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The Rhodes S. Baker, Jr. Collection of rare and unissued sound recordings at the University of North Texas Music Library demonstrates that, in archival settings, the incidental content that is often deleted from commercial releases is actually “a feature, not a bug,” so to speak. This article elaborates on two reasons for the desirability and necessity of such content: First, it often provides the context necessary to make sense of a given recording, determining a date and release status, especially for recordings that are not well labeled. It also provides lasting evidence of the human activity underlying every aspect of the performance, capture, distribution, and preservation of a recording. [ABSTRACT FROM AUTHOR]

In 2019, the IAML Japanese Branch celebrated its fortieth anniversary. The author takes this opportunity to look back on the history of the branch and use it as a blueprint for tackling the problem of stagnating membership. Though the branch has discussed its problems at every opportunity, they have not been the subject of systematic examination. A strategic plan is important to lead to greater activity within the organisation. For that purpose, it is necessary to carry out awareness building activities not only among members, but also to various related organisations surrounding music libraries and music information users. Strengthening these organisations' cooperation with the branch is a primary issue. Finally, in order to continue these activities, it is imperative to promote increased participation by young people. En 2019, la branche japonaise de IAML a célébré son quarantième anniversaire. L'auteur saisit cette occasion pour revenir sur l'histoire de la branche et l'utiliser comme point de départ pour aborder le problème de la stagnation des adhésions. Bien que la branche ait discuté de ses problèmes à chaque fois que l'occasion s'est présentée, ceux-ci n'ont pas fait l'objet d'un examen systématique. Un plan stratégique est important pour susciter une plus grande activité au sein de l'organisation. À cette fin, il est nécessaire de mener des actions de sensibilisation non seulement auprès des membres, mais également auprès de diverses organisations qui gravitent autour des bibliothèques musicales et des utilisateurs d'informations relatives à la musique. Le renforcement de la coopération de ces organisations avec la branche est une préoccupation majeure. Enfin, dans le but de poursuivre ces activités, il est impératif de promouvoir une participation accrue des plus jeunes. 2019 feierte die japanische IAML-Ländergruppe ihr vierzigjähriges Bestehen. Die Autorin nimmt dies zum Anlass, auf die Geschichte der Ländergruppe zurückzublicken und diese als Modell für den Umgang mit stagnierenden Mitgliederzahlen zu nutzen. Obwohl die Ländergruppe ihre Probleme bei jeder Gelegenheit diskutiert hat, wurden diese bisher nicht systematisch untersucht. Zur Steigerung der Aktivitäten innerhalb der Organisation bedarf es einer strategischen Planung. Dafür ist es nötig, Maßnahmen zur verbesserten Wahrnehmung der IAML Japan zu ergreifen, und zwar nicht nur bei den Mitgliedern, sondern auch bei den verschiedenen verwandten Organisationen im Umfeld der Musikbibliotheken sowie bei deren Nutzern. Die Zusammenarbeit der Ländergruppe mit diesen Organisationen ist ein vorrangiges Anliegen. Außerdem ist die verstärkte Beteiligung junger Menschen zur Fortsetzung dieser Aktivitäten unabdingbar. IAML日本支部は,2019年に創立40周年を迎えた。これを機にこれまでの支部の歩みを振り返り,現在低迷している会員数充実の問題に取り組むための手がかりとしたい。 支部はこれまで機会ある毎に支部の課題について議論してきたが,体系的な検討に結びついてこなかった。今後は戦略的な計画の下に組織の活動を活性化していく必要があると考える。そのためには,会員のみならず音楽図書館や音楽情報利用者を取り巻く様々な関連団体などへの啓蒙活動と,当支部との連携協力の強化が必要であるだろう。こうした活動を継続するためには,若手の参加が強く望まれる。 [ABSTRACT FROM AUTHOR]

This study aims to explore the factors at play in how music libraries in Japan developed during the 1960s and formed associations of music libraries, such as the Music Library Association of Japan in 1971 and the IAML Japanese Branch in 1979. Even though the information circumstances and roles of information professionals have changed drastically since the 1960s, it is worthwhile to learn and reflect on what our predecessors have done. An interview survey was conducted with people who played an important role in collection development for their libraries. The author considered how the governmental policy of higher education to establish graduate schools indirectly influenced library management. It was found that the requirements for graduate school foundation led each library to enrich its collection through adequate selection of resources by faculty members. The growth of libraries encouraged library staff to focus on proper collection organisation. Cette étude vise à explorer les facteurs en jeu dans la façon dont les bibliothèques musicales au Japon se sont développées au cours des années 1960 et ont formé des associations de bibliothèques musicales, telles que la Music Library Association of Japan en 1971 et la branche japonaise de IAML en 1979. Même si le contexte de l'information et le rôle des professionnels de l'information ont radicalement changé depuis les années 1960, il est utile de tirer des enseignements et de se pencher sur ce que nos prédécesseurs ont accompli. Une enquête sous forme d'entretiens a été menée auprès de personnes ayant joué un rôle majeur dans le développement des collections de leur bibliothèque. L'auteur a examiné comment la politique gouvernementale de l'enseignement supérieur visant à créer des écoles supérieures a indirectement influencé la gestion des bibliothèques. Il a été établi que les exigences relatives à la fondation d'écoles supérieures ont conduit chaque bibliothèque à enrichir sa collection en procédant à une sélection adéquate des ressources effectuée par les membres de la faculté. La croissance des bibliothèques a encouragé le personnel des bibliothèques à se recentrer sur une organisation pertinente de ses collections. Diese Studie zielt darauf ab, die Faktoren zu untersuchen, die bei der Entwicklung von Musikbibliotheken im Japan der 1960er-Jahre sowie bei der Bildung der musikbibliothekarischen Verbände wie der Music Library Association of Japan 1971 und der japanischen IAML-Ländergruppe im Jahr 1979 eine Rolle spielten. Auch wenn sich die grundlegenden Bedingungen und das Rollenverständnis von Informationsspezialisten seit den 1960er-Jahren drastisch verändert haben, ist es lohnend, sich zu vergegenwärtigen, was unsere Vorgänger getan haben, und dies kritisch zu betrachten. Es wurden Interviews mit Personen geführt, die eine wichtige Rolle bei der Bestandsentwicklung ihrer Bibliotheken spielten. Die Autorin hat untersucht, wie die staatliche Hochschulpolitik mittels der Einrichtung von Graduiertenschulen indirekt das Bibliotheksmanagement beeinflusste. Dabei wurde festgestellt, dass die Anforderungen für die Gründung einer Graduiertenschule die einzelnen Bibliotheken veranlassten, mit Hilfe von Fakultätsmitgliedern ihre Sammlung um eine entsprechende Auswahl von Medien zu erweitern. Das Wachstum der Bibliotheken steigerte die Konzentration des Bibliothekspersonals auf das eigentliche Bestandsmanagement. 1960–1970年代は, 音楽図書館にとって大きな動きのあった時代である。この時期の主要な音楽大学では学科増設, 大学院の設置がなされ, 附属図書館は学術図書館としての機能を高める。公共においても東京文化会館資料室(1961年), 遠山音楽財団附属図書室(1966年)が開室し, 長らく不明だった世界的に評価の高い南葵音楽文庫が再発見された。 本研究は, 1960年代に大学院を設置した音楽大学を対象として, 各大学附属図書館での運営に対する考え方と当時のコレクションのあり方を把握することによって, 学術図書館としての音楽図書館活動を明らかにすることを目的とする。そのため, 当時の図書館活動に尽力した関係者を対象とした面接調査による歴史研究アプローチにより考察した。調査結果から1970年代での音楽図書館協会に向けた要因が明らかとなった。 [ABSTRACT FROM AUTHOR]

At the twentieth Congress of the International Musicological Society (IMS), held in Tokyo March 2017, RILM Japan organised a session 'Collaboration and Dialogue: RILM in Japan', in which the invited speakers pointed out the current problems of RILM Japan: for example, the difficulties in the transliteration of Japanese documents and ensuing misinterpretation, and the still estranged position of popular music studies in traditional Japanese musicology. On the other hand, since its foundation in 1967, RILM Japan has undergone several changes in its office location, editorial principles, and publication methods, which are almost always a result of financial challenges. Despite its constant efforts, therefore, RILM Japan has been facing fundamental problems in its operations for a long time. In June 2018, IAML Japan and RILM Japan jointly hosted a conference 'Music Information in Asia and Advancement of International Collaboration: Searching the Music Source and Connecting the Music Libraries' at Rikkyo University, Tokyo. A formal declaration of the conference was unanimously approved as follows: 'We the members of IAML and RILM Japan hereby state our intent to be in closer contact with others in Asia concerned with the care, collection, and dissemination of music materials to facilitate mutual understanding and collaboration.' Finally, as a result of such endeav-ours, in April 2021, the Japanese Society of Popular Music has joined RILM Japan as a subsidising support group, and an online Web system, RILM Japan Online (only for domestic use at this point), has been placed in operation after a long debate over its implementation. Lors du vingtième congrès de la Société internationale de musicologie (SIM), qui s'est tenu à Tokyo en mars 2017, le RILM Japon a organisé une session " Collaboration and Dialogue: RILM in Japan ", au cours de laquelle les intervenants invités ont souligné les problèmes actuels du RILM Japon : par exemple, les difficultés de translittération des documents japonais et les erreurs d'interprétation qui en découlent, ainsi que la place encore marginale des études sur la musique populaire au sein de la musicologie japonaise traditionnelle. D'autre part, depuis sa fondation en 1967, le RILM Japon a connu plusieurs changements en termes de locaux, de principes éditoriaux et de méthodes de publication, presque toujours en raison de difficultés financières. Malgré ses efforts constants, le RILM Japon est donc confronté depuis longtemps à des problèmes fondamentaux dans son mode de fonctionnement. En juin 2018, IAML Japan et le RILM Japon ont organisé conjointement une conférence intitulée Music Information in Asia and Advancement of International Collaboration : Searching the Music Source and Connecting the Music Libraries à l'université Rikkyo de Tokyo. La déclaration solennelle de la conférence a été approuvée à l'unanimité dans les termes suivants : « Nous, membres de IAML et du RILM Japon, déclarons par la présente notre intention d'être en contact plus étroit avec d'autres acteurs asiatiques concernés par la conservation, la collecte et la diffusion de documents musicaux afin de faciliter la compréhension mutuelle et la collaboration ». Enfin, à la suite de ces efforts, en avril 2021, la Société Japonaise de Musique Populaire a rejoint le RILM Japon en tant que soutien financier, et un programme en ligne, RILM Japan Online (uniquement pour un usage domestique à ce stade), a été mis en service après un long débat sur sa mise en œuvre. Auf dem 20. Kongress der International Musicological Society (IMS), der im März 2017 in Tokio stattfand, organisierte RILM Japan eine Sitzung mit dem Titel „ Collaboration and Dialogue: RILM in Japan ". Die eingeladenen Referenten benannten aktuelle Probleme von RILM Japan, beispielsweise die Schwierigkeiten bei der Transliteration japanischer Dokumente und daraus resultierende Fehlinterpretationen sowie die in der traditionellen japanischen Musikwissenschaft nach wie vor kaum anerkannte Forschung zur Popularmusik. Auf der anderen Seite hat RILM Japan seit seiner Gründung im Jahr 1967 mehrere Veränderungen in Bezug auf den Standort, die redaktionellen Grundsätze und die Veröffentlichungsformen durchgemacht, die fast immer auf finanzielle Herausforderungen zurückzuführen waren. Trotz ständiger Bemühungen sieht sich RILM Japan daher seit langem in seiner Geschäftstätigkeit mit existenziellen Problemen konfrontiert. Im Juni 2018 veranstalteten IAML Japan und RILM Japan eine gemeinsame Konferenz unter dem Motto „ Music Information in Asia and Advancement of International Collaboration: Searching the Music Source and Connecting the Music Libraries " an der Rikkyo Universität in Tokio. Die folgende Erklärung der Konferenzteilnehmer wurde einstimmig angenommen: "Um das gegenseitige Verständnis und die Zusammenarbeit zu fördern, bekunden wir, die Mitglieder von IAML und RILM Japan, hiermit unsere Absicht, engeren Kontakt zu anderen Akteuren in Asien zu knüpfen, die sich mit der Pflege, Sammlung und Verbreitung von Musikmaterial befassen." Als Ergebnis dieser Bemühungen trat die Japanische Gesellschaft für Populäre Musik im April 2021 RILM Japan als unterstützende Gruppe bei. Außerdem wurde-nach einer langen Debatte über die konkrete Umsetzung -das Onlineangebot " RILM Japan Online " (derzeit nur für die Nutzung im Inland) in Betrieb genommen. 「国際音楽文献目録委員会日本支部(RILM日本)における近年の展開:その責務と将来」2017年3月に東京で開催された国際音楽学会第20回大会において、国際音楽文献目録委員会日本支部は、「協力と対話:日本におけるRILM」という分科会を開催した。この会議において、RILM日本の現今の問題として招待講演者が指摘したのは、例えば、日本の資料の音訳における困難と、その結果として起こりうる誤解、また日本の伝統的音楽学におけるポピュラー音楽研究の疎外された状況であった。その一方で、1967年の創立以来、RILM日本は、事務所の移動、編集方針の変更、出版方針の変更など、ほとんどの場合、経済的問題に起因する様々な変化を余儀なくされてきた。従って、その継続的な努力にもかかわらず、RILM日本は、その運用面において、長い間、基本的な問題に直面してきたと言える。2018年6 月、IAML日本とRILM日本は、国際会議「アジアにおける音楽情報と国際的協調の推進:音楽資料の探究と音楽図書館の連携」を、東京の立教大学で合同開催した。その正式の宣言として、全会一致で採択されたのは、「私たち、IAML日本とRILM日本の会員は、音楽資料の保全、収集、普及に関係するアジアの他の国々と、相互の理解と協力を促進するために、緊密な連絡を維持する決意を、ここに表明する」であった。こうした努力の結果として、ようやく2021年4月より、日本ポピュラー音楽学会がRILM日本支部の母体団体に加盟し、また、オンライン・ウェブ・システム「RILM Japan Online」(現在のところ国内仕様のみ)が、その実施に関する長い議論の末、運用開始されたのである。 [ABSTRACT FROM AUTHOR]

The library of the University of Barcelona houses an interesting collection of music to which little attention has been paid. With documentary collections from the ecclesiastical confiscation of the nineteenth century, it brings together all kinds of works, most of which come from Barcelonian convent libraries that have now disappeared, especially rich in those of the sixteenth to nineteenth centuries. Represented here are manuscripts (from the medieval period) and printed editions of all kinds (from incunabula to numerous examples from the nineteenth century), bringing together an excellent collection of treatises on music theory, as well as some examples of opera librettos. The library holds one of the best collections in the world of printed texts of villancicos and oratorios, which together with many compositions in music notation, make the group one of the best on the Hispanic scene. The present article focuses on the description of the theoretical-musical treatises. La bibliothèque de l'Université de Barcelone conserve une intéressante collection musicale, à laquelle peu d'attention a été portée. Aux côtés des collections documentaires des confiscations ecclésiastiques du XIX° siècle, elle rassemble toute sorte d'œuvres, la plupart provenant des bibliothèques des couvents barcelonais désormais disparues, particulièrement riches en œuvres du XVI° au XIX° siècles. Sont représentés les manuscrits (de la période médiévale) et les éditions imprimées de toutes sortes (depuis les incunables jusqu'aux nombreux exemplaires du XIX° siècle), rassemblant une excellente collection de traités de théorie musicale, ainsi que des exemplaires de livrets musicaux. La bibliothèque conserve l'une des meilleures collections au monde de textes imprimés de villancicos et d'oratorios, qui, jointe à de nombreuses compositions musicales, représentent l'une des meilleures du monde hispanique. Cet article se concentre sur la description des traités de théorie musicale. Die Bibliothek der Universität Barcelona beherbergt eine interessante Musiksammlung, der bisher nur wenig Aufmerksamkeit geschenkt wurde. Mit dokumentarischen Sammlungen zu den kirchlichen Beschlagnahmen des 19. Jahrhunderts vereint sie Werke aller Art, vor allem aus der Zeit zwischen 1500 und 1900, von denen die meisten aus heute verschwundenen barcelonischen Klosterbibliotheken stammen. Vertreten sind hier (mittelalterliche) Handschriften und gedruckte Ausgaben aller Art (von Inkunabeln bis hin zu zahlreichen Beispielen aus dem 19. Jahrhundert). Die Bibliothek besitzt eine der weltbesten Sammlungen an gedruckten Texten von Villancicos und Oratorien. Mit den zugehörigen Notenausgaben firmiert der Be-stand als einer der besten in der hispanischen Welt. Dieser Artikel konzentriert sich auf die Beschreibung der theoretisch-musikalischen Abhandlungen. [ABSTRACT FROM AUTHOR]

The purpose of this article is to shed light on the early stage of acceptance of medieval and Renaissance music studies in Japan through the activities of pioneering researchers, the establishment of specialised libraries, and research groups. Scholars fascinated by this music studied abroad and used their knowledge to educate Japanese society and popularise early music. For example, Tastuo Minagawa was one of the first to introduce the study of such music in Japan, particularly early music notation and the related music history. Additionally, he contributed to the establishment of libraries specialising in this field. Masakata Kanazawa also made outstanding achievements, especially in music theory and manuscript studies. For example, he researched the Montecassino, Ms.871, in collaboration with Isabel Pope. Their critical edition of the manuscript published in 1978 was awarded the ASCAP Deems-Taylor Award in 1980. Other important researchers include Noriko Murai, who translated many foreign documents on the history of Western music into Japanese and educated not only musicologists, but also performers; Kosaku Toguchi, who studied fourteenth-century Italian music, and Hiroko Kishimoto, who introduced music library science in Japan. In terms of influential libraries, the Toyama Music Library, affiliated with the Toyama Music Foundation, was the first to specialise in medieval and Renaissance music in Japan. Finally, the Medieval and Renaissance Music Society focusing on these music periods continues to publish treatises, translated from Latin into Japanese with explanatory articles, which has helped to improve understandings of medieval and Renaissance music's theoretical aspects in Japan. Le propos de cet article est de mettre en lumière le tout début de la reconnaissance des études musicales du Moyen-âge et de la Renaissance au Japon à travers les travaux de chercheurs précurseurs, la création de bibliothèques spécialisées et de groupes de recherche. Des chercheurs fascinés par cette musique ont étudié à l'étranger et ont utilisé leurs connaissances pour éduquer la société japonaise et populariser la musique ancienne. Tastuo Minagawa, par exemple, a été l'un des premiers à introduire l'étude de ces musiques au Japon, en particulier la notation musicale ancienne et l'histoire de la musique correspondante. Il a également contribué à la création de bibliothèques spécialisées dans ce domaine. Masakata Kanazawa a également mené des travaux remarquables, notamment dans les champs de la théorie musicale et de l'étude des manuscrits. Par exemple, il a effectué des recherches sur le Montecassino, Ms.871 , en collaboration avec Isabel Pope. Leur édition critique du manuscrit, publiée en 1978, a reçu le prix Deems-Taylor de l'ASCAP en 1980. Parmi les autres chercheurs importants, citons Noriko Murai, qui a traduit en japonais de nombreux documents étrangers sur l'histoire de la musique occidentale et a formé non seulement des musicologues, mais également des interprètes ; Kosaku Toguchi, qui a étudié la musique italienne du XIVe siècle, et Hiroko Kishimoto, qui a introduit la science des bibliothèques spécialisées dans la musique au Japon. Pour ce qui est des bibliothèques de référence, la Toyama Music Library , affiliée à la Toyama Music Foundation , a été la première à se spécialiser dans les musiques médiévale et de la Renaissance au Japon. Enfin, la Medieval and Renaissance Music Society , qui se concentre sur ces périodes musicales, poursuit la publication de traités, traduits du latin en japonais accompagnés de commentaires critiques, ce qui contribue à améliorer la compréhension des aspects théoriques de la musique médiévale et de la Renaissance au Japon. Dieser Artikel beleuchtet die steigende Bedeutung der Musikwissenschaft des Mittelalters und der Renaissance in Japan aufgrund der Verdienste wegweisender Forscher sowie der Einrichtung von Fachbibliotheken und Forschungsgruppen. Von dieser Musik faszinierte Gelehrte studierten im Ausland, trugen ihr Wissen in die japanische Gesellschaft und machten so die Alte Musik bekannt. Tatsuo Minagawa zum Beispiel war einer der ersten, der das Studium Alter Musik in Japan einführte, insbesondere das von deren Notation und der damit verbundenen Musikgeschichte. Darüber hinaus wirkte er am Aufbau von Fachbibliotheken mit. Auch Masakata Kanazawa hat herausragende Leistungen erbracht, vor allem in Musiktheorie und Handschriftenforschung. Er erforschte zum Beispiel in Zusammenarbeit mit Isabel Pope das Manuskript Montecassino Ms.871. Beider kritische Edition des 1978 herausgegebenen Manuskripts wurde 1980 mit dem ASCAP Deems-Taylor Award ausgezeichnet. Andere bedeutende Musikwissenschaftler sind etwa Noriko Murai, die zahlreiche fremdsprachige Texte der westlichen Musikwissenschaft ins Japanische übersetzte und nicht nur Musikwissenschaftler, sondern auch Interpreten unterrichtet hat, Kosaku Toguchi, der die italienische Musik des 14. Jahrhunderts erforschte, und Hiroko Kishimoto, die die Musikbibliothekswissenschaft in Japan einführte. Aus dem Kreis der einflussreichen Bibliotheken war die Musikbibliothek in Toyama, die der Toyama Music Foundation angegliedert ist, die erste japanische Bibliothek, die sich auf Musik des Mittelalters und der Renaissance spezialisierte. Nicht zuletzt veröffentlicht die auf diese Musikepochen spezialisierte Gesellschaft fortlaufend Abhandlungen aus dem Lateinischen in japanischer Übersetzung mit erläuternden Artikeln. Dies hat entscheidend dazu beigetragen, das Verständnis für die Musiktheorie des Mittelalters und der Renaissance in Japan zu verbessern. 本論の目的は、先駆的な研究者や専門図書館の設立、研究グループの活動などを通じて、日本における中世・ルネサンス音楽研究の初期受容史を明らかにすることである。1950年代、この音楽に魅せられた学者たちが海外に留学し、その知識を生かして日本の社会を啓蒙し、古楽を普及させた。例えば、皆川達夫は、この時代の音楽研究、特に記譜法やこの時代に関する音楽史などを、最初に日本に導入した人の一人である。また、この分野に特化した図書館の設立にも貢献した。また、金澤正剛は、特に音楽理論や写本の研究で優れた業績を残した。例えば、イザベル・ポープと共同でモンテカッシーノMs.871 を研究し、1978年に出版された彼らの批判校訂版は、1980年にASCAP Deems-Taylor賞を受賞した。そのほかにもすぐれた研究者として次のような人物を挙げることができる。西洋音楽の歴史に関する多くの外国文献を日本語に翻訳し、音楽学者だけでなく演奏家も育てた村井範子、14世紀イタリア音楽を研究した戸口幸策、そして日本に音楽図書館学を導入した岸本宏子らである。影響力のある図書館としては、日本で初めて中世・ルネッサンス音楽を専門に扱った遠山音楽財団付属遠山音楽図書館がある。また、これらの時代に焦点を当てた中世ルネサンス音楽史研究会は、ラテン語の理論書を日本語に翻訳し、解説記事を添えた論文を発表し続けており、日本における中世・ルネサンス音楽の理論的側面の理解を深めるのに大きく貢献している。 [ABSTRACT FROM AUTHOR]

The Publication Manual of the American Psychological Association is one of the "big three" style guides currently in use. The seventh edition was published in October 2019. Since the previous edition was ten years old, the update represents a major revision for those who use and/or teach APA Style. The purpose of this article is to synthesize the major changes in the new edition for instructors of music bibliography courses. An overview of major changes is provided, including those to writing style, language, paper formatting, citation, and more. Both reference list entries for commonly-cited music materials and in-text citation examples are included, as are tips designed for students. Lastly, a set of recommended resources helpful for teaching APA is provided, along with a few possible citation assignments. This article suggests resources for music faculty new to APA Style as well as those who are updating from the sixth edition, specifically those who teach citation as part of a graduate music bibliography course. [ABSTRACT FROM AUTHOR]

While popular with music publishers, spiral and comb bindings for music scores are problematic for music libraries for many reasons, especially long-term preservation. While recommendations exist for how libraries should treat these scores, only a few outdated research studies detail actual binding practices. This article summarizes and analyzes findings from a 2018 survey of 50 libraries of various sizes and budgets in the United States and Canada, describing common ways libraries deal with spiral- and comb-bound scores, the main perceived problems with these types of bindings, and the diversity of decision workflows. [ABSTRACT FROM AUTHOR]

The history of music of the first half of the twentieth century reveals the possibility of parallel coexistence of several aesthetic orientations, when the new national music schools through predominantly folk styles, but also due to their maturation and the existence of exceptional personalities, are able to achieve syntheses between national folklore tradition and the great European musical tradition. A mixture of raw realism with a romantic breath impresses a special charm and explains the interest aroused by this type of music. The outstanding personality of modern Hungarian composition is Béla Bartók (1881-1945) who distinguished himself, from the beginning, through an original aesthetic conception, being a tireless collector and researcher of folklore, but also a composer, teacher, virtuoso pianist, thus refreshing cult music with elements of peasant music, which the creations of the last centuries have kept intact. On the occasion of the 140th anniversary of the birth of the composer Béla Bartók, the National Library of Romania organized between July 7 and September 15, 2021 the exhibition Béla Bartók - a scholar researcher of universal folklore, in which scores, CDs, DVDs and LPs from the library's music collections have been exposed. Through his music, Bartók was in a way the "ideal kind" of patriot: he loved Hungary with passion and capitalized on its musical traditions, but he was also inspired by the musical traditions of other countries, studying and promoting them, which led to the creation of works of impressive variety and beauty. [ABSTRACT FROM AUTHOR]

We are living in a great age for sheet music research. After a long period of scholarly apathy, in the last few decades the world has awoken at last to the great historical value that sheet music holds, from its topical texts, to its extraordinary illustrations. Researchers today can discover online sheet music-based exhibits on a huge variety of subjects, from the blockbuster Music for the Nation exhibits and digital collections on the Library of Congress website, which embed detailed articles and essays into curated collections of sheet music resources, to exhibits created by specialized institutions like the National Museum of Civil War Medicine, which brings together songs from the North and South concerning enslaved persons, pacifists and carpetbaggers, complete with historical context and analysis. Many blogs tie sheet music illustrations in with current events: McGill's Marvin Duchow Music Library current exhibit, for instance, Women, Work, and Song, in Nineteenth-Century France (Fig. 1), provides impressive historical context and brief essays in both English and French. Accessed entirely through the lens of sheet music, the McGill exhibit neatly demonstrates the power of the Wayback Machine that sheet music can provide us. All things 'culture' can be explored: the economy, religion, gender, LGBTQ issues, consumerism, elements of popular culture such as the figure of the diva, sociological topics, and so on. Sheet music is invaluable for research of all kinds, as it documents trends as they happen in a specific time and place. McGill's music library curators have harnessed just this type of documentary evidence to build an excellent exhibit. But how do researchers find the music for this kind of detailed analysis? This round-up will explore the current landscape of historical sheet music, centred around how we access it online, news about the Sheet Music Consortium (where it has been, and where it is going) and, finally, a brief listing of digitized sheet music collections which are not included in the Consortium. [ABSTRACT FROM AUTHOR]

Musikbibliotheken haben vor allem bei jungen Menschen mit Attraktivitätsfragen zu kämpfen, durch den Ausbruch des Corona-Virus hat sich die Lage weiter verschärft. Im Rahmen der Pandemie wird die Bibliothek als Dritter Ort vielerorts auf ihr ursprüngliches Kernprofil der Ausleihe und Rückgabe zurückgetrimmt, aber es gehen von der anderen Seite auch die Benutzerzahlen zurück. Ein weiteres Thema ist der Trend zum Digitalen und wie er sich in Bibliotheken derzeit niederschlägt. Der Aufsatz will Anregungen zu zeitgemäßen Raumkonzepten und dem Umgang mit analogen versus digitalen Medien geben. Nicht zuletzt kommt die Rede auf die Stärkung des Profils durch Kollaborationen. Music libraries are struggling to attract younger people, and coronavirus has made the situation even worse. In the context of the pandemic, libraries as 'third places' are being pared down to their primary profile as places of lending and returning media. At the same time, user numbers are on the decline. Another issue is the trend towards the digital and how this is currently reflected in library routines. The paper offers some suggestions for more up-to-date spatial concepts and the handling of analog versus digital media. Last but not least, the article makes the case for strengthening the profile through collaborations. [ABSTRACT FROM AUTHOR]

This research aims to explore the position of copyright in contemporary South African legislation, with the International Library of African Music (ILAM) being used as a case study. The catalyst was a contract between the Smithsonian Institution, U.S.A. and ILAM for the Smithsonian Global Sound Network project which requested ILAM to trace and find performers of archived materials to pay out royalties. The research was conducted using various approaches, namely qualitative, quantitative and historical methods which were accomplished through substantial internet and library research coupled with source field research. Recorded interviews provided essential historical and qualitative data, while quantitative data was gathered from various sources. The focus of the investigation concentrated on the 1000 tracks from the Sound of Africa Series, which were delivered to the Smithsonian Global Network under a licensing agreement. In an endeavour to assess the feasibility of the GSN/ILAM Contract stipulations, field work was undertaken using both video and audio recordings to detail the complications of trying to locate, if not the original performer of the contracted tracks, then the surviving members of their families in South Africa. The bulk of the research, however, related to deciphering the contract and its associated implications for ILAM and the musicians recorded. The research took place in the Eastern Cape of South Africa and the trial research intervention was confined to a single performer who was recorded by Hugh Tracey in the Ngqushwa (Peddie) District. The research remains relevant, and findings show that all archives currently involved in field recording need to put careful policies in place. Benefit-sharing agreements and Memoranda of Understandings relating to clear copyright and intellectual property ownership declarations must be signed upfront to reassure creatives and musicians that their rights are valued and that the researchers' obligations will be followed through. [ABSTRACT FROM AUTHOR]

The rapid evolution of distribution models for recorded music has challenged libraries in a new way over the last decade. Music libraries in particular have struggled to collect, preserve, and lend recordings as the CD has become obsolescent, and with it the ownership of recordings as physical objects. This article reviews the literature on the problem of collecting digital music downloads, analyzes areas of agreement and disagreement between experts, and sorts proposed solutions into "top-down" (or authority-driven) and "bottom-up" (or grass-roots) categories. We then describe a practice developed at University of Denver for collecting downloads, and discuss its limitations and possibilities. [ABSTRACT FROM AUTHOR]

Although several studies have looked at the perceived level of copyright knowledge among various types of librarians, none have looked at the actual copyright knowledge of U.S. music librarians. This project used a survey with two parts: The first asked music librarians about their perceived knowledge of copyright law, and the second included a copyright quiz of 13 questions. Seventy nine music librarians completed the entire survey, and results show no clear connection between perceived and actual knowledge of copyright. The results have implications for future training of music librarians in copyright issues. [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]

Brazil is recognized as a musical country, with a diverse collection of musical resources served by many digital repositories and music libraries. Historically, those systems are supported by cataloging schemes that are insufficient because they follow standards more focused on the catalog record than on the structure of cataloged works. On the other hand, it is perceived the popularization of multi-entity bibliographic conceptual models, such as IFLA LRM, which seem to be an interesting solution because they (i) have a better capacity to represent the internal architecture of musical objects; (ii) support the creation of cataloging codes and international standards that enable interoperability between collections; and (iii) can be adapted through extension mechanisms. The purpose of this paper is to present an experiment of extending the IFLA LRM in the context of a Brazilian popular music digital library application in order to identify its power of expressivity for attending this specific domain. Instead of making direct use of the entities, attributes and relationships of IFLA LRM, the adopted method was to map concepts of a specific conceptual model (adherent to the digital library in question) that represents aspects of Brazilian popular music on IFLA LRM elements. The resulting extended model demonstrated to be aligned with users' information needs and proved the efficiency of IFLA LRM to adapt to specific domains. In addition, the strategy of extending IFLA LRM from a specific model seemed appropriate for dealing with its level of generality. [ABSTRACT FROM AUTHOR]

Music has emerged to be of paramount importance to humanity and is not only considered as a source of entertainment but also an agent that causes social and psychological influences. A large number of existing digital music libraries have improved awareness among people through the music recommendation approach. However, several critical technical challenges still require attention and must be well–addressed to provide a reliable recommendation to music listeners. In Indian Classical Music, Raga is composed of coalescing diverse musical note structures. The history of classical music unveils that every raga possesses some distinct sessions. With a vast collection of classical music files in online music libraries, locating and listening to classical music is no more a difficult task. However, searching and listening to the audio of one's preference may not be simple as it must instinctively satisfy the listener's preference in a precise session. In this paper, a system termed as iMusic has been proposed to classify, analyze, and recommend the session–sensitive performance of Indian classical music by analyzing the musical note structures followed by features matching. Available note-patterns in the raga performance have been illustrated using a deep neural network and a set of machine learning algorithms where raga samples have been represented as inputs in the projected network and are classified based on the performing sessions. A context-aware k-means clustering algorithm has also been illustrated, entitled as a data filtering algorithm. The proficiency of the filtering algorithm has been established in two ways. Primarily, as a data-sensitive analysis, and second as empirical studies on synthetically obtained real classical music dataset (https://github.com/SamarjitRoy89/iMusic.git) to put on the hybrid music recommendation. In this work, a case-study of session-sensitive Indian music recommender system has been demonstrated using key-strategies viz. listener modelling, representation learning, and music profiling. Eventually, several evaluation metrics have been discussed to characterize the effectiveness of proposed representation learning-based playing session-sensitive music recommendation strategies. The proposed iMusic system renders data classification accuracy of ~ 88%. Such a framework could provide a useful basis regarding studies on hybrid music recommendation systems based on the usefulness of end-users. [ABSTRACT FROM AUTHOR]

Wilfrid Mellers (1914-2008), founding Professor of the Department of Music at the University of York, bequeathed his scores and books to the Borthwick Institute for Archives at that University.2 Amongst the collection there is a bound first edition vocal score of The Dream of Gerontius (London: Novello, 1900), containing numerous annotations in the hand of Edward Elgar, which is the subject of this article.3 The vocal score's original paper cover exists inside a more recent leather binding, and this tells us that the copy was once the property of Robert J. Buckley (Elgar's first biographer). [Illustration 1] Furthermore, on the inside flyleaf Buckley has tipped-in a slip of paper which gives us the all-important information: ' "Gerontius" | with M.S. notes | by Elgar: sent | to R. J. Buckley | by the composer | on the day of | publication - | 1900-'. [Illustration 2] A stamp on the tipped-in page indicates that the vocal score once belonged to the Birmingham and Midland Institute School of Music (today the Royal Birmingham Conservatoire) and there is also the name of the bookbinder who repaired and probably bound the vocal score either for Buckley or for the School of Music library. It is likely that some of Buckley's music, perhaps including this vocal score, was left to the School of Music after his death in 1938, but just how the copy came into Mellers' possession is not known. Mellers was resident in Birmingham between 1948 and 1964 (connected with the University of Birmingham not the School of Music) and it may be significant that the Birmingham School of Music gained independence from the Birmingham and Midland Institute in 1963: perhaps there was a removal of stock from the School of Music library in advance of the reorganisation and Mellers got hold of the vocal score at that point? [ABSTRACT FROM AUTHOR]

In 2018, the University of Tennessee at Martin sought to expand its music degree programs, leading to the development of a satellite music library on campus. Prior to this time, the music library consisted only of a small, closed-stacks band music collection with no cataloged holdings. Due to the author's background in cataloging and her liaison role to music and fine arts, she used the band library as a foundation for expanding the music library collection. This article will discuss steps taken in the process, which may be of interest to readers for whom music cataloging is a new endeavor. Areas discussed include choice of classification for media, space considerations, funding, and the process of forming partnerships on campus. [ABSTRACT FROM AUTHOR]

In 2016, the music librarian at Andrews University in Berrien Springs, MI launched a project to transcribe approximately 2,000 letters by twentieth-century American composer Blythe Owen into typed, keyword-searchable documents. The goal of the transcription project is to make these letters more accessible beyond their current archival setting, and thereby lay the foundation for further inquiry into Owen, her works, and the people she knew – among them pianist and pedagogue Rudolf Ganz, African-American composer Florence Price, and composition teacher Nadia Boulanger. Managing such a large project has proven challenging, but worth the effort. This article describes the methodology, successes, challenges, and current progress of the Owen letter transcription project, including the employment of two graduate assistants in the transcription process over the past four years. The benefits of involving student assistants in the research process in an archive outweigh the challenges of mentoring and supervising the creation of the transcription documents. [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]

The contributions of Oskar Hagen, Werner Josten, and Bayard Quincy Morgan were essential to the successful production of Händel's Julius Caesar at Smith College in 1927. This article presents and examines previously unpublished artefacts associated with the first performance of a Händel opera in America to consider its homemade nature and the significance of homemade music within the context of the early music revival. Considering the hegemony of extravagant nineteenth-century opera productions in the first part of the twentieth century, these documents demonstrate the small-scale budgets and personal networks on which the performance of early opera often relied at that time. Les contributions d'Oskar Hagen, Werner Josten, et Bayard Quincy Morgan ont été essentielles á au succès de la production de Julius Caesar de Haendel au Smith College en 1927. Cet article présente et étudie des artefacts inédits liés à la première représentation d'un opéra de Haendel en Amérique à considérer sa nature artisanale, et la signification d'une production artisanale dans le contexte du renouveau de la musique ancienne. Compte tenu de l'hégémonie des productions d'opéras parfois extravagantes au 19e siécle, ces documents montrent les petits budgets et les réseaux personels sur lesquels les représentations d'opéras baroques s'appuyaient souvent à cette époque. Die Beiträge von Oskar Hagen, Werner Josten und Bayard Quincy Morgan waren für die erfolgreiche Produktion von Händels Julius Caesar am Smith College im Jahr 1927 von entscheidender Bedeutung. In diesem Artikel werden bisher unveröffentlichte Gegenstände im Zusammenhang mit der Uraufführung einer Händel-Oper in Amerika vorgestellt und untersucht, um deren 'handgemachte' Natur und die Bedeutung 'handgemachter' Musik im Umfeld der Wiederbelebung der Alten Musik einzuordnen. In Anbetracht der Dominanz extravaganter Opernproduktionen des 19. Jahrhunderts in der ersten Hälfte des 20. Jahrhunderts zeigen diese Dokumente, mit welch geringen Budgets und mittels welcher persönlichen Netzwerke eine Aufführung von frühen Opern damals häufig nur stattfinden konnte. [ABSTRACT FROM AUTHOR]

The University of Illinois at Urbana-Champaign has a large and rich collection of materials totaling over fourteen million volumes. Between its Music and Performing Arts Library (MPAL) and its Rare Book and Manuscript Library (RBML), it holds over 900 items that are catalogued in RISM. Over the years, the Music and Performing Arts Library has used various means to inventory and describe those holdings appearing in RISM: special card catalogues, binders with inventory lists, and of course, the online library catalogue. However, in practice, when scholars approach the library with questions regarding these holdings, it is sometimes difficult to locate the items on the shelves. In order to improve the experience for both researchers and librarians, an inventory project was initiated to verify and match University of Illinois holdings in the RISM OPAC to the library's own online catalogue. In addition, an analysis of the makeup of the library's RISM holdings was done. This article explains the inventory process, the findings of both the inventory and collection analysis, and outlines future steps needed to update our entries in RISM and in our local catalogue to make these items easier to find for scholars and librarians. L'Université de l'Illinois à Urbana-Champaign possède une vaste et riche collection de documents totalisant plus de quatorze millions de volumes. Entre la bibliothèque de musique et des arts du spectacle (Music and Performing Arts Library (MPAL)) et la bibliothèque de livres rares et de manuscrits (Rare Book and Manuscript Library (RBML)), elle contient plus de 900 documents catalogués dans RISM. Au fil des ans, la bibliothèque de musique et des arts du spectacle a utilisé divers moyens pour inventorier et décrire les fonds figurant dans RISM: catalogues de fiches cartonnées, classeurs avec listes d'inventaires et, bien sûr, le catalogue de la bibliothèque en ligne. Cependant, dans la pratique, lorsque les chercheurs viennent à la bibliothèque avec des questions concernant ces fonds, il est parfois difficile de localiser les documents dans les rayons. Afin d'améliorer l'expérience des chercheurs et des bibliothécaires, un projet d'inventaire a été lancé pour vérifier et mettre en correspondance les fonds de l'Université de l'Illinois dans RISM OPAC avec le catalogue en ligne de la bibliothèque. De plus, une analyse de la composition des fonds RISM de la bibliothèque a été effectuée. Cet article explique le processus d'inventaire, les résultats de l'analyse de l'inventaire et de la collection, et décrit les étapes futures nécessaires pour mettre à jour nos entrées dans RISM et dans notre catalogue local, afin de rendre ces articles plus faciles à trouver pour les universitaires et les bibliothécaires. Die Universität von Illinois in Urbana-Champaign verfügt über eine große und reichhaltige Sammlung von Materialien mit insgesamt über vierzehn Millionen Bänden. In der Music and Performing Arts Library (MPAL) und der Rare Book and Manuscript Library (RBML) befinden sich über 900 Medien, die in RISM katalogisiert sind. Im Laufe der Jahre hat die Music and Performing Arts Library verschiedene Möglichkeiten genutzt, um die in RISM enthaltenen Bestände zu inventarisieren und zu beschreiben: spezielle Zettelkataloge, Ordner mit Inventarlisten und natürlich den Online-katalog. Wenn sich Studenten und Wissenschaftler mit Fragen zu diesen Beständen an die Bibliothek wenden, ist es in der Praxis jedoch manchmal schwierig, gesuchte Medien in den Regalen zu finden. Um die Nutzung sowohl für Forscher als auch für Bibliothekare zu vereinfachen, wurde ein Inventarisierungsprojekt gestartet, bei dem die Bestände der Universität von Illinois im RISMOPAC überprüft und mit dem eigenen Onlinekatalog der Bibliothek abgeglichen werden. Gleichzeitig wurde eine Analyse der Zusammensetzung der RISM-Bestände der Bibliothek durchgeführt. Dieser Artikel erläutert den Inventarisierungsprozess, die Ergebnisse sowohl der Inventarisierungsals auch der Sammlungsanalyse und beschreibt die zukünftig erforderlichen Schritte für die gleichzeitige Aktualisierung unserer Einträge in RISM und im lokalen Katalog, damit diese Medien für Studenten, Wissenschaftler und Bibliothekare leichter zu finden sind. [ABSTRACT FROM AUTHOR]

From 2014 to 2016, McGill University collected data about music e-journals using a variety of tools, including: 1. Association of Research Libraries (ARL) Measuring the Impact of Networked Electronic Services (MINES) for Libraries survey that asked library patrons why they selected specific e-journals and how they are applying the knowledge; 2. 1Science publishing and citation report that compared faculty publications with the library's e-journal holdings, and revealed publishing trends for the McGill faculty and for faculty worldwide; 3. An analysis from a Canadian Research Knowledge Network (CRKN) survey on the top journals preferred by faculty for research and teaching; 4. Vendor-supplied e-journal usage statistics through Counting Online Usage of Networked Electronic Resources (COUNTER) data. Looking at the results of this data, we considered the following research questions: Does the Library have access to the journals that support the Music Library and Music Faculty? Are there gaps in the e-journals collection? Where are our faculty publishing? What are the journals with the highest usage, lowest usage and zero usage? Are these the right data points for making collection development decisions? The use of multiple data sources can provide a basis for a more holistic approach to understanding usage of e-journal collections as well as Music faculty and patrons' preferences and practices. There are also recommendations about gathering this sort of information by lower cost methods at other music libraries. De 2014 à 2016, l'Université McGill a recueilli des données sur les revues musicales en ligne à l'aide de divers outils, notamment 1. Association of Research Libraries (ARL) Measuring the Impact of Networked Electronic Services (MINES) for Libraries (Mesurer l'impact des services électroniques en réseau pour les bibliothèques), une enquête qui demandait aux usagers des bibliothèques pourquoi ils choisissaient des revues électroniques spécifiques et comment ils appliquent les connaissances; 2. Un rapport sur les publications et les citations scientifiques qui comparait les publications de la faculté avec les fonds de revues électroniques de la bibliothèque et révélait les tendances de publication pour la faculté de McGill et pour la faculté dans le monde entier; 3. Une analyse d'une enquête du Canadian Research Knowledge Network (CRKN) (Réseau canadien de documentation pour la recherche) sur les principales revues préférées de la faculté pour la recherche et l'enseignement; 4. des statistiques sur l'utilisation des revues électroniques fournies par les fournisseurs grâce aux données de Counting Online Usage of Networked Electronic Resources (COUNTER) (Compter l'utilisation en ligne des ressources électroniques en réseau). En examinant les résultats de ces données, nous avons considéré les questions de recherche suivantes : la bibliothèque a-t-elle accès aux revues qui soutiennent la bibliothèque de musique et la faculté de musique? Existe-t-il des lacunes dans la collection de revues électroniques? Où notre faculté publie-t-elle? Quelles sont les revues les plus utilisées, les moins utilisées et celles qui ne le sont pas? Ces données sont-elles bonnes pour prendre des décisions concernant le développement de la collection? L'utilisation de plusieurs sources de données peut servir de base à une approche plus globale pour comprendre l'utilisation des collections de revues électroniques ainsi que les préférences et les pratiques des professeurs de musique et des usagers. Nous proposons également des recommandations concernant la collecte de ce type d'informations par des méthodes moins coûteuses dans d'autres bibliothèques musicales. In den Jahren 2014 bis 2016 sammelte die McGill-Universität mit einer Vielzahl von Werkzeugen Daten zu elektronischen Musikzeitschriften. So fand z.B. zunächst eine Umfrage der Association of Research Libraries (ARL) zur Messung der Auswirkungen von vernetzten elektronischen Diensten (MINES) für Bibliotheken statt, in der Bibliotheksbenutzer gefragt wurden, warum sie jeweils spezifische e-Zeitschriften auswählen und wie sie die gewonnenen Erkenntnisse anwenden. Außerdem wurden im 1Science publishing and citation report Veröffentlichungen wissenschaftlicher Mitarbeiter mit den E-Journal-Beständen der Bibliothek verglichen und so Veröffentlichungstrends für den Lehrkörper der McGill-Universität wie auch weltweit aufgezeigt. Drittens erfolgte die Analyse einer Umfrage des Canadian Research Knowledge Network (CRKN) zu den Top-Zeitschriften, die von den Lehrenden für Forschung und Lehre bevorzugt wurden. Schließlich lagen auch vom Anbieter Counting Online Usage of Networked Electronic Resources (COUNTER) bereitgestellte E-Journal-Nutzungsstatistiken vor. Bei der Auswertung der Ergebnisse dieser Daten haben wir die folgenden Forschungsfragen berücksichtigt: Hat die Bibliothek Zugriff auf die Zeitschriften, die die Musikbibliothek und die lehrenden Musikwissenschaftler benötigen? Gibt es Lücken in der Sammlung der E-Journals? Wo veröffentlichen unsere Lehrenden? Welche Zeitschriften werden am meisten, welche am wenigsten und welche überhaupt nicht genutzt? Sind dies die richtigen Datengrundlagen, um Entscheidungen zur Bestandsentwicklung zu treffen? Die Verwendung mehrerer Datenquellen kann die Grundlage für einen ganzheitlicheren Ansatz zum Verständnis der Nutzung des Angebots an elektronischen Zeitschriften sowie über die Vorlieben und Herangehensweisen der Musikwissenschaftler und der Benutzer bilden. Zusätzlich werden Empfehlungen ausgesprochen, wie derartige Informationen mit kostengünstigeren Methoden von anderen Musikbibliotheken ermittelt werden können. [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]

Archives of Silesian Music Culture alongside the Library of the Academy of Music Karol Szymanowski in Katowice was founded in 1968, in order to fill the void concerning documentation of old and contemporary musical culture of the region of Silesia. It aims at gathering, compiling and making manuscripts and musical prints available to scholars and students. The very existence of the Archive contributed to enriching our awareness of the past of the musical life of Silesia region. The ever-growing collection of the Archive might be easily used by music institutions, artists as well as all those who have academic interest in the field of musical culture of this geographically diverse region. The article presents the history of the creation of this place, the specifics of the collection and presents plans for the future that will allow the Archive to appear in the minds of not only the nearest region or country, but also on the international arena. [ABSTRACT FROM AUTHOR]

This study examines music library practices regarding School of Music recordings in the Big Ten Academic Alliance. The most significant difference among libraries is between those which accept deposits (a majority) and those which do not (a significant minority). Reasons for not collecting include having an effective system outside the libraries and the amount of labor involved. Arguments in favor of the service include the view of the recordings as a vital part of the university record and world heritage; a pedagogical resource; a key expansion of library services; a source for fundraising; and a demonstration of disciplinary equality. [ABSTRACT FROM AUTHOR]

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Purpose: The construction of a library collection at the Music School Jesenice is being described with some emphasis how the library collection should develop in future. Methodology/approach: The library collection was presented according to the activities that form a planned and systematic process of its development. Results: The acquisition of the material must be in accordance with the number of pupils that attend classes at each individual instrument. The goal is that the turn of the material at Music School Jesenice should achieve value 1. Research limitations: We do not know how the library collection at Music School Jesenice developed before 2003. The data how the material was obtained nor about the value for individual unit of library material included in the library collection before 2003 are not known. Originality/practical implications: The researched helped to understand the theoretical starting points related to the construction of library collections. The theoretical background was compared to the actual situation at Music School Jesenice library. The data will be used for future changes and improvements to increase the relevance of Music School Jesenice library collection and to meet the needs of teachers and students of Music School Jesenice. [ABSTRACT FROM AUTHOR]

Library music is currently used in countless audio-visual contexts, from documentaries to YouTube videos. It has become an essential resource for video editors and a relevant source of revenue for composers. Although this pre-existing music is rapidly gaining significance and more varied uses, it still has a reputation in musicological scholarship of being uninteresting and stereotyped. By organising their music in neatly labelled drawers, library music catalogues appear to present a vision of sonorities closely aligned with narratives and images. However, the very same piece may sometimes be heard in widely different contexts. Drawing from an examination of the catalogues of two European library music companies, Audio Network and Cézame, as well as from interviews with composers and music consultants, I focus on how the categories, titles, and descriptions of library music tracks play a relevant role, even a decisive element, in their composition and subsequent use. Taking as examples such categories as 'romantic' and 'erotic', it is possible to show that these texts reflect and, simultaneously, reinforce widespread narrative and musical conventions in cinema and television. Such classifications potentially contribute to negative views about library music, by making apparent its fundamental organisation around standardised categories and recurrent musical clichés. [ABSTRACT FROM AUTHOR]

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]

This multi-institutional research study used hourly sweeps and patron surveys to examine patron behavior at three institutional libraries catering primarily to performing arts students. Researchers examined: (a) areas visited, (b) technologies used, (c) types of work, (d) stay duration, and (e) work accomplished alone or together. Study areas were most popular, followed by computer labs. Patrons frequently used print and electronic technologies, often in combination. Patrons frequently worked alone. UMKC's library (within the main library) experienced longer visit length and fewer personal/leisure visits than KSU and ECU's libraries (within performing arts buildings.). [ABSTRACT FROM AUTHOR]

The International Library of African Music (ILAM) is located in South Africa and is the largest sound archive of African music on the continent. This article examines a project involving the digital return and revitalization of Zimbabwean mbira (The mbira (or thumb piano) is an instrument classified as lamellophone in the categorization of instruments (organology). The lamellophones belong to the type of instruments mostly found in sub-Saharan Africa.) recordings (the mbira is an instrument popularly known as the thumb piano or lamellophone) which was undertaken by the author during 2015–2016. The article describes how the project involved taking recordings from the sound archive in a digital format (CD or MP3 mainly) back to the country, region, or location where these recordings were made and how it led to increased engagement with the recordings and to collaboration between ILAM, the author, scholars, and mbira teachers in Zimbabwe. The outcomes from the project are detailed and the project is placed in the wider context of discourse around postcolonial studies and the repatriation of cultural heritage. [ABSTRACT FROM AUTHOR]

While many surveys aim primarily at measuring general user satisfaction, this survey is dedicated to understanding music users' needs, usage patterns, and preferences towards various collections. Findings showed dissimilar use behavior and perceived importance of materials between academic- and performance-oriented music users. Needs for different score genres (formats) were also identified. [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]

This study investigates the information-seeking behavior of fourteen ethnomusicologists in New Zealand via interviews. The findings shed light on what information ethnomusicologists seek, the sources and services they use, and the barriers they face in information seeking and use. A number of ways in which libraries can create collections and design services that will meet the information needs of ethnomusicologists are proposed. [ABSTRACT FROM AUTHOR]