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

The article discusses how new developments in the notation of contemporary music were negotiated within the framework of the Darmstadt Summer Courses and which interests and actors played a role in this. The first part examines the publications and publication projects that emerged in the context of the Notation conference in 1964. The focus is on the interests of institutions such as the International Music Council and the International Association of Music Libraries, in whose name the New York publisher Kurt Stone attempted to persuade the International Music Institute Darmstadt to cooperate and, following on from the debates there, to systematically record various forms of notation together. In a second step, the content of the debates at the conference is examined, with a particular focus on the different and sometimes conflicting perspectives of interpreters and composers. Numerous connections to fundamental aesthetic discussions of the time can be worked out, in particular to the relationship between the composer's intention and interpretation, which was renegotiated in a form of notation that was individualized to the extreme. Finally, with a view to later discussions, this topic is pointed to the question of the relationship between morphology and musical structure, exemplified by positions of Wolfgang Rihm (1982), Klaus Huber (1988) and John Cage (1990). [ABSTRACT FROM AUTHOR]

The purpose of the article is to consider the concept of "musical thesaurus" as a specific repository of musical knowledge and a means of understanding musical culture in modern conditions of information enrichment of humanitarian discourse. The methodology is based on concepts and theoretical conclusions in the field of the humanities. Research methods: analytical are used to study the structure of a musical thesaurus, as well as the principles of a musical thesaurus-dictionary building; historical - considering the musical thesaurus as a repository of musical knowledge, which is a product of the corresponding historical periods; cultural, comparative - in understanding the relationship between the musical thesaurus and other ways of preserving knowledge, as well as in the process of converting the attributes of a particular historical culture into an individual thesaurus of creativity; semantic - in revealing the specifics of the refraction of the cultural thesaurus in the composer's personal thesaurus, which, in turn, is reflected in the musical work. The scientific novelty of the study lies in the fact that the structure, forms, and properties of the musical thesaurus are analyzed, and the features of the preservation of musical knowledge in the thesaurus of this art form are revealed for the first time. Conclusions. The musical thesaurus is a repository of musical knowledge, a kind of information space that includes potential and relevant cultural meanings embodied through intonation systems, and a specific context in material and ideal forms. It should be noted that even such a general view of the musical thesaurus does not exclude the need to clarify its affiliation. Since this concept includes two components, it is necessary to classify the thesaurus according to two parameters: the musical proper and the generic one. The first parameter, in turn, points to two different signs, one of which divides the thesaurus into amateur and professional, and the second into their different types. An amateur thesaurus is divided into an ordinary and educated listener, a neophyte and an informed, highly and poorly educated, from the point of view of general knowledge, as well as thesauri representing various sociocultural, age, national and other groups. Among the professional thesauruses, there are composer, performing (also polysyllabic), musicology (which includes all areas of musical science). It is advisable to identify related professions that are associated with music and form their musical (professional) thesauruses. These include the field of music publishing, music libraries, libraries, music museums, where most often they combine museum work with scientific practice, musicology, and the like. The generic parameter for the classification of musical thesauruses provides for their division into collective and individual, sociocultural, and personal. The same mechanics of mutual influence operates here as in any other thesaurus in a modus of ideal form. [ABSTRACT FROM AUTHOR]

The goal of this quantitative study is to explore the effect of consolidating circulation and reference functions at a single service point in a specialized setting, namely, a large academic music and performing arts library. It analyzes reference transactions before and after the merging of reference and circulation service points. Transaction trends are evaluated based on location within the library, type of question, and question complexity. The authors find that there are significant impacts on reference staff time due to consolidating desks, but the closer proximity led to an increase in activity and allows for referrals that are more successful. [ABSTRACT FROM AUTHOR]

The article reviews the web site International Music Score Library Project, located at imslp.org, from Project Petrucci LLC.

During the Ottoman period in the time of Mahmud II (1826), the education of Western music started to be given formally alongside Turkish music by doing away with the janissary band, through the establishment of the military band, Muzıka-i Hümâyun and by the commissioning of the Italian composer Giuseppe Donizetti. Donizetti trained many students until his death in 1856. After that another Italian composer, Callisto Guatelli, was commissioned by Abdulhamid II until his death in 1899. The Spanish composer D'Arenda helped Guatelli in Muzıka-yı Hümâyun and replaced him later.Turkish students have published many books or translations of Western music theory and solfege education. One of the first and most important works among these publications is "Solfej Yahud Nazariyat-ı Musiki (Solfege or Music Theory) (1888/1889)" by the flautist Mustafa Safvet [Atabinen] Bey, who is an educator of the Muzıka-i Hümâyun (The Imperial Band of the Ottoman Empire) and the other is "Kütübhane-i Musikiden Talim-i Kıraat-ı Musiki (Teaching and Reading of Music From Library of Music) (1899/1900)" by theviolinist Mehmed Zati [Arca] Bey, who is also an educator of the Muzıka-i Hümâyun. These works are the first printed Turkish solfege books of the Ottoman period. The aim of this study is firstly to examine the extant terms used by converting these two books from old letters to new letters and then to investigate the usability of the solfege samples included in the books in today's professional music education and to bring them into today's solfege education. The titles of the works which were prepared for practice are determined as follows: "ta'lîmler", "temrîn", "kırâat", "vazifeler", "tenbîhler", "mülâhâzat", "meşk" and "imlâ". These titles are determined according to the purposes of consolidating, performing, printing and evaluating the theoretical knowledge. Moreover, in this book, twenty five "two voice solfege" examples are also included. Some of these solfeges are vocal works. Turkish music works are used for teaching syncopated rhythms which occur frequently in the book. Moreover it can be said that two voice solfege examples are also crucial in terms of polyphonic hearing. It is seen that the books Solfej Yahud Nazariyat-ı Musiki and Kütübhâne-i Musikiden Talim-i Kırâat-ı Musiki play an important part in comprising the terminology of Turkish Western music. [ABSTRACT FROM AUTHOR]

Music librarians want to include digital scores in their collections, made available to patrons as digital files or printouts of those files. However, difficulties with the processes of discovery, cataloging and file maintenance can hinder successful collection development of the digital format, when compared to printed scores. Effective management of the workflow and a unified attempt by music libraries to establish best practices for digital scores are needed. [ABSTRACT FROM AUTHOR]

This qualitative study uses document analysis to explore the description of archival music materials in 35 online finding aids for music collections, including single-level and multilevel finding aids. A group of 29 codes was developed and applied across the sample to determine the characteristics related to music materials that were most frequently described. Findings include "date" as the most frequently described characteristic, with format of materials being the second. Regarding differences between description of sound recordings and notated music, this study also finds that date was more frequently described for notated music and format more frequently for sound recordings [ABSTRACT FROM AUTHOR]

Those designing library discovery systems are presented with numerous challenges, many of which relate to "non-book materials" such as music scores and recordings. Generally, cataloging rules and search or discovery systems are optimized for text written "about" a specific subject or works bearing distinctive, consistent titles. Music scores and recordings do not routinely have distinctive titles, and they exist in a multiplicity of formats. Two additional issues affect users' ability to retrieve music results: a bias toward Western art music and users' expectations based on familiarity with the "one search box approach" found in commercial online retailers' Web sites. This article explores the history of music librarians' efforts to facilitate discovery of music materials. By examining the problems inherent in music discovery and the attempts to solve them through cataloging and discovery systems, the history provided here ends with the release of the Music Discovery Requirements 2 (MDR2): recommendations for those who are guiding the development of discovery interfaces which include music materials, and those who are developing standards for recording and encoding data. Four music-specific issues along with MDR2's recommendations are explored in detail. [ABSTRACT FROM AUTHOR]

With commercial music streaming service which can be accessed from mobile devices, the availability of digital music currently is abundant compared to previous era. Sorting out all this digital music is a very time-consuming and causes information fatigue. Therefore, it is very useful to develop a music recommender system that can search in the music libraries automatically and suggest suitable songs to users. By using music recommender system, the music provider can predict and then offer the appropriate songs to their users based on the characteristics of the music that has been heard previously. Our research would like to develop a music recommender system that can give recommendations based on similarity of features on audio signal. This study uses convolutional recurrent neural network (CRNN) for feature extraction and similarity distance to look similarity between features. The results of this study indicate that users prefer recommendations that consider music genres compared to recommendations based solely on similarity. [ABSTRACT FROM AUTHOR]

The purpose of this article is to share suggestions on how music library staff can create a welcoming and inclusive environment for library users who are transgender or gender fluid. This user population often encounters barriers such as language usage, accommodations, name and pronoun usage, and identity disclosure when using libraries. The focus of this article is on the practical aspects of assisting transgender and gender fluid individuals in instructional settings, during reference transactions, at outreach events, or in mentoring students and student employees. Nine suggestions are given to help library staff build cultural competency and confidence in serving this user population. Although this article is centered on music libraries in academic institutions, many of the suggestions can be transferred to a public library setting. [ABSTRACT FROM AUTHOR]

This paper describes the findings of a national survey of local music collection managers in Canadian libraries in 2018. The survey aims to capture a snapshot of local music collection management practices by identifying areas where collection managers make use of specialized skills and competencies and where practices may be improved. An online questionnaire was sent to local music collection managers in Canadian libraries and consisted of 20 questions that addressed demographics, collection scope, collection development, promotion, access, and preservation. The results show that local music collections are diverse in scope and include a wide range of formats. Many include archival materials or are described or organized using archival principles. Collection managers use a range of strategies to build and develop local music collections, including working with community members and donors to identify, select, and purchase collection materials. Collections are used most frequently by community members and researchers to conduct scholarly or historical research. Outreach and promotion are areas where collection managers are using diverse strategies, including community engagement, event hosting, and online marketing, to build awareness of collections. Physical and digital preservation practices are being implemented by most participants, and online access to collections is often available through additional collection description or digitization. Collection managers may face challenges due to the unique nature of local music collections. Strategies for collection management, collection development, outreach, or promotion may fall outside traditional professional skill sets or competencies. Areas for development include donor relations, community engagement, and archival collection management. [ABSTRACT FROM AUTHOR]

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

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

This article provides a retrospective account of the author's long-time involvement with 'Pompey Pop', a project uncovering the somewhat neglected history of the impact of popular music in Portsmouth. The article demonstrates how the dedication of the author, a retired employee of Portsmouth University, to this community initiative has established the importance of popular music to this working-class city and, most importantly, how it has challenged notions of 'mainstream' history. After describing the growth of light entertainment in post-Second World War Portsmouth, it challenges a number of preconceptions, ranging from notions of new styles 'sweeping away' their predecessors, to tokenized histories of the post-war period always being 'depressed', to notions of the swinging sixties being centred exclusively in certain parts of London. Regarding the latter, the article outlines a methodological problem, where writers such as Dominic Sandbrook are regarded as focusing exclusively on archival research, as opposed to also including the oral histories of ordinary people who lived through the period. [ABSTRACT FROM AUTHOR]

Since the mid-nineteenth century, student worker programs have been an integral component of academic libraries, and the evolution of the profession has put more students, even undergraduates, into positions with greater responsibility, raising questions about the level of expertise of which undergraduate students are capable. The authors address these questions through the lens of the collaborative redevelopment of two distinct library student worker programs at a small liberal arts college. Included is a discussion of successes and challenges, as well as a consideration of the benefits of a "cross-library" support system in developing such a program. [ABSTRACT FROM AUTHOR]

The article offers information on work of Governor of New South Wales, Richard Bourke that changed many aspects of life in the distant penal colony. Topics discussed include salutary laws for the amelioration of penal discipline in his reforms; personality and character of Bourke which gave rise to the attitudes and behaviour he carried to the governorship of New South Wales in 1831; and information on Bourke's music library.

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

The Memorial Library of Music (hereafter referred to as MLM) is one of the Stanford University Libraries' most used special collections, and its most important music collection. In 1944–45 businessman George T. Keating gave a gift of music manuscripts and first and early editions of scores that formed the foundation of the collection. Keating continued to provide funds, and worked closely with curator Nathan Van Patten to acquire additional items. Correspondence between the two, in addition to that of antiquarian dealers and composers, provides most of the extant information about efforts to expand the collection. [ABSTRACT FROM AUTHOR]

Charles Grawemeyer (1912–1993) dedicated funds to the University of Louisville's Dwight Anderson Memorial Music Library that support the Grawemeyer Award in Music Composition, and created the Grawemeyer Collection, a special collection of the scores, sound recordings, and information files for the award's nominees since 1985. Over the past thirty years, this unique special collection not only grows physically every year, but has also grown in the way it is managed and used. This article provides a detailed account of these two aspects that create the rich history of this "living" special collection by describing the many successes and challenges faced by the librarians in charge of the collection, and how they dealt with issues of processing, storage, and discovery as well as the collection's current management and challenges. [ABSTRACT FROM AUTHOR]

Ο κατάλογος του αρχείου του There has been a growing interest in digital archive development in academic music libraries over the past years in national and international level. Traditional and new descriptive cataloging standards have changed the way libraries and cataloging agencies formulate their bibliographic metadata in general and music metadata in particular. Music archives and special collections with emphasis on Hellenic music collect documents of any form or format from various composers, performers, scholars and so on. Yet, the music library community both in and out of Greece is still faced with unique descriptive issues regarding printed and manuscript music among others. Moreover, by taking into account that the vast majority of music sources in Greece, dated from the 9th to the 20th century, record music of the Byzantine and post-Byzantine eras, a sacred music repertory of distinctive characteristics in terms of modality, notation and performance practice, makes the descriptive endeavour even more complicated. Within this frame, the paper aims at: a) providing a basic set of guidelines and best practices for describing and providing access in regard with print and manuscript music archival resources in general, as well as with Hellenic music in specific, through the example of the collection of Byzantine music manuscripts of Nikolaos Mavropoulos, b) bringing out interoperability issues between Byzantine Musicology and Music Librarianship, c) stressing the importance of Muscat (RISM's international database) for the dissemination of Byzantine music across the world, and d) emphasizing on issues regarding the necessary professional experience and knowledge to accomplish efficiently such tasks. [ABSTRACT FROM AUTHOR]

Part I. Presents the resources available at the Music Library in the University of California, Berkeley, and the Yale Music Library. Lowell Mason/ Rinck collections; Rare books and manuscripts; Archives of American music; Opera collections; Early imprints...etc.

The article examines that libraries are impacted by copyright law, but the questions music libraries grapple often be complex due to the nature of their materials and the needs of their user communities. Topics include considered that it replicate the conference experience virtually, as many organizations have Carla Myers and Miami University Libraries instead organized a webinar series on the subject.

Le biblioteche musicali sono istituzioni, pubbliche o private, che conservano una molteplicità di fonti musicali e materiali di interesse musicale. Si tratta di biblioteche speciali data l’ampiezza e la specificità delle raccolte, la specializzazione del personale, il ruolo strategico nella vita dell’istituzione di cui fanno parte, la varietà dei bisogni e delle aspettative delle diverse categorie di utenti. L’articolo definisce le funzioni, i servizi, i requisiti delle biblioteche musicali e dei bibliotecari specializzati nell’informazione musicale per sottolineare quanto l’interesse si riduca, troppo spesso, alle sole collezioni, e quindi principalmente alle attività di catalogazione e conservazione, senza una reale esplorazione del versante organizzativo, gestionale e di servizio di queste biblioteche. Ciò vale anche, a maggior ragione nel nostro paese, per le biblioteche dei conservatori e degli istituti superiori di musica, per le quali scarseggiano i dati sulle attività, i servizi offerti, i risultati raggiunti. Una biblioteca musicale non è soltanto un giacimento di beni musicali; essa, soprattutto nel caso degli istituti preposti alla formazione musicale, ha almeno tre funzioni: la conservazione e la valorizzazione del materiale musicale; il supporto alla didattica, alla ricerca e all’alta formazione e, non ultima, la funzione culturale e sociale per la comunità di studio e di ricerca e per tutta la comunità territoriale. La valutazione dei servizi, attraverso la raccolta di dati, percezioni, evidenze, diventa, quindi, strumento indispensabile per consolidare e testimoniare queste funzioni.