bojar-Przemieniecka (1897-1982) und Halina Mickiewiczówna (1923-2001) sowie des Pianisten Zbigniew Śliwiński (1934-2003). Die Untersuchung des Ursprungs der musikalischen Dokumente basiert auf handschriftlichen Notizen und Berichten, Besitzstempeln und Stempeln des Buchhandels, außerdem wurden die Daten der Zugangsbücher ausgewertet. [ABSTRACT FROM AUTHOR]

This paper discusses a project undertaken at the University of Alberta Libraries to create metadata for a notable sheet music collection: the Walder G. W. White Sheet Music Collection, which is currently in the process of being described, digitised, and promoted. The history of the collection is discussed, its contents, and significance as a resource for researching the musical culture of the Canadian Prairie provinces (namely Alberta, Saskatchewan, and Manitoba, collectively known as "the prairies"). Select items and personalities contained within the collection are highlighted to examine elements of twentieth-century Canadian prairie society and culture. The process of preparing and creating metadata for harvesting by the Sheet Music Consortium is also outlined. This paper will help inform other projects involving the creation of metadata for sheet music, and provide insight into the Canadian music publishing industry, and its interaction with Canada, and Canadian prairie culture. [ABSTRACT FROM AUTHOR]

Music sources are most commonly shared in music scores scanned or printed on paper sheets. These artifacts are rich in information, but since they are images it is hard to re-use and share their content in todays' digital world. There are modern languages that can be used to transcribe music sheets, this is still a time consuming task, because of the complexity involved in the process and the typical huge size of the original documents. WIKI::SCORE is a collaborative environment where several people work together to transcribe music sheets to a shared medium, using the notation. This eases the process of transcribing huge documents, and stores the document in a well known notation, that can be used later on to publish the whole content in several formats, such as a PDF document, images or audio files for example. [ABSTRACT FROM AUTHOR]

Although we know some of the circumstances surrounding the first performance of Monteverdi’s Orfeo on 24 February 1607, many aspects of its production remain obscure. It is also unclear why two separate printed editions of the libretto should have been issued in 1607, and why publication of the musical score was delayed until August 1609. Nor has it hitherto been noticed that the 1609 score survives in at least two different bibliographical states, with clear evidence of stop-press corrections, and that other of its oddities can probably be traced back to the now-lost materials on which that print was based. Some representative examples illustrate the issues, also raising questions about those materials and the performance and other matters that they may have sought to address. [ABSTRACT FROM PUBLISHER]

The article considers the market of printed music in the late eighteenth-century Great Britain in order to assess the period's music culture. The author uses records of printed music found in "The English Short-Title Catalogue," newspaper advertisements and print catalogues, litigation records, and Stationers' Hall registration records. The author considers whether British or continental composers were more popular with the music-buying public and considers types of music from sources such as operas, pleasure gardens, theatres, and concerts.

Even more than other folk musicians, players of Irish traditional ("trad") music are willing at any moment to engage in fierce debate over the place of sheet music in learning and teaching the "tunes." Can one learn a tune as fully and deeply by seeing it first on a page? Is learning by ear an ethical as well as a social good? In the "sessions" or "sessiuns" that constitute the heart of modern Irish "trad" playing, is it just plain wrong to open sheet music or a tune book, or is it acceptable? Given that sessions are arguably a few decades old, and that other Irish music practices also cannot claim a linear history, it is intellectually provocative to hear (or virtually "hear" on an internet forum) many musicians claiming a longstanding oral and aural tradition as the basis for their antipathy to tunebooks as a way of learning music. It is also fascinating to watch the negotiation, the apologies, the argumentative backing and filling, that accompany this chronic debate. One musician claims to learn tunes from a book only at home alone. Another says that she was trained as a classical musician but only reads notes when playing classically. A third argues that he uses printed music because he just can't afford to learn at the feet of Cape Breton fiddlers, although he'll surely try to get there from time to time. A last and adamant voice argues that pulling out a tunebook at a pub session is like "reading your responses when somebody is trying to talk to you." Several aspects of this surprisingly vigorous discussion bear dissection. What are the passions aroused by the idea of propagating a predominantly aural/oral tradition in modern societies in the twenty-first century? What does it mean that the tradition itself postdates the era of mass literacy in that society? Are there indeed cognitive differences between learning by ear and learning from a book that affect the music one plays? What are the social functions of "sessions," and what dimensions of social power, control, and mentoring may experienced players choose to exercise in that setting? Are these dimensions affected by neophytes having access to tunebooks? [ABSTRACT FROM AUTHOR]

The article focuses on the evolution of sheet music in the late nineteenth century throughout the early twentieth century. It provides a brief overview of sheet music produced by Tin Pan Alley, as well as the analysis of the relation of sheet music covers with that of the song or the music featured. It also examines the use of sheet music and records as the delivery methods for music in those times, and its significance to the commercial approaches in the music industry, as well as to the demand for more music.

Reveals that the Captain John Smith Library at Christopher Newport University (CNU) in Newport News, Virginia is now the home of a collection of sheet music called the Josephine L. Hughes (JLH) Collection. Number of pieces of sheet music and books that was brought to CNU in 1986; Two bibliographies where the JLH Collection was mentioned; Scope of the collection.

The article focuses on the song "The Kettle Valley Line," written by Ean Hay. It discusses the background of the writing of the song which is said to be based on the stories told to Hay by his father who had worked as cook for the Canadian Pacific Railroad (CPR). Lyrics of the song, including its sheet music, are offered.

The article explains procedure for music educators wishing to photocopy sheet music for their classes. The correct channels for music copyright questions are described, and it is noted that while copy shops receive a percentage of the cost of the photocopying of sheet music, none of the creators or publishers of the music receive payment. The author suggests that readers with questions contact the copyright collective Verwertungsgesellschaft (VG) Musikedition at www.vg-musikedition.de.

The article reviews three sheet music for "Pennies From Heaven," arranged by Mac Huff, "Don't Get Around Much Any More," arranged by Roger Emerson, and "Dream a Little Dream of Me," arranged by Mac Huff.

The article reviews the sheet music for R. Murray Schafer's "Wolf Music: Aubade for Two Voices" and "Landscapes and Soundscapes: Fountains With Birds," and "Lasst uns erfreuen."

The article offers information on the online collection of the Ball State University Libraries. The Chapbook Collection consists of 173 chapbooks that include items contributed by Elisabeth Ball, and 50 chapbooks purchased by Special Collections that presents discussions about moral instruction to the ABCs, advertisements for medicines and soap, and others. The Hague Sheet Music Collection comprised of popular music titles. The Muncie Sanborn® Fire Insurance Maps Collection consists of maps that show commercial, industrial and residential sections of the city from 1883 to 1911.

The article reviews the sheet music for Gwyneth Walker's "The Tree of Peace," published by E. C. Schirmer Music Co.

The article reviews the sheet music for "Saint Leopold Mass," composed by Johann Michael Haydn, edited by Jean Ashworth Bartle, published by Hinshaw Music Inc.