Newsletter August 2006 ISSN 1022-8667 16 International ISMN Agency Staatsbibliothek zu Berlin Preußischer Kulturbesitz

g FOURTEENTH INTERNATIONAL g

g ISMN PANEL MEETING g

g HELSINKI, 8–9 JUNE 2006 g

g PARTICIPANTS

Dr. Michele Costa, Informazioni Editoriali 1.E. spa, Agenzia ISMN per l’Area di Lingua Italiana Tuula Haapamäki, Helsinki University , National and Cataloguing Berit Holth, of Norway, Norwegian ISMN Agency Maarit Huttunen, Helsinki University Library, Finnish ISBN/ISMN Agency The Helsinki University Library Antonín Je£ábek, Národni Knihovna ÅR, Czech ISMN Agency Dr. Hartmut Walravens, Director, Inter- The Fourteenth International ISMN Alenka KaniË, National and University Li- national ISMN Agency Panel Meeting took place in Helsinki brary, Slovenian ISMN Agency Dr. Ulrich Wegner, International ISMN on June 8–9, 2006. The venue was the Minna Kursu, Helsinki University Library, Agency Finnish ISBN/ISMN Agency Helsinki University Library. Hanna Zawado, Biblioteka Narodowa, Polish Mathias Lindquist, The Royal Library, ISMN Agency Swedish ISMN Agency Jasenka Zajec, National and University Jarmila Majerová, Slovenská národná kniÔnica, g Library, Croatian ISMN Agency OPENING Národná agentura ISBN v SR Montserrat Morato, Centro de Documenta- ción de Música y Danza, Ministerio de Educa- Ms. Tuula Happamäki of the National g ción, Cultura y Deporte, Spanish ISMN AGENDA Bibliography and Cataloguing Depart- Agency ment welcomed the participants wish- Nikolaos Pagonis, National Library of Greece, g Opening ing them a successful meeting. She gave Greek ISMN Agency an overview over the activities of the g Status Report of the International Dr. Sauliah Saleh, National Library of ISMN Agency / ISMN Finances library in the sector and un- Indonesia, Indonesian ISMN Agency derlined the importance of standard g Progress Reports of the Nation- Heidi Seppänen, Helsinki University Library, numbering for all kinds of print publi- al/Regional ISMN Agencies Finnish ISBN/ISMN Agency cations. Dr. Hartmut Walravens thank- g Pekka Sipilä, Suomen Musiikkikustantajat, The ISMN Standard Revision ed the library for hosting this meeting. Helsinki g New ISMN Governance He pointed out that an international Dalia Smoriginien‹, Martynas MaÔvydas g Music Publishing in Finland and participation as was documented by the National Library of Lithuania, Lithuanian the Use of the ISMN in On-Line ISMN Agency group of ISMN colleagues present at Licensing this meeting was important as serious Seija Tuomaala, Helsinki University Library, g The ISMN in the Field of Digital issues were at stake. The progress on Finnish ISBN/ISMN Agency Music Publishing. Results of a Sur- topics had to be discussed, he contin- Mai Valtna, Eesti Rahvusraamatukogu, National Library of Estonia, Eesti ISMN vey Among “Digital Suppliers” ued, which had been on the agenda on Agentuur g Miscellaneous last year’s panel meeting already. g STATUS REPORT OF THE Belgium and the Netherlands repre- g THE INTERNATIONAL ISMN INTERNATIONAL ISMN AGENCY sented the most difficult cases in which PANEL MEETING IN ZAGREB extensive communications took place. In Belgium, the situation was compli- The 13th International ISMN Panel In 2005, forty-nine national/regional cated by the linguistic and cultural di- Meeting in 2005 took place at the Na- ISMN agencies were operating world- versity as is documented by the split in- tional and University Library in Zagreb wide. Dr. Walravens indicated that the to Flemish and Walloon areas. It was to on invitation of the Croatian ISMN ISMN was very specialized in compari- a great part a matter of language which Agency. Discussions focussed on the son to the ISBN as a lot of people were made it necessary to look for a neutral revision of the ISMN standard, in par- not able to read music. The ISMN con- institution which was very difficult to ticular on a revised version of the nor- tributed to make items identifiable in find. mative text as submitted by the Inter- national , trade lists etc. Another important candidate for a national ISMN Agency. In a working which was particularly important with future ISMN membership is China; session lasting for several hours, the reference to small music publishers talks took place with the Chinese ISBN text was examined sentence by sen- about whom it was difficult to get exact representatives when they paid a visit tence leading to a text version which

From l. to r: Jarmila Majerová (Slovakia), Nikolaos Pagonis (Greece), Jasenka Zajec (Cro- atia), Mai Valtna (Estonia) and Dr. Sauliah Saleh (Indo- nesia) representing their na- tional ISMN agencies

information. Editions of printed music to Berlin. The music market in China is was accepted later in 2005 by the in small countries published by small very strictly state-regulated; again, mu- TC 46 / SC 9 Secretariat as Working publishing houses might be highly im- sic publishers apply ISBNs to printed Draft with only minor changes. The portant, yet they were difficult to spot. music publications. ISMN Newsletter 15 contains a detail- In South Africa, there was quite an ed report about this fruitful meeting interest in the ISMN in the past; yet, it which might well be described as one g PROSPECTIVE NEW ISMN proved difficult to communicate this of the most important in the history of MEMBERS interest to the representatives of the the ISMN. National Library. With the new direc- Among the prospective new ISMN torship, it was hoped to start the imple- members, Russia is of major impor- mentation process in the near future. g THE ISMN STANDARD tance considering the size of the market South Africa has a lot of interesting ma- REVISION for editions of notated music in this terial awaiting its registration on the ba- country. In Russia, ISBNs are used for sis of standard music numbering (edi- The ISMN standard revision was sug- numbering sheet music which is against tions of notated music of tribal and gested to ISO in the wake of the ISBN the rules of the standard. non-tribal music). change from ten to thirteen digits. | 2 ISMN Newsletter 16 (2006) There were no technical reasons for a more detailed report about the revision music branch, the Deutsche Musikar- similar change on the ISMN level, as process). chiv being currently situated in Berlin. the ISMN-10 works perfectly and num- It seems that for the time being the In- ber contingents will be available for ternational ISMN Agency will remain many years to come. Yet, the ISMN g A NEW MEMBERSHIP affiliated with the State Library. was anticipated to run into technical ASSOCIATION problems if database administrations would be going to reject a 10-digit The International ISMN Agency g THE MPIID structure. Particularly in the United will become an Association in the near Kingdom, some music publishers future. What first was only an option The cooperation with K. G. Saur strongly advocated for an ISMN revi- for an intended structural change, soon publishers concerning the “Music Pub- sion mirroring the ISBN change from proved to be the only feasible way to lishers’ International ISMN Directory” ISBN-10 to ISBN-13. There was good ensure the Agency’s workability. This (MPIID) was discontinued in 2005. Dr. reason to assume that a 13-digit struc- was due to the fact that the President Walravens explained, the International ture would help the ISMN consider- of the Foundation of Prussian Cultural Agency was looking for alternative

Dr. Hartmut Walravens, Director of the International ISMN Agency, and Berit Holth, Norwegian ISMN Agency ably to become machine-processable Heritage first had assured that the ways of handling this publication. The on all levels of the supply chain. ISMN Agency would stay a part of the sixth which appeared in 2006, The proposal for a revised standard State Library as it had been in all years was based on a new format, a set of as discussed and passed during the of its existence until now; later, he Portable Document Format files with a Zagreb meeting (see above) went out asked for a change in the organisational CD-ROM as data carrier. Work on the for ballot with a positive result. The structure which would parallel those MPIID always profited from the edi- question whether we really need a sepa- changes which the ISBN administration tions of the “Publishers’ International rate standard for sheet music, came up had undergone recently and would end ISBN Directory” (PIID) due to those again, although intensively discussed the institutional integration of the publishers who publish and edi- before, during the TC 46 / SC9 meet- ISMN office at the State Library. In re- tions of notated music at the same time. ing in Thailand. Members of the work- turn, the library indicated that it might The new International ISBN Agen- ing group went through all the com- become a member of the Association cy in London has not made a decision ments of the draft text; Dr. Walravens paying a membership fee in the future. yet about the future of the ISBN direc- indicated that he was firmly convinced Yet, the circle of candidates for tak- tory. Dealing with non-Latin alphabets that he had been able to rule out all ob- ing over the function of an ISMN Re- in the editorial work was underestimat- jections against a separate standard for gistration Authority is very small. The ed at the beginning which was one of editions of notated music (see p. 6 for a Deutsche Bibliothek refused already, its the reasons that the continuation of the | ISMN Newsletter 16 (2006) 3 PIID publication series turned out to Walravens stated that the new ISBN or- g ISMN FINANCES be a greater challenge than had been ganisation meets with his full approval, anticipated. Dr. Walravens expressed as it is headed by Brian Green, one of In 2005, invoices for ISMN contribu- his doubts that the International ISMN the very few experts able to run the sys- tions had been made out in Euros for Agency would be able to continue with tem effectively. the first time assuring the International a comprehensive MPIID on a low in- The German and the British ISMN ISMN Agency a constant income inde- vestment. The ISMN information agencies signed a cooperation agree- pendent of ups and downs of currency might be published in the future only ment concerning a re-launch of the exchange rates. as website content which would not re- Catalogue of Printed Music of the Some agencies were not contribut- quire any additional financing. British Music Publishers Association ing financially in 2005 what caused Yet, Dr. Walravens underlined that (MPA). The company DE-PARCON – problems for the budgetary backing of the MPIID was still a fine publication running the German ISMN Agency for day-to-day administration of the ISMN. which offered first-hand information the DMV (Deutscher Musikverleger- One of these countries was Germany, for pinning down a certain music pub- verband) – is known as the publisher of one of the largest music-producing lisher or individual on a world-wide the IDNV, the International Database countries of the world. The company scale. There was nothing comparable for Printed Music, which has been es- DE-PARCON, handling the ISMN for on the international level. tablished on the German market for the German-speaking countries and editions of notated music with consid- working at their own risk, could not be erable success. convinced to pay a fee. The ISMN g SPLIT-UPS AND NEW The cooperation with DE-PARCON agency of the United Kingdom, on the COOPERATIONS was in a press release explained as of- other hand, belongs to the group of fering “an excellent opportunity for the paying countries: money that they are Dr. Walravens reported that the Inter- MPA to take advantage of building on taking in for assigning ISMNs is pro- national ISBN Agency and its ISMN a pre-existing system which already ful- portionately forwarded on to the Inter- counterpart – working as a synergetic, fills many of the requirements sought to national ISMN Agency which result in joint organization until March 2006 – take its own Catalogue forward and to a payment which fluctuates year by had to split up. The International ISBN streamline the administration of ISMNs year and is therefore not predictable. Agency was moved to London, and Dr. in the UK and Eire.” No contribution was payed where the amount of music publishers is very small, or the national have not quite recovered from the economic (and political) changes. Dr. Walravens stressed the fact that, when in doubt, he preferred to include these countries despite their inability to pay the annual fee. In the contracts, this exemption from payment as a rule is marked as temporary and exceptional. French colleagues, on the other hand, again had been very strong sup- porters of the ISMN somehow covering the missing contributions from other countries, the German-speaking area in particular. The International ISMN Agency again was highly indebted to the French ISMN Agency for its strong financial support. For the United Kingdom and the US as well as the German-speaking countries, negotiations took place with the national libraries, i.e. the Library of Congress, the , the Deut- sche Bibliothek, the Österreichische Nationalbibliothek and the Schweize- rische Landesbibliothek. These negoti- Hanna Zawado ations were aiming at a closer integra- (Poland), Jasenka tion of their music departments into Zajec (Croatia) and Dr. Hartmut the ISMN activities of their countries Walravens and at a financial commitment of those | 4 ISMN Newsletter 16 (2006) libraries to the maintenance of the items had been allocated an ISMN. A registered with the ISMN. The Italian ISMN system. This extra financial com- database launched in the Internet lists ISMN Agency is currently carrying out mitment might help to better balance all Spanish ISMN publishers. In fall a survey collecting data about the mu- out the membership fees for countries this year, a round table will be organ- sic publisher scene in Italy, but it will with an unproportionally high financial ized where different interested parties need one more year to firmly re-estab- burden. Talks with representatives of are given the opportunity to discuss lish the ISMN in this country. A new the Library of Congress turned out to ISMN problems. database, which is connected to the be particularly promising nourishing 4 Mathias Lindquist, representing the database on books, is on its way, and it expectations that the Library of Con- Swedish ISMN Agency, pointed out is hoped that the interest in the ISMN gress will take over ISMN responsibili- that numerous staff changes at the will increase in the future. ties in the near future. agency’s office slowed down the ISMN 4 Mai Valtna from Estonia reported The introduction of a membership work in 2005. As far as applications are that the national ISMN agency was es- association might simplify negotiations, concerned, some online stores claimed tablished in 2002 as branch of the IS- as a membership of libraries in profes- that they can’t process the ISMN in BN office. An average of eighty items sional organizations or associations is their computer systems. As a result of of sheet music are published every year nothing out of the ordinary. this limitation, some publishers unfor- since then with all main music publish- tunately decided to use ISBNs instead. ers applying the ISMN. School books 4 Dr. Michele Costa informed the au- for music teaching as well as editions of dience that the Italian ISMN Agency choral and piano music form the major g PROGRESS REPORTS FROM was founded in 1995. It was established part of the ISMN publications. THE NATIONAL/REGIONAL to serve the needs of the biggest music 4 Jarmila Majerová of the ISMN AGENCIES (SELECTION) publisher in Italy, Ricordi. Some time Slovakian ISMN Agency confessed that ago Ricordi was bought by BMI with the national ISMN office existed only its business having decreased consider- formally. It did not work in the proper 4 Montserrat Morato of the Spanish ably since then. Although Ricordi still sense of the term in 2005 and before. It ISMN Agency informed the audience is using ISMNs, the interest of Italian proved to be impossible to start the im- that the agency belongs to the Ministry music publishers has decreased since plementation of the ISMN in Slovakia of Culture. Ninety-five music publish- the downfall of Ricordi. due to computer software problems. ers had been registered in 2005, 1914 In 2005, only nine music publishers Besides, the number of music publish-

Dalia Smoriginien£ (Lithuania), Alenka KaniÊ (Slovenia) and Jarmila Majerová (Slovakia) | ISMN Newsletter 16 (2006) 5 ers in Slovakia is only eight. By the end northern Thailand on February 7, It was decided that, in the revised of 2006, the office is expected to start 2006. During this meeting, the Work- text of the standard, there will be a the systematical assignment of ISMNs. ing Draft (TC46/SC9 document N409), short preamble that will explain the Dr. Walravens forwarded a commu- agreed upon by the participants of the reasons that speak for the ISMN as a nication from Brian Green to all ISMN ISMN Panel Meeting in Zagreb (May separate standard numbering system. representatives present who was re- 2005), was evaluated in the light of the Furthermore, it was reconfirmed minding all agencies (ISBN and ISMN) comments and suggestions which the that an international office should coor- that most of the systems are able only TC46/SC9 members had put forward dinate ISMN matters – an important to deal with one barcode on a page. while voting on this draft document. decision in the light of the fact that up Publishers should be reminded there- Minor editorial changes were made to now no contract codifies the fore that only one barcode should be according to suggestions made by indi- function of the International ISMN printed on the backside of the publica- vidual members. One major point Agency at the State Library as tions. In the case of co-publishers in needed clarification: In the light of the Registration Authority. different countries, it is recommended fact that two of the members had ques- The results of the discussion in that each publisher uses only one single tioned a separate standard number for Chiang Mai will lead to a Committee barcode in his or her specific sales area. sheet music, Dr. Walravens explained Draft (CD) which will be drawn up and In the case of mixed publications, the the differences between the mar- disseminated by the TC46/SC9 secre- tariat. Yet, the Secretariat seems to be overloaded with work right now. First, it was announced that the CD will be ready to send off by the end of March, later the end of May was mentioned as the new deadline. The International ISMN Agency had tried to gear the schedule to stay close to the ISBN schedule. Dr. Wal- ravens admitted that the process had slowed down considerably (through no fault of the ISMN administration) and that the ISMN was loosing time. The future time frame is uncertain. If we are lucky, Dr. Walravens explained, the re- sults of the ballot will be on the desk at the end of 2006. The remaining steps at least might be taken as a fast track pro- cedure; it might be possible to skip one step, if the results of the next ballot would not document any further con- troversy. Answering Mr. Je£ábek’s question about the publication schedule of a new ISMN Users' Manual, it was stated that, although only few changes will be Antonín Je£ábek and Hanna Zawado of the Czech and the Polish ISMN Agencies necessary to update the old text ver- sion, it would be premature to write a main aspect of the publication should ket and the market for printed music text update before a Committee Draft be the decisive factor. In the case of necessitating separate numbering stan- has been approved. Changes will be in- books on music, with music notations dards for both types of print product. serted in due time and the new version playing only a very minor role, publish- Different are the ordering and distribu- of the text circulated among agencies ers might decide to offer this book tion systems, different is the clientele. for a critical evaluation. through the book trade. National bibliographies include special Ms. Huttunen pointed out that the series for printed music. Editions of word “edition” was termed differently notated music are a very special matter in the ISBN and ISMN standard texts that not everybody can handle. In some and that the term “product form” was g THE ISMN STANDARD countries, the ISBN agencies are not used in the ISBN text only. Dr. Walra- REVISION willing to administer the ISMN (US, vens explained that the term “product UK, etc.). They argue that editions of form” had been rejected at the Chiang Dr. Walravens gave a report of the ISO notated music are not their expertise, Mai meeting and that the working TC 46/SC 9 Meeting in Chiang Mai, not their line of business. group members had tried to harmonize | 6 ISMN Newsletter 16 (2006) the usage of terms in both standard Publishers Association with the back- 4 Susanne Hein, president of the texts as much as possible. ground of a lawyer, asked to comment AIBM, German branch; Furthermore, there was no majority on the draft. (We are very grateful for 4 Dr. Joachim Jaenecke, Staatsbiblio- in the Thailand working group for ad- the generous and competent help thek zu Berlin Preußischer Kulturbe- ding an appendix about kernel metada- which we received from him). In addi- sitz, Generaldirektion; 4 ta of ONIX applications. tion, the statutes of several other library Tilman Kannegiesser, Boosey & associations were carefully studied. Hawkes Bote & Bock, Berlin; 4 Finally, the draft text was checked by Wolfram Krajewski, DE-PAR- the court. CON, German ISMN Agency; 4 g NEW ISMN GOVERNANCE The English version (distributed Dr. Bettina von Seyfried, Deut- among the participants of the Helsinki sches Musikarchiv, Die Deutsche Bi- During negotiations with the adminis- meeting) was a rough translation only bliothek; 4 tration of the State Library, the Library which had not been checked by a Dr. Heinz Stroh, Deutscher Musik- announced that it would withdraw its lawyer before. It is planned to edit the verleger-Verband; 4 institutional support of the Internation- draft statutes together with a specialist Dr. Hartmut Walravens, Interna- tional ISMN Agency, Director; and al ISMN Agency in the near future. It native speaker in order to come up 4 became obvious that the ISMN and its with a more proper English translation. Dr. Ulrich Wegner, International ISMN Agency.

They will elect an interim board in or- der to run the Association according to the Statutes and the law. (The first General Assembly will have the option of electing a new board.) A notary pub- lic will have to be asked to apply at the court for the registration of the associa- tion. After this official registration, the association will open its own bank ac- count and apply for the status of chari- ty in order to be exempted from tax payments. As the “Internationale ISMN-Agen- tur e.V.” will be a membership organi- zation, all agencies should become members. It was decided that agencies should declare in a written form (which will have to be distributed by the Inter- national ISMN Agency) that the insti- tution/agency agrees to become a mem- ber of the new ISMN association on Susanne Hein, president of the AIBM, German branch, and Wolfram Krajewski of the German the basis of the existing bilateral con- ISMN Agency after the Inaugural Assembly of the “Internationale ISMN-Agentur e.V.” tract. After Dr. Walraven’s report on the Registration Authority would have to The final English version may have background and the first preparatory be put on their own feed sooner or lat- to be submitted to the administration steps towards the establishment of a er. Dr. Walravens explained that the of libraries or juridical departments of new association, the participants of the only organisational structure he could the institutions hosting a local ISMN panel meeting discussed the appropri- think of was the establishment of an as- agency as the status of these local agen- ate time frame for the notice to be giv- sociation, a “Registered Association” cies will change with the establishment en of a General Assembly and its agen- according to the German law. It gener- of an association. Furthermore one da on the one hand and the possibility ally excludes a liability of individual should keep in mind, Dr. Walravens to propose topics for this agenda on the members. Decisions were made against underlined, that these statutes will be other hand (Dr. Michele Costa, Jasenca the foundation of a company in order the blue print for the future practical Zajec). The status and scope of influ- to rule out any commercial implication. ISMN work. ence of the individual members of the The name of the association should be The actual founding of the associa- Association was another focus of the “Internationale ISMN-Agentur e.V.”. tion will take place on June 29, 2006. plenum’s discussions. Membership will A draft of the Statues of the associa- Eight founding members have been in- be open to all organizations and indi- tion was written out and Dr. Heinz vited for the Inaugural Assembly. These viduals as long as they support the pur- Stroh, the head of the German Music founding members will be: poses of the Association. How many in- | ISMN Newsletter 16 (2006) 7 very country at a certain year. By put- to the level of 45%. The obvious rea- ting these two figures into relation, one son to this is the fact that the public should come up with fair results. Most schools don’t have money to buy edu- of the annual fees, Dr. Walravens as- cational music books anymore. In the sumed, will probably stay in the same eighties and still in the early nineties we range as before. Dr. Michele Costa and had three main publishers in this area Dr. Ulrich Wegner were asked to pre- of music publishing. Today, only one of pare, for the next General Assembly, a them is left in the music book business proposal regarding the 2008 member- for schools, and this particular publish- ship fees based on the calculation er “Otava” is not a member of our as- scheme mentioned above. sociation, because they don’t own or In order to guarantee a firm budget administer music copyrights. They are a for the day-to-day work of the office of pure book publisher. the International ISMN Agency, a pre- liminary decision was made according However, compared with the interna- to which fees will be kept stable for the tional market the size of print income is years 2006 and 2007 with the option of still remarkably high. The share of lowering the unduly high financial con- print-based income in the world mar- Dr. Michele Costa of the Italian ISMN Agency tributions of the French and the Italian ket of music publishing is somewhere ISMN Agencies. For the years 2008 et between 10 and 15%. dividuals will apply for a membership? seq. the General Assembly, held during What kind of vote and status will they the next ISMN Panel Meeting in Oslo g have? (Alenka KaniÊ, Jasenka Zajec) in May/June, is requested to decide PUBLISHERS OF PRINTED Dr. Walravens explained that their sta- about the new membership fees. MUSIC IN FINLAND tus has not been fixed yet; it should be Even with a Panel Meeting sched- clarified at the next annual meeting and uled early next year, it would be too We have only five nationally important put down in writing. He stressed the late to change membership fees as the publishers of printed music. the biggest fact that there is no intent to become budget planning at the libraries is done of them is an independent company an association of individuals. some time ahead. called “F-Kustannus,” or “F Publish- The “Rules of Procedure” are ing,” as the company is called in Eng- described in another important docu- lish. It was established when Warner/ ment which should be drawn up as Chappell, after buying “Fazer Music,” soon as possible. It will explain in some g MUSIC PUBLISHING IN a Finnish publisher who represented detail how the business of the Associa- FINLAND AND THE USE OF THE more than any other company the his- tion will be organized. No notary pub- ISMN IN ON-LINE LICENSING tory of Finnish music publishing, out- lic will be needed to have this docu- sourced all of its print and serious mu- (BY PEKKA SIPILÄ) ment or subsequent changes passed. sic activities. All the song books and The Rules, of course, should not con- educational publications were sold to flict with the basic rulings of the I have been running the office of Fin- “F Publishing,” and, in addition, “F Statutes. nish Music Publishers’ Association Publishing” had and still has the first It was agreed that, parallel to the (FMPA) since April 1998. I am a musi- option to publish sheet music out of founding of a membership association, cologist, and I have been deeply in- Warner/Chappell’s catalogue of popu- annual payments should be critically volved in music publishing more than a lar music. The serious music activities reviewed in order to better balance half of my life starting as an editor of of Warner’s were licensed to a company them out avoiding any undue financial serious and educational music. I also called “Fennica Gehrman,” the mother burden for one or the other agency. took part in the discussions about the company of which is located in Sweden. Will there be a new scheme of calcula- introduction of the ISMN on the Fin- To these two Finnish music publish- tion for the membership fees to be in- nish market. As far as I remember, the ers we must add “Sulasol,” run by the troduced with the new membership numbering was very quickly adopted Association of Finnish Choirs, and two status of an ISMN agency, asked Hanna by the professional publishers of sheet large book publishers “Otava” and Zawado of the Polish ISMN Agency. music. Yet, in a country of not much “Werner Söderström,” both offering Dr. Walravens suggested to follow the more than five million inhabitants and catalogue with a wide range of educa- example of the ISBN: membership fees a language of its own we should not ex- tional music publications. Printed mu- for national ISBN agencies had been pect a huge market for music publish- sic business otherwise is very small. calculated by considering two different ing, especially not for publishers of indicators: the GNI (Gross National printed music (Table 1/2). Income) of a country and the level of In the eighties the income from g LAULUT.FI / KUOROLAULUT.FI music publishing, i.e. the approximate graphic rights was about two-thirds of number of music publications, in this the total. Since then it has come down In November 2004, the Finnish Music | 8 ISMN Newsletter 16 (2006) illicit lyrics sites on the Internet. In the light of this situation, we de- cided to create conditions which would allow to get the songs and lyrics – and the license to use them – easily. As far as KOPIOSTO was concerned, the or- ganisation was looking for new ways of establishing licensing services for the digital era. Furthermore, KOPIOSTO is administering a database which cov- ers all kinds of users of printed materi- als in Finland. There are about 20,000 records in their customer database with all necessary information about contact persons and e-mail addresses, etc. We therefore decided to join our forces. The result of this is the on-line service called “Laulut.fi.” “Laulut” is the Finnish equivalent for “songs.” The le- gal owner of the site is KOPIOSTO. The project is based on an agreement between KOPIOSTO and the FMPA, which is supplemented by separate agreements with each publisher. “Laulut.fi” is not a normal on-line shop. We are not selling physical items on-line; nor are we selling digital con- tent. What the customer gets, is a li- cense – a license to make copies – plus the original pages which can be used as the “originals” for the copying process. We decided to start with the lyrics only. Lyrics are easier to be handled by the operator of an on-line service and such kind of service seemed to be par- ticularly in demand. Today “laulut.fi” contains about six hundred mostly popular lyrics, and about two hundred will be added during this summer. These lyrics can be browsed alpha- betically by the title of the song, or you can use different search criteria: any word or fragment of the lyrics or the name of either the composer or the lyri- cist. Or, if the user is looking for certain Table 1/2: The music market in Finland. The generated graphic, styles or types of music, he or she can performing and mechanical income select between different categories, such as Pop and Rock, Evergreens, Publishers’ Association and the Finnish the knowledge that there is a large grey Christmas Songs, Songs about Finland, Reprographic Rights Organisation KO- area in which the infringement of musi- Folk Songs and Children’s Songs. PIOSTO started a joint pilot project. cal rights is the rule. All kinds of associ- After having selected the songs, the Both organisations cooperate on a reg- ations, restaurants, travel companies, customer has to reaffirm the selection, ular basis in the field of licensing of bus companies and health and social and the content will be transmitted by photocopying of sheet music. Different worker organisations like to make peo- E-mail as watermarked PDF files. The users are involved here, mainly schools, ple sing and produce their own sing- user gets more than just a of music institutes and the church. Yet, along selections of songs for their mem- digital files containing lyrics. He or she the pilot project aimed at individual li- bers and customers. Yet, most of these receives the texts in a finalised lay-out censees instead of institutions. small publications are illicit, unlicens- adjusted to the end product, the book- The background of this project was ed. In addition, we found hundreds of let or leaflet. The cover can be edited, | ISMN Newsletter 16 (2006) 9 of course, supplemented by a logo of have decided to use pages from existing abroad. That's why we have decided to their own or whatever, but all the other song books as the originals. The book- make it available also in English and content must be kept untouched, in- let to be put together by the customer, Swedish. The “Grand Opening” is cluding the list of the lyrics, the num- therefore, will contain different types of hopefully in January 2007. ber of the license, the copyright infor- notational lay-outs. This is the fastest mation of each song and the terms of way of making sheet music available use. on-line, and we think heterogeneous g Yet, there is no way to prevent the layouts are quite acceptable as the end WHAT IS THE USE OF THE ISMN IN ONLINE LICENSING? customer from making sixty copies in- products are of a more or less inofficial stead of the forty copies which he or character. she has bought. But at least the custom- The third and maybe most interest- For me, this question is not easy to an- er cannot say he or she didn’t know ing project is “kuorolaulut.fi.” “Kuoro- swer. And: What is a music publication that this extra copying is illegal. And ... laulut” in Finnish means “choral in the on-line environment? What is who prevents people from lending a songs.” The four main publishers of the publication, if the end product, the song book from a library in order to make 60 copies of the particular songs for further usage? Furthermore, in the online context right owners are a bit better protected, because the PDF copies are watermarked and can thus be traced. What about the pricing? Every pub- lisher has the right to charge fees ac- cording to a scheme of their own. If they do not like this possibility (and in fact they very often don’t), they can rest on the model pricing structure made for the service by the organisations run- ning the site. This pricing structure is based on the amount of booklets order- ed, with the price per unit decreasing gradually with an order of twenty, fifty, one hundred or five hundred copies. The price for one unit, one copy of one lyric, is EUR 0,09, but the minimum fee per order is EUR 9,00. It therefore pays to buy at least one hundred units, for From l. to r.: Montserrat Morato (Spanish ISMN Agency), Tuula Haapamäki example a license to produce twenty- (Helsinki University Library) and Alenka KaniÊ (Slovenian ISMN Agency) five booklets containing four lyrics each. If you want to produce more than five hundred booklets, the price per choral music in Finland will all make booklet put together by the customer, unit will go down to EUR 0,04. the main part of their product cata- is never or almost never identical with In the future, all songs now available logues available on-line. Here, again, it anything else that is available on the as lyrics will be made available as sheet is not intended to sell physical products Internet? Do we need an ISMN, if the music as well. In most cases the musical online or to sell downloads. If a choir customer only buys a license to make a notation will show the melodic line on- for example needs fifty copies of a par- booklet of his own? ly, but there will be exceptions. The ticular song, it won’t buy fifty down- At “laulut.fi” (lyrics only) no ISMNs system will stay in principle as it is, but loads. Instead, what will be bought, are used so far. For the time being we the user will be able to choose between will be the right to use an “original” do not plan to use ISMNs on the sheet mere lyrics or musical notation or will (which is available on-line on the site music level of “laulut.fi” either, as, be offered to buy both, and different owned by KOPIOSTO) and a license again, it is an individual customer who amounts of copies of them. The cus- to make fifty copies of this original. receives a booklet which has been put tomer might need one sheet music copy If one considers that there is only together according to the individual de- for the guitar, piano or accordion play- one shop in Finland where a good se- mands of this very customer and there- er, while several copies of the lyrics lection of choral sheet music is offered, fore represents a unique specimen. might be necessary for a group of sing- it becomes obvious that this service The situation might me different in ers. could become important to Finnish the area of choral songs (“kuorolaulut. For this new service which will in- choirs and choral conductors. The serv- fi”). Here on-line orders in most cases clude editions of notated music, we ice might even arouse some interest refer to simple choral songs of one to | 10 ISMN Newsletter 16 (2006) four pages of musical notation. Usually gible for an ISMN, as licensing is a g THE ISMN IN THE FIELD OF the same work also exists as a printed matter of rights management. Standard DIGITAL MUSIC PUBLISHING. product carrying an ISMN. The item numbers are used in invoices for the RESULTS OF A SURVEY AMONG available on-line and its physical coun- transactions (a kind of secondary use). “DIGITAL SUPPLIERS” terpart as a rule are almost identical, as What is complicating the issue, Dr. far as the content and the layout are Walravens continued, is the fact that in (BY ULRICH WEGNER) concerned. There are songs that have the examples given, individual items been taken from a song collection or a are put together to form something book, but some of our publishers use new. Originals which are used for scan- g INTRODUCTION to publish some of these songs as sepa- ning might carry an ISMN already. Do rate prints in the physical world as well, these collections demand a new ISMN This presentation is a follow-up to the and in such cases these song excerpts assignment? As far as the ISBN and the presentation which I had given 2003 at receive ISMNs of their own. book publishing sector are concerned, the ISMN Panel Meeting in Ljubljana. The only difference is the way these a collective publication containing arti- Three years have passed since then, and the question was and today still is what role the ISMN will be playing in an area of music publishing that is rapidly growing and at the same time is radical- ly different from what was standard in printed music publishing up to the mid-1990s. The digital supplier forces us to re- assess the hitherto unquestioned stan- dards of publishing and trading. As I had pointed out in Ljubljana already, there is no real supply chain in Internet publishing. Furthermore, the majority of these publishers do not work on a commercial basis. No wholesale, no re- tail, no billing, no accounting – areas where the ISMN could prove its poten- tials, they all play, if at all, a minor role in Internet publishing. And there is a problem of quantity. At “www.tabrobot.com” for example, it was possible in 2003 to search and retrieve musical notations and guitar Jasenka Zajec and Berit Holth of the Croatian and Norwegian ISMN Agencies and bass tabs in a database of about 450,000 records. In 2006, the number of items offered for downloading has - items are sold and bought. FMPA and cles put together from different pub- according to the information given on KOPIOSTO don’t sell sheet music; lished sources might receive a new their website - almost doubled (850,000 they sell digital licenses to make physi- ISBN despite the fact that some or all items). For simple numerical reasons, cal copies of a digitally delivered PDF of those articles might carry an ISBN the ISMN does not seem prepared to file. In the digital world everything already. serve all digital items which flood the seems easy, but in fact, nothing is sim- In the discussions following Mr. market in unprecedented quantities. ple. Sipilä’s stimulating paper, it turned out to be difficult for the audience to arrive at an undisputable, clearly defined ap- g proach to the problems of ISMN as- THE PROS AND CONS 4 DISCUSSION signment in the context of digital li- censing. It was agreed that the new There is an ongoing discussion about Is there any sense in applying standard challenges for standard music number- the role of the ISMN in digital publish- numbering for one or the other activity ing which are caused by the digitization ing. Attempts to establish the ISMN in presented? Dr. Walravens pointed out of musical or music-related content the Internet market are sometimes criti- that, in the matter of lyrics, from the need a closer investigation by ISMN cized: a prospering Internet trade – ISMN point of view the standard representatives – a project which that’s how the argument goes – would should not be involved. And licenses should given some priority in the near bring detrimental effects to the tradi- are, as Dr. Walravens explained, not eli- future. tional market of sheet music publish- | ISMN Newsletter 16 (2006) 11 ing. Should we allow that the ISMN of sheet music publishing as a closer Sites like sibeliusmusic.com owe turns into a gravedigger of traditional look at their publication list shows: their existence to the fact that tradi- music publishing? The illegal file shar- Companies like “Capella” and “Sibeli- tional music publishing is very selec- ing of sound recordings among Internet us” – to mention only two of the largest tive: only a small group of composers is users and its negative effects on the of their kind – offer on their websites a offered the privilege of publication. compact disc sales of music companies publishing platform for those compos- Digital suppliers here are not destroy- seem to back up this critique. Another ers whose works would never have a ing established market structures, they argument against ISMN assignments to chance to be published by a traditional react to the inherent limitations of this digital content is the average low qual- music publisher. Both companies, in market, and overcome its restrictions. ity of the editorial work done by com- the first place, sell software for music posers, transcribers, and publishers , but administer at the same who are aiming at a digital market. time large collections of music nota- g Yet, according to the regulations tions. Over 42,000 compositions are THE ATTITUDE OF THE DIGITAL SUPPLIERS TOWARDS THE ISMN laid down in the standard text, none of downloadable at “www.sibeliusmusic. these arguments seem to stand up to a com.” It is the “largest collection of new critical examination. Neither does the scores on the web” according to the While Internet editions of notated mu- standard text restrict the allocation of operators of this website. Everybody, sic in their diverse formats are fully numbers to certain formats or market whether composer, arranger, teacher or covered by the regulations of the ISMN structures, nor was it designed for ex- musician, can publish notational mate- standard, the question remains why, clusively commercial purposes; even rial – “from coursework to orchestral with a few exceptions, the International the question of copyright infringement, scores, from early music to avantgarde Standard Music Number until now has important as it is with reference to In- and rock/pop” – provided that the not found its way into this realm of ternet trading, does not provided solid scores have been written with Sibelius Internet music publishing. What are arguments in favour or against an software. The Sibelius collection focus- the reasons for this obvious deficit? In ISMN assignment. Finally, the ISMN ses on so far unpublished works of mu- order to find explanations to this inade- was not conceived as a tool to uphold sic submitted by their composers. By quate situation, I contacted over 350 high editorial standards and to restrict doing so, it doubtlessly contributes to website hosts offering musical nota- market accessibility for carelessly pre- the preservation of our musical herit- tions for download and would like to pared editions of notated music. age. There is no reason why cultural report about the results of this survey. On the other hand, some Internet preservation should not be an objective In my communication, after having publishers do great service to the field deserving the support of the ISMN. introduced the International Agency and its functions to the addressee, I Dr. Heinz Stroh (Deutscher Musikverleger-Verband) and Dr. Joachim Jaenecke (Staatsbiblio- wrote: “It would interest us how you, thek zuBerlin) after the Inaugural Meeting of the “Internationale ISMN-Agentur e.V.” as a publisher of digital notated music, view the significance of the Internation- al Standard Music Number in relation to your online offer. [...] We are [...] trying [...] to explore the prospects of the International Standard Music Number within this framework.” The response to this mailing cam- paign can only be described as meagre. I received only thirty answers to my e- mail messages. Some spam filters might have sorted out my communications as spam by mistake, or some e-mail mes- sages might have gone unnoticed in overflowing mailboxes. Therefore, I think it is difficult to find a reliable ex- planation for this sparse feedback. Yet, it is worth having a closer look at those responses that gave a more de- tailed description of the publisher’s at- titude toward the ISMN. Most of the addressees who responded frankly con- fessed that they had never heard of the International Standard Music Number before. A considerable information def- icit as far as the ISMN is concerned be- | 12 ISMN Newsletter 16 (2006) tive. Most self-publishing composers would not want to pay $ 850,- for 1000 numbers, and the next lower alterna- tive of 100 numbers is too few when you consider that one orchestra title might use 25 to 30 numbers or more if all the parts are available individually.” Christian Mondrup runs the reput- able “Werner Icking Archive” at the Århus Royal Academy with several thousands of musical notations as PDF files (“www.icking-music-archive.org”); he admits that even digital archives could benefit from the ISMN if it would be possible to have a digital item being retrieved by Internet search en- gines with the help of the music num- ber. Yet, he predicts in a rhetorical un- derstatement that “including ISMN-IDs would not just ease my task as the sole administrator of this site.” Frank Nordberg in Norway runs ten different websites with musical nota- tions mostly for plucked string instru- ments. He sees the main problem in ap- plying the ISMN to his material in “the sheer number and the dynamic nature of digital publications.” His main site “musicaviva.com” includes over 17,000 music titles; a considerable number of them are downloadable in three differ- Ill. 1. The sheet music download page of Boosey & Hawkes. Customers are enabled to tailor the digital content to their musical needs in choosing a certain musical key or instrumental ent file formats. It is not only that arrangement (www.boosey.com/pages/sheetdownload/). Nordberg, as he figures, would “soon run out of ISMN numbers even with comes obvious here. Most of the re- some music for them to perform. Have the maximum of 100,000;” it is the fact spondents admitted that a standard a good day. You could say I am a bit that open digital formats allow users to identifier for printed music is an appro- radical – but what have you done for edit musical notations after the down- priate tool to make the work flow in a someone else today???” And Thomas load at will. Who guarantees that a dig- commercial context more efficient, but Schall, who runs a website offering lute ital music notation carrying an ISMN they denied that the ISMN could be of music tablatures, writes: “I have objec- will be kept untouched after hundreds much use for them as non-commercial tions if one is obliged to obtain an of users have downloaded it? Nordberg suppliers of digital notations. ISMN, thus giving order to the ‘crea- explains with reference to the “open For some webmasters, the ISMN is tive chaos’ of the Internet and steam- source” format of ABC notation: “You inseparably connected with commercial rolling each and every corner.” In these can expect the same file to be found at issues. Downright anti-commercial ap- misconceptions about the ISMN, the numerous sites on the web, with or proaches in a sense that “we can do it identifier is seen as a tool to structure without minor and major modifica- as good as the traditional music pub- and – one should add – to destroy the tions. Sometimes multiple tunes are lisher, and we do it for free” are wide- non-hierarchical nature of the World merged into a single file, sometimes spread. This outspoken opposition to Wide Web in this respective segment. not. [...] Unfortunately, I am afraid I traditional sheet music publishing and It is not an asset, but rather a threat. have problems seeing how we can man- trading goes together with a critical at- A minimal requirement for applying age to come up with any coherent cata- titude that sees the ISMN as an expo- the ISMN in non-commercial contexts loguing system for ABC files.” nent of the world of music commerce. should be that ISMN publisher IDs are Even at “www.boosey.com,” the of- One publisher explicitly states: “My obtainable free of charge. Pamela Mar- ficial website of Boosey & Hawkes, vis- stuff is free and I don’t have the time or shall of “www.spindrift.com” offers a itors are invited to modify a given nota- interest to track downloads. Contrary rough estimate of costs for a U.S. small- tion according to his or her own wishes to much of the world I am not into scale music publisher in case of an before the download is started: “You making a buck. I am interested in mak- ISMN assignment: “The cost for a can see the music, listen to it, change ing lives of people better by providing small publisher like myself is prohibi- the key and instrument it is arranged | ISMN Newsletter 16 (2006) 13 sheet music in the future will take. There it says: “Just search, play, pay and print!”

4 DISCUSSION

As one of the major problems of ISMN assignments to digital items of sheet music the difficulties were identified to keep up the unambiguousness of the relationship between the number and the digital item. In a digital context customers are able to edit the down- loaded content with appropriate soft- ware tools. We have reason to assume that often, for a certain musical piece, many different versions of the same no- tation carrying the same ISMN will cir- culate in the Internet. It was suggested that the digital notation to which an ISMN was assigned should be kept as one digital copy at the national/local ISMN agency for the purpose of refer- ence. This would not prevent any user from downloaded content, but it would be possible to spot the “origi- nal” in cases of doubt. M. Huttunen strongly voted for the setting up a working group which should discuss the implications of ISMN assignments for the “digital suppliers” among music publishers – a suggestion which met Ill. 2. The ISMN used for identifying digital content: the example of Groovy Music Publishing with the approval of the audience. (GMP) (www.groovymusic.com.au). An ISMN is assigned to every digital item.

g NEWS for and even print a free sample page commercial Internet publishing. And before buying it online” (Ill. 1). Differ- this is true for technical, financial, and 4 THE “INTERNATIONALE ISMN- ent arrangements of the same musical psychological reasons. There are a few AGENTUR E.V.” FOUNDED title and different keys applied to a Internet publishers, for example, in song, they all necessitate an individual Australia, Norway, and the UK who in- ISMN. Is it possible to assure consis- deed have started applying ISMNs to On June 29, 2006, the Inaugural As- tent ISMN assignments in contexts in digital items (Ill. 2). Yet, they all work sembly of the “Internationale ISMN- which certain musical parameters are on a commercial basis charging for Agentur e.V.” took place. The Statutes open to be modified by the user before every download. I can imagine that, in were accepted and an Interim Board the output is generated? the long run, the ISMN will find its elected. Board members are: Dr. Hart- place at least among commercial Inter- mut Walravens (Chair Person), Dr. net offers. Joachim Jaenecke (Vice Chair Person), Tilman Kannegiesser of Boosey & and Dr. Bettina von Seyfried (Treasur- g CONCLUSION Hawkes mentioned at the ISMN Panel er). Susanne Hein and Wolfram Kra- Meeting in 2002 a simple truth: “If you jewski were elected cash auditors of the On the basis of the admittedly limit- want to sell, you need identification.” Association. National ISMN Agencies ed number of responses resulting from This was as true for John Boosey and will be asked to become members of my mailing campaign, one is forced to William Henry Hawkes in the first half this new Association as soon as the offi- arrive at one conclusion: The of the 19th century as it is for the mod- cial registration of the Association has International Standard Music Numbers ern Internet publisher. A motto pub- been completed. The first regular will face a hard time if it strives to gain lished on the Boosey & Hawkes web- General Assembly will be held at the a foothold in the world of non- site indicates the directions the trade of next ISMN Panel Meeting. | 14 ISMN Newsletter 16 (2006) The Inaugural Assembly at the State Library Berlin initiating the “Interntionale ISMN-Agentur e.V.” on June 29, 2006

g NATIONAL/REGIONAL ISMN AGENCIES

g ARMENIA do ISBN. Att.: Ms. Celia Ribeiro Zaher. Av. Rio 190, 110 00 Praha 1, Tel.: (+42 02) 221663306, Branco, n. 219 - 1. andar. Rio de Janeiro 20040-008. 22422 9575. Tel.: (+42 02) 224227796. Fax: (+42 National Book Chamber of Armenia, ISBN Agency. Tel.: (+55 21) 2220-1981; 25448596. Fax: (+55 21) 02) 216 63306, 242 27796. E-mail: [email protected]. Att.: Mr. Hovhannes Bekmezyan. G. Kochar st. 21, 2544-8596. E-mail: [email protected], [email protected]. URL URL http://www.nkp.cz 375009 Yerevan. Tel (+374 1) 52 75 95, 58 25 11. http://www.bn.br E-mail: [email protected]. URL http://www. g DENMARK iatp.am/resource/media/grapalat/ g CANADA Det Kongelige Bibliotek, Musikafdelingen, Dansk g AUSTRALIA Library and Archives Canada. Director, Acquisi- ISMN-Kontor. Att.: Klaus Møllerhøj, POB 2149, tions Directorate. Published Heritage Branch, Ca- 1016 Copenhagen K. Tel.: (+45) 33 47 44 77. Fax: ISMN Agency, Music Acquisition and Cataloguing. nadian ISMN Agency Att.: Mr. Jean-Eudes Bériault. (+45) 33 47 47 10. E-mail: [email protected]. URL National Library of Australia. Att. Ms. Kaye McIn- 395, Wellington Street. Ottawa, Ontario K1A 0N4. http://www.kb.dk/kb/dept/nbo/ma/ismn/index- tyre. Canberra ACT 2600. Tel (+2) 6262 1777. Fax Tel.: (+1 819) 997-7003. Fax: (+1 819) 9977517. E- en.htm (+2) 6273 4322. E-mail: ismn@nla. gov.au. URL mail: [email protected]. URL http://www.nla.gov.au/services/ismn g http:// www.nlc-bnc.ca/6/12/index-e.html ESTONIA g AZERBAIJAN Eesti Rahvusraamatukogu, National Library of Es- g CROATIA tonia, Eesti ISMN Agentuur. Att.: Mai Valtna, Tõ- Khazar University, Director. Career Development Nacionalna i sveu†ilišna knij…nica. Hrvatski ured za nismägi 2, 15189 Tallinn. Tel.: (+37 2) 6307372. Centre. Att. Raziya Isayeva. 11 Mehseti St., Baku ISMN. Att.: Ms. Jasenka Zajec. Hrvatske bratske Fax: (+37 2) 6311200. E-mail: [email protected]. URL 370096. Tel (+994 12) 217916; Fax (+994 12) zajednice 4, 10000 Zagreb. Tel.: (+385 1) 6164087. http://www.nlib.ee/rteavik/ismn.html 989379: E-mail: [email protected], risayeva@ Fax: (+385 1) 6164371. E-mail: [email protected]. URL khazar.org. URL http://www.khazar.org g http://www.nsk.hr/izdavaci/ismn.html FINLAND g BOSNIA AND HERZEGOVINA Helsinki University Library, Finnish ISMN Agency. g Att.: Maarit Huttunen, P.O. Box 26 (Teollisuuskatu The National and University Library of Bosnia and Cyprus ISMN Agency. The Cyprus Library. Att.: Dr. 23), 00014 University of Helsinki. Tel.: (+358 9) Herzegovina. Centar za ISMN BiH. Att.: Ms. Ne- Antonis Maratheftis. Eleftherias Square, 1011 Nico- 19144327, 19144329. Fax: (+358 9) 19144341. E- venka Hajdarovic. Zmaja od Bosne 8B, 71000 Sara- sia. Tel.: (+357 22) 303180. Fax: (+357 22) 304532. mail: [email protected]. URL http://www.lib. jevo. Tel. (+387 33) 21 24 35. Fax: (+387 33) 21 24 E-mail: [email protected] helsinki.fi/english/publishers/ismn 35. E-mail: [email protected]. URL http://www. nub.ba g CZECH REPUBLIC g FRANCE g BRAZIL Národní agentura ISBN/ISMN v ‡R, Národní Kni- SEAM. Société des Éditeurs et Auteurs de Musique, hovna ‡R. Att.: Antonín Je²ábek, Klementinum François Leduc, 175, rue St.-Honoré, 75040 Paris Fundação Biblioteca Nacional. Agéncia Brasileira | ISMN Newsletter 16 (2006) 15 NATIONAL/REGIONAL ISMN AGENCIES (CONT.) cedex 1, Tel.: (+33 1) 4296 7646. Fax: (+33 1) 4286 Pr½se. Anglik¼nu iel¼ 5 (Bibliotekas iel¼), LV 1816 Kremlevskaja nab. 1/9, 109019 Moscow. Tel.: (+7 0283. E-mail: [email protected] Rƒga. Tel.: (+371) 7212668. Fax: (+371) 7224587. E- 095) 203 5608. Fax: (+7 095) 288 9991, 688 9689. mail: [email protected]. URL: http://www.lnb.lv/ E-mail: [email protected]. URL http://www. g GEORGIA centrala.htm bookchamber.ru Georgian Parliament, I. Chavchavadze National Li- g g brary, ISBN and ISMN Centre. Att.: Nino Simonish- LITHUANIA SERBIA vili, 5 Gudiashvili st., 380007 Tbilisi, Tel.: (+995 32) Martynas Ma…vydas National Library of Lithuania. National Library of Serbia. Att.: Vesna Aleksandro- 935862. E-mail: [email protected] The Centre of Bibliography and Book Sciences. Att.: viÊ. Skerliceva 1, 11 000 Belgrade. E-mail: Dalia Smoriginien£. Gediminas av.51, 2600 Vilnius. [email protected] g GERMANY Tel.: (+370 5) 249 7023. Fax: (+370 5) 249 6129. E- g DE-PARCON Softwaretechnologie & Marketing mail: [email protected], [email protected]. URL SLOVAKIA GmbH. Att.: Anne Schink. Kalscheurener Str. 8, http://www.lnb.lt/services_e.html Národná agentura ISBN v SR, Slovenská národná 50354 Hürth. Tel.: (02233) 804 10-0, 804 1022. Fax: kni…nica, v Matici slovenskej. Att.: Jarmila Majerová. g (02233) 804 1030. E-mail: [email protected]. URL MACEDONIA Nám. J. C. Hronského 1, 036 01 Martin. Tel.: (+42 1 http://www.de-parcon.de Narodna i Univerzitetska Biblioteka/National and 43) 4224983. Fax: (+42 1 43) 4224983. E-mail: University Library “St. Kliment Ohridski”. Att.: [email protected]. URL http://www.snk.sk g GHANA Borko Zafirovski, Director. Bul. “Goce Delcev” 6, g Ghana Library Board, George Padmore Research 1000 Skopje. Tel.: (+389 02) 3115-177. Fax: (+389 SLOVENIA Library, On African Affairs. Att.: Omari Mensah 02) 3226 846. E-mail: zafirovski@ nubsk.edu.mk. Narodna in univerzitetna knji…nica v Ljubljani, Tenkorang. P.O. Box 2970, Accra. Tel.: (+233 21) URL http://www.nubsk.edu.mk Slovenska agencija za ISMN. Att.: Alenka KaniÊ. 223526, 228402. Fax: (+233 21) 247768. E-mail: Turjaška 1, p.p. 259, 11001 Ljubljana. Tel.: (+386 61) g [email protected]. URL http://www. MOLDOVA 2001142. Fax: (+386 61) 1257293. E-mail: Alenka. ghana.com.gh/padmore Camera Nationala a Cartii din, Republica Moldova / [email protected]. URL http://www.nuk.uni- National Book Chamber of the Republic of Moldo- lj.si/zalozniki/isbn/ isbn.htm g GREECE va. Att.: Renata Cozonac, Manager. bd. Stefan cel g Greek ISMN Agency, Deputy General Director, Na- Mare, 180, Office 202, 2004 Chisin±u. Tel.: (+373 2) SPAIN tional Library of Greece. Att.: Catherine Kordouli, 246542, 246533. Fax: (+373 2) 246511. E-mail: Centro de Documentación de Música y Danza, Panepistimiou 32, 106 57 Athens. Tel.: (+30210) [email protected], [email protected]. URL http://www. Ministerio de Educación, Cultura y Deporte. Att.: 3382581. Fax: (+30210) 3608495. E-mail: kordouli@ iatp.md/cnc Antonio Álvarez Cañibano. c/ Torregalindo, 10, nlg.gr 28016 Madrid. Tel.: (+34) 91 353 14 80. Fax: (+34) g NEW ZEALAND 91 353 13 73. E-mail: [email protected]. URL: g HUNGARY Bibliographic Services, National Library of New http://wwwinaem.mcu.es/musica02.htm National Széchényi Library, Hungarian ISBN/ISMN Zealand. Att.: Deirdre McFarland, Acquisitions g Library. Att.: Orsolya Szabó. Budavári Palota F.ép, Team Leader. PO Box 1467, Wellington 6001. Tel.: SRI LANKA H-1827 Budapest. Tel.: (+3 61) 487 8670. Fax: (+3 (+64 4) 474 3093. Fax: (+64 4) 474 3161. E-mail: National Library and Documentation, Services 61) 487 8687. E-mail: [email protected], isbn@oszk. [email protected]. URL http:// Board. Att.: W. S. Punyawardena, Deputy Director. hu. URL http://http://www.oszk.hu www.natlib.govt.nz/en/services/publishers/isbn.html No. 14, Independence Avenue, Colombo 07. Tel.: (+94 01) 674 387. Fax: (+94 01) 685 201. E-mail: g g INDONESIA NORWAY [email protected]. URL http://www.natlib.lk National Library of Indonesia, Perpustakaan Nasio- The Norwegian ISMN Agency, National Library of g nal Indonesia, National ISMN Agency, Att.: Dr. Sau- Norway. Att.: Berit Holth. POB 2674 Solli, 0203 SRPSKA (REPUBLIC OF) liah Saleh. Jl. Salemba Raya 28, Jakarta 10002. Tel.: Oslo. Tel.: (+47) 23276057. Fax: (+47) 23276010. E- National and University Library of the Republic of (+62 21) 6414991, 315 4870, 310 14 11. Fax: (+62 mail: [email protected]. URL: http://www.nb.no/html/ Srpska. 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E-mail: [email protected]. g ISRAEL Krajowe Biuro ISMN. Att.: Hanna Zawado. Al. URL http://www.kb.se/Ple/plestart.htm The Israeli Center for Libraries. Att.: Haimovich Niepodleg|oÎci 213, skr. poczt. 36, 02-086 War- g Ruthie. Baruch Hirsh 22, Bnei Brak 51108. Tel.: szawa. Tel.: (+48 22) 608 2432. Fax: (+48 22) 825 TURKEY (+972 3) 6180151 ext. 106. Fax: (+972 3) 5798048. 5729. E-mail: [email protected], hzawado@ ISMN Türkiye Ajans¥, Kültür ve Turizm Bakanl¥g¥, E-mail: [email protected]. URL: http:// www.icl.org.il bn.org.pl. URL http://www.bn.org.pl Kütüphaneler ve Yay¥mlar Genel MüdürlüÛü. Att.: Dr. Ahmet Adi. Necatibey Caddesi No:55, 06440 g g ITALY PORTUGAL Sihhiye - Ankara. Tel.: (+90 312) 232 2760. Fax: Agenzia ISMN per l’Area di Lingua Italiana, Biblioteca Nacional. Centro de Estudos Musicoló- (+90 312) 232 2764. E-mail: [email protected]. Informazioni Editoriali 1.E. spa. Att.: Dr. Michele gicos. Att.: Catarina Latino. 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Fax: (+ 381 38) 248 940. E-mail: nat.ro. URL http://www.bibnat.ro Music Publishers Association Ltd, ISMN Agency. [email protected] Att.: Lois Clark, 6th Floor, British Music House, g RUSSIA London W1T 3LR. Tel.: (+44 20) 7637 4052. Fax: g LATVIA Russian Book Chamber, Russian ISBN Agency. Att.: (+44 20) 7637 3929. E-mail: [email protected]. Latvijas Bibliogr¼fij¼s Instit½ts. Att.: Laimdota Valerii Aleksandrovich Siroyenko, Director-General. uk. URL http://www.mpaonline.org.uk | 16 ISMN Newsletter 16 (2006)