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The Nanki Music Library is the first public music library in Japan, founded by Marquis Yorisada Tokugawa (1892–1954), the sixteenth Lord of the Kishu Tokugawa family. The collection was opened to the public in October 1920. Historically, this library has played an important role in the cradle of Western music research in Japan. Nowadays, however, researchers and performers are more interested in a part of the collection (acquired in 1920) of William Hayman Cummings (1831–1915), one of the great music collectors of the nineteenth century in the U.K. and the former collection of the music scores (1,030 pieces, acquired in 1928) of Joseph Hollman (1852–1926), who was a globally successful cellist and a close friend of Yorisada. In this article, I present the history of the Nanki Music Library, how the Old Cummings Collection came to be collected at this library, and the Old Cummings Collection that is currently held at this library. The Nanki Music Library became open to the public with the acquisition of the Old Cummings Collection and even today it is still the core collection of the library. La Nanki Music Library est la première bibliothèque musicale publique du Japon, fondée par le marquis Yorisada Tokugawa (1892–1954), seizième seigneur de la famille Kishu Tokugawa. La collection a été présentée au public en octobre 1920. Historiquement, cette bibliothèque a joué un rôle important en constituant le noyau de la recherche musicale occidentale au Japon. Aujourd'hui, cependant, les chercheurs et les interprètes s'intéressent davantage à une partie de la collection (acquise en 1920) de William Hayman Cummings (1831–1915), l'un des grands collectionneurs de musique du XIXe siècle au Royaume-Uni, et à l'ancienne collection de partitions (1 030 exemplaires, acquis en 1928) de Joseph Hollman (1852–1926), qui fut un violoncelliste de renommée mondiale et un ami proche de Yorisada. Dans cet article, je présente l'histoire de la Nanki Music Library , la façon dont la Old Cummings Collection a été rassemblée dans cette bibliothèque, et la Old Cummings Collection elle-même, actuellement conservée au sein de cette bibliothèque. La Nanki Music Library a été ouverte au public avec l'acquisition de la Old Cummings Collection et, aujourd'hui encore, celle-ci constitue la collection principale de la bibliothèque. Die Nanki Music Library war die erste öffentliche Musikbibliothek Japans, gegründet vom Marquis Yorisada Tokugawa (1892–1954), dem sechzehnten Lord der Familie Kishu Tokugawa. Die Sammlung wurde im Oktober 1920 der Öffentlichkeit zugänglich gemacht. Historisch gesehen spielte diese Bibliothek eine wichtige Rolle am Beginn der westlichen Musikforschung in Japan. Heutzutage interessieren sich Forscher und Interpreten jedoch mehr für den Teil der Sammlung von William Hayman Cummings (1831–1915), einem der großen Musiksammler des 19. Jahrhunderts (erworben 1920), sowie für die ehemalige Notensammlung von Joseph Hollman (1852–1926), einem weltweit erfolgreichen Cellisten und engen Freund Yorisadas (1.030 Exemplare, erworben 1928). In diesem Artikel präsentiere ich die Geschichte der Nanki Music Library und beschäftige mich insbesondere mit der Old Cummings Collection und wie sie in die Sammlung dieser Bibliothek kam. Mit dem Erwerb der Old Cummings Collection , die bis heute den Kernbestand der Bibliothek bildet, wurde die Nanki Music Library der Öffentlichkeit zugänglich gemacht. 南葵音楽文庫は、紀州徳川家第16代当主徳川頼貞(1892–1954)年)が創設した日本で最初の公共の音楽図書館である。1920–10月から収蔵書の閲覧が開始され、歴史的には日本における西洋音楽研究の揺籃期に重要な役割を果たしたが、今日ではむしろ収蔵する19世紀イギリスの偉大な音楽蔵書家だったウィリアム・ヘイマン・カミングス(1831–1915)年)の旧蔵資料の一部(1920)年収蔵)や、チェロ奏者として世界的に活躍し、頼貞と親交が深かったヨーゼフ・ホルマン(1852–1926)年)の旧蔵楽譜(1030– 1928)年収蔵)が、研究者や演奏者の関心を集めている。 この小論では、南葵音楽文庫の沿革と共に、カミングスの旧蔵書が同文庫に収蔵されることになった経緯と、現在南葵音楽文庫が収蔵するカミングスの旧蔵資料について紹介しよう。南葵音楽文庫は、カミングスの旧蔵書を収蔵したことで公開が可能となり、それらは今日でもなお、同文庫の中核的な蒐集となっているのである。 [ABSTRACT FROM AUTHOR]

The article describes the efforts of the author at Memorial University of Newfoundland's Music Resource Centre (MRC) to update its collection and audiovisual materials. She provides an overview of the university's libraries. She states that goal of the update, which is to find exact copies of specific performances, so that only format, rather than content, would change. She reveals that the LaserDisc copies were replaced by digital video disc (DVD) copies.

This article describes a euphonium lecture-recital performed by Chapman University's Performing Arts Librarian Scott Stone that was used to demonstrate how library resources can be used to give greater depth to musical performances. Results of this performance in March 2010 included an increase in the amount of personal research appointments with students, an increased use of both library holdings and the Inter-library Loan service, and a closer personal interaction with many students and faculty. Suggestions are also provided on how this basic concept could be adapted for different situations depending on the performance ability of the librarian. [ABSTRACT FROM AUTHOR]

The Morrill Music Library at the Biblioteca Berenson, Villa I Tatti, Florence, is an integral part of the sources for interdisciplinary study offered by the Harvard University Center for Italian Renaissance Studies in Florence. The Morrill Music Library is the principal reference library for early music in Italy, with scores, books and recordings, and a large collection of manuscripts and early printed music on microform, to support research in music and dance through 1640. The holdings have been augmented by substantial private donations from international music scholars. The Library also promotes the performance of early music through recitals and its own concert series, Early Music at I Tatti. This article describes the history and collection development of the Morrill Music Library and discusses in detail three unique sixteenth-century partbooks aquired recently. [ABSTRACT FROM AUTHOR]

The Royal College of Music Library holds a significant collection of orchestral scores and parts from the eighteenth to the twentieth century. This overview of the collection looks at the value of contemporary orchestral parts and how they can inform performers, editors, and musicologists about performance practice, conductor's habits, and performance norms over the last 3 centuries. [ABSTRACT FROM AUTHOR]

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 history of musical performance is a domain that has been little studied so far by francophone researchers, while for several decades the English-speaking world has developed a field which is completely dedicated to it: the performance practice studies. These studies have until now focused on two main types of sources: scores and treatises. The case of the Société de Musique, which was one of the main musical institutions in Geneva in the first half of the 19th century, shows that relying solely on scores (conductor scores as well as orchestral parts) is not sufficient to reconstruct musical practices as they were known in this society. On the other hand, a systematic study of the numerous traces left by the Société de Musique (minutes and correspondence of the committee, concert programs and press reviews) allows us to have a better idea of how amateur and professional musicians made music together. Consequently, it seems to us that expanding the body of sources used for studying performance practice in the 19th century must be accompanied by a renewal of the historian's approach. Music libraries are an integral part of this movement, because they preserve documents and more importantly, because they provide access to them by building catalogues and bibliographies, and by establishing a dialogue between librarians and researchers. [ABSTRACT FROM AUTHOR]

The article deals with the problems that music archives pose to databases in library networks as far as access to bibliographic records is concerned. Different from books and scores which are acquired directly by libraries and which are (for modern volumes) in general identical for each copy, materials which belonged to musicians each have their own history, carrying annotations for performance, dedications, names of performers, references to specific performances, dates, etc. It is extremely important to be able to benefit from these by access. Considering this, the structure of bibliographic records (certainly dated) and new theories of library science (especially FRBR—Functional Requirements for Bibliographic Records) are particularly interesting for music, because they try to distinguish different aspects of a work, its different versions, its successive performances, its multiple arrangements, etc, and thus manage to define more precisely the distinctive characters of different copies of publications. [ABSTRACT FROM AUTHOR]

The article discusses the proposal of the Sub-commission on Unimarc to update the lists of "Medium of performance" and "Musical forms." Information about the new codes is provided which include mcb for cristal Baschet, mgt for glass trumpet and ocb for cobla. The Italian Working Group proposes new relator codes in cataloguing early music manuscripts, printed music and librettos in Marc21 and Intermac formats. Revision of the guidelines for Unimarc for Music and implementation of field 145 at the Documentary Centre of Contemporary Music are suggested.