Newsletter September 2008 ISSN 1022-8667 18 International ISMN Agency Internationale ISMN-Agentur e.V.

SIXTEENTH INTERNATIONAL

ISMN PANEL MEETING

YOGYAKARTA, INDONESIA

16 JUNE – 18 JUNE 2008

PARTICIPANTS

Tieke Atikah, National Library of Australia, Regional Office Asia Nazeerah Gopaul, National Library of Sin- gapore, ISMN Agency Berit Holth, National Library of Norway, Norwegian ISMN Agency Dady P. Rachmananta, National Library of Indonesia, Director Dr. Sauliah Saleh, National Library of Indo- nesia, Indonesian ISMN Agency Gamelan orchestra at the palace of the Sultan of Yogyakarta Dr. Bettina von Seyfried, Deutsche Natio- nalbibliothek, Deutsches Musikarchiv Ber- Progress Reports of the National / Report of the Chairman and Wel- lin (DMA) Local ISMN Agencies come Speech of the Director of the Dalia Smoriginien‹, Martynas MaÔvydas, National Library of Indonesia National Library of Lithuania, Lithuanian Revision of the ISMN Standard ISMN Agency and the ISMN Users’ Manual Launching of the Seminar by the Carolin Unger, Internationale ISMN-Agen- National Bibliographies representative of the Governor of tur e.V Trade Directories Yogyakarta, Sri Sultan Hamengku Buwono X. Dr. Hartmut Walravens, Chairman, Inter- Archiving Material in Electronic nationale ISMN-Agentur e.V. Formats Dr. Hartmut Walravens: Presen- tation on the ISMN and its advan- Guests: Music Information Centres tages Ms. B. Rohingah, National Library of Indo- IAML nesia, Legal Deposit Department Dr. Bettina von Seyfried: Why ISMN and ISBN Relations Mr. Haji Talib bin Haji Kassim, Ministry of ISMN? Next ISMN Annual General Culture, Brunei Darussalam Prof. Dr. Triyono Bramantyo: The Meeting Indonesian Case General Questions Utiek Ruktiningsih: The recording AGENDAS OF THE MEETINGS Miscellaneous company Lokananta Indrato Budi Satryo: Product pira- 17 JUNE: INTERNATIONAL 16/18 JUNE: ANNUAL GENERAL cy in Indonesia and how to fight it SEMINAR OF THE INTERNATIONAL MEETING AND PANEL MEETING Discussion on the papers, moderat- ISMN AGENCY ON THE BENEFITS ed by Mr. Ida Fajar Priyanto. Opening OF THE USE OF ISMN FOR PUB- Second Ordinary General Assem- LISHERS, LIBRARIES AND TRADE bly of the “Internationale ISMN- ISMN ON TOUR – PERSONAL IM- Agentur e.V.” Opening PRESSIONS (B. von Seyfried) OPENING OF THE CHAIRMAN OF THE GENERAL ASSEMBLY

The Chairman declared the Annual General Meeting open. The members had been invited according to the Sta- tutes. The director of the Czech Re- public ISMN agency had passed his vote on to Hartmut Walravens because he was not able to participate himself. The Chairman considered it a pity that not more representatives from ISMN agencies had the opportunity to attend, but the ISMN community thought it would be important to make an outreach, so that more Asian coun- tries at least had the opportunity to participate, too.

Hartmut Walravens and Dady P. Rachmananta at the opening of the Annual General Meeting ADOPTION OF THE MINUTES OF THE ANNUAL GENERAL MEETING OPENING IN OSLO, 2007 to Hartmut Walravens, so that there After very kind welcoming words of were actually 8 votes. Dady P. Rachmananta, Director of the Two observers attended the meeting The minutes had been circulated be- National Library of Indonesia, the as guests, Mr. Hj. Talib bin Hj. Kassim forehand. No comments were raised. Chairman of the International ISMN from the public library system in So the minutes were adopted. Agency, Hartmut Walravens, thanked Brunei Darussalam and Ms. Hj. B. the National Library for arranging the Rohingah from the Legal Deposit De- very well organized meeting. He ex- partment of the National Library of In- pressed his confidence that even donesia. REPORT OF THE BOARD though the number of participants was fairly small, this would nevertheless There are now 47 members. Belgium, create a good atmosphere for fruitful Kazakhstan and Singapore joined in discussions. AGENDA 2007. Luxembourg is just establishing

Opening of the Chairman of the an agency and will then become the General Assembly 48th member. Negotiations with other countries include Colombia, South Adoption of the Minutes of the SECOND ORDINARY GENER- Africa, and USA. The Library of Con- Annual General Meeting in gress would be our partner in the US, AL ASSEMBLY OF THE “INTERNA- Oslo, 2007 TIONALE ISMN-AGENTUR E.V.” but they are currently busy with a ma- Report of the Board jor digitisation project so that it might Chairperson of the General Assembly: Report of the Treasurer last another year until we will have a re- Dr. Hartmut Walravens Adoption of the Budget sult there. But as the United States is an

Rapporteur: Carolin Unger Reading of the Report of the important music country, we are eager 9.30 - 11.15 h Cash Auditors to welcome them as member. The last AGM (Annual General Exoneration of the Board Participants: Tieke Atikah (Australia), Nazee- Meeting) took place in Oslo in 2007, rah Gopaul (Singapore), Berit Holth (Nor- Resolution on Appointment of kindly hosted by the National Library way), Dady P. Rachmananta (Indonesia), an External Auditor for the Dr. Sauliah Saleh (Indonesia), Dr. Bettina von of Norway. There, the membership Annual Statement of Accounts Seyfried (Treasurer of the Board, Germany), contributions were a major topic. The Dalia Smoriginien‹ (Lithuania), Carolin Unger Resolution on Membership main goal was to decide on a quota sys- (Manager, Internationale ISMN-Agentur, Ger- Fees for 2009 tem based on objective criteria. The many), Dr. Hartmut Walravens (Chairman of the Board, Germany) Miscellaneous proposal was to use the GNI in combi- nation with the overall number of edi- 7 members of the association entitled The assembly was able to make de- tions of published notations in a given to vote attended the assembly. The cisions as according to the statutes sim- country as basis for the annual mem- Czech Republic had transferred its vote ple majority was sufficient. bership fee. There was very little criti-

2 | ISMN Newsletter 18 (2008) cism regarding the proposal. So it was tool for the music market. But the pub- accepted. lication took a lot of time and effort, so The revision of the ISO Standard on when the International ISMN Agency ISMN was, again, a major topic during became independent, we noticed that the last 12 months. The Draft Interna- we could not do it on our own. There tional Standard was up for final vote was an interim CD-ROM prepared by and was approved in May 2008. ourselves in 2006. But the question re- The Internationale ISMN-Agentur mained, what to do in the future, as we e.V. had to move from the Staatsbiblio- are required by ISO to publish the pre- thek zu Berlin to office space of its own fixes and publisher contact data. We in April 2007. received these data from the ISMN As of July 2007, there was a change agencies. The easiest way to publish of staff at the Internationale ISMN- them would be on our website. Some Agentur e.V., as Dr. Ulrich Wegner be- of our members, part of commercial came a full-time lecturer at the Univer- firms and providers, as e.g. Germany, sity of Hildesheim and Carolin Unger criticized this plan. In the absence of stepped in who had worked for ISMN other realistic options it was decided to in 1996, then had for a long time been explore the possibilities to publish the with the International ISBN Agency. data on the international website. The Music Publishers’ International An English version of our Associa- Bettina von Seyfried, Treasurer of the ISMN Directory will not be continued tion’s Statutes was circulated. Because Internationale ISMN-Agentur e.V. in the previous form, but will be pub- the legal systems were different in all lished in a down-sized form on the our member countries it was difficult to transition phase. He was not only busy Internet. In earlier years the Directory prepare an appropriate English lan- to find an office but as well to furnish was a book publication. Until its first guage version. So this one might not be and to equip it. Therefore, we had publication people sometimes did not 100 % reliable, but it is expected to be quite an amount of extra costs in furni- even know how many music publishers good enough (99%!) for all practical ture and technical equipment as you existed. E.g. music publishers associa- purposes. can see in our handout. tions knew only their members but not The board of our association con- We had to spend all that money, other music publishers in their coun- sists of Dr. Hartmut Walravens as since until that date we had been lucky tries. So this book proved a very good chairman, Dr. Joachim Jaenecke (musi- to be part of the big institution Staats- cologist at the State Library Berlin) as bibliothek zu Berlin that provided all Poster at the entrance of the conference room deputy chairman, Dr. Bettina von Sey- necessities to make us do our work. fried (Deutsches Musik-Archiv) as Now we are somehow self-employed. treasurer. Through the phase of establishing our new status we had to wait until late 2006 to get permission to use the mon- ey on the ISMN account, that was part REPORT OF THE TREASURER of the overall account of Staatsbiblio- thek zu Berlin. The administration Since we only received the money of forced us – somehow – to wait until we the ISMN account in the last few days were officially the new-born and estab- of December 2006, there was not much lished Internationale ISMN-Agentur to inform at our last meeting in Oslo in e.V. to send our money on to our new that respect. For the year 2007 things account. Well – financially we had a have changed and we now have far solid sum on the account and could more to report to the assembly. therefore start into the new era of the As you know, we had to leave our International ISMN Agency. home in Staatsbibliothek zu Berlin – Our first appearance in that new Preussischer Kulturbesitz and rented structure took place in Oslo in June an office in Berlin Steglitz. Therefore 2007. To make us known to the ISMN we now have a monthly obligation for community, we decided to let the whole paying our rent, as can be seen on the group take part in the meeting. That handout. was Dr. Walravens, Dr. Jaenecke, Dr. v. We still have a general manager, to Seyfried, Dr. Wegner and Carolin Un- handle the daily work – and we have to ger – since at this time the next change pay him. We started off with Dr. Weg- had already occurred. Dr. Wegner took ner, whom you all remember very well, his chance jobwise and left the agency. who did a splendid job not only in that We could not find anybody better than

ISMN Newsletter 18 (2008) | 3 Carolin Unger and decided on her as READING OF THE REPORT OF THE In the light of the comments the our new manager of the agency. For CASH AUDITORS Chairman suggested to adopt the fol- that new transition we were very lucky lowing resolution. that Dr. Wegner was willing to help. The cash report is in German and is a Resolution: He spent several weeks to go through precise comment on what we did. We This Annual General Meeting in all extras of that job and made sure that need this report for the German tax Yogyakarta on 16 June 2008 resolves in a minimum of time Carolin Unger law. Members can get the text of the that for the time beeing no necessity is was ready to run the office. Therefore cash audit from the International seen to appoint an external auditor to we had extra costs to pay him all the ISMN Agency. The cash auditors pro- check on the financial transactions of extra hours necessary. posed to exonerate the board. the International ISMN Agency. The overall information for the year Result (by show of hands): 8 yes, no 2007 is, we had many extra items to abstentions, no dissenting votes, all buy and activities to run, to establish EXONERATION OF THE BOARD votes were valid. the agency as a German “Verein” (asso- The Chairman pointed out that the ciation). resolution was adopted, but that this As you can see in the paperwork we The delegate from Norway proposed to decision could be changed any time in handed out, we had enough money for exonerate the board. the future if necessary. that change and we spent it carefully, Result (by show of hands): 6 yes, no but all the expenses were definitely ne- abstentions, no dissenting votes, all cessary. After establishing the office, we votes were valid. RESOLUTION ON MEMBERSHIP FEES FOR 2009

The Chairman asked the participants to officially confirm the dues for 2009 as presented on a list. He explained the calculation of the fees: They were based on the overall number of music publi- cations in the respective country. This number was put in relation to the Gross National Income which is pub- lished in official lists. These were fairly reliable factors. The 2009 fee list was based on these two factors and every- body could check them. Berit Holth asked why the German fee was so much higher than the other fees, e.g. compared to that of the Unit- ed Kingdom. Carolin Unger explained Carolin Unger and Bettina von Seyfried at the Borobudur temple that according to the statistical figures from the Deutsches Musikarchiv (Ger- now establish the International ISMN RESOLUTION ON APPOINTMENT OF man Music Archive), a unit of the Agency in other parts of the world – AN EXTERNAL AUDITOR FOR THE German National Library, the number but that will be reported next year. ANNUAL STATEMENT OF ACCOUNTS of publications of notated music was much higher than in other countries. In § 7.1.f of the Statutes provides for the 2006 in Germany more than 8,000 edi- possibility to appoint an external audi- tions of notated music were published, ADOPTION OF THE BUDGET FOR 2009 tor for the annual statement of whereas in the United Kingdom there accounts. The Chairman explained that were less than 2,000. According to the on one hand it was a good idea to have calculation scheme Germany’s fee had After careful consideration, the assem- an external auditor, on the other hand to be a lot higher than that of the UK. bly resolved to adopt the budget 2009. it would generate extra costs. In- Tieke Atikah wanted to know about Result (by show of hands): 8 yes, no formation on this issue was circulated the criteria for being a so-called non- abstentions, no dissenting votes, all in time before the meeting. The Chair- paying country, as listed on the Income votes were valid. man asked the floor for comments. and Expenditure 2007 table. The Berit Holth and Tieke Atikah gave Chairman commented that as of 2008 their opinion that we did not need it this category no longer existed. But be- for the time being as we did not have fore and partly with our agreement, complicated transactions. there were some countries that did not

4 | ISMN Newsletter 18 (2008) contribute. One reason were the politi- cal changes in Eastern Europe and Central Asia, where a couple of coun- tries very much wanted to join the ISMN system but did not yet have the financial basis to pay. As there was mostly very little music publishing in these countries, we agreed that they es- tablished agencies but without financial obligation for a certain time. For us and in the interest of the music sector it was much more important to have them as agencies. Although their num- ber of music publications might be small this might be very interesting and important music. So we wanted to have the countries aboard. But as we were now, also officially, a membership or- ganisation, according to our statutes all members had an obligation to pay a fi- nancial contribution. There had to be fairness in the system and there would Tieke Atikah from the National Library of Australia (left) and Dalia no longer be non-paying countries. Smoriginien‹ from the National Library of Lithuania Dr. Sauliah Saleh, as representative of one of the former non-paying coun- PROGRESS REPORTS OF THE The Chairman explained that music tries, pointed out that she hoped that NATIONAL / LOCAL ISMN literacy was limited to a rather small Indonesia would pay annually from group of people. Printed music did not now on. So far, the number of music AGENCIES sell as well as other publications. Also, publishers with ISMN was very small, the book and the music publishing sec- but she hoped that ISMN would The Chairman pointed out that printed tors were handled differently in many spread soon and that would help to pay music was sold for a long time: E.g., be- countries. the contribution. fore World War II, customers could still buy original Beethoven notations. So, often the music trade did not so Tieke Atikah, representing the AUS- much deal with bestsellers but with TRALIAN National Library, read a paper MISCELLANEOUS longsellers. There were not as many ti- by Brad Cummings on the work of the tles on the market as in the book sector, Australian ISMN agency: The Chairman reported that some but these were often in print for a very “In this report I would like to offer members have difficulties in transfer- long time. a brief statistical update on the status of ring their dues to the International the Australian ISMN agency in terms Agency in Berlin. They sent a cheque, Dalia Smorigienen‹ reported about of the numbers of registered publishers but when we tried to cash this at our her experience as head both of the and the number of ISMNs that have bank we were told that this will gener- LITHUANIAN ISBN and ISMN Agency. been allocated since the agency’s incep- ate more bank fees than the actual She regretted that ISBN meant a lot tion at the end of 2001. I would then amount of the cheque. We asked them more work, so that ISMN was always like to follow that up with a short over- for another way of transfer but they al- like the child left alone. But being re- view of the key trends that are becom- ways used cheques. We also asked an- sponsible both for ISBN and for ISMN ing apparent within the Australian mu- other institution (Goethe Institute) for gave her the possibility to see what sic publishing industry, and conclude help, but did not yet get a reply. So, we kind of publications publishers intend with a brief account of the National were wondering whether some of the to bring on the market. So she could Library of Australia’s Music Australia participants might have an advice. allocate the correct number, right from service. Tieke Atikah suggested that money or- the start. She added that many Lithua- The Australian ISMN agency was der might be an option. The Berlin of- nian music publishers printed song- established in December 2001 by the fice will explore that. books. There was only one well-known National Library of Australia and is composer, but he was not so much managed by the Music Acquisitions known abroad. She announced that the and Cataloguing Unit of the Library as The AGM was closed at 9.40 h. national standards organization would a free service to the Australian music publish the revised ISMN Standard in publishing industry. To date, there are 2009. 126 registered publishers, holding 161

ISMN Newsletter 18 (2008) | 5 identifiers, with 5808 registered even including Australian music, rather not yet been purchased by the NLA, ISMNs. than publishing Australian music in although we are in discussions with the As would have been expected, rela- Australia. These publishers are mostly company about future options for digi- tively large numbers of publishers reg- not registered as publishers with the tal archiving and access. istered in 2002 when the Australian Australian ISMN agency and are not The ‘classical music’ market over ISMN agency began operating and a eligible for Australian ISMN alloca- the course of Australian history has correspondingly large number of ISMN tions. been very poorly served by publishers identifiers were allocated in the first in Australia. Until recently, approxi- full year of operation. mately 15 Australian composers were The number of publishers register- published by major international pub- ing each year has steadily declined, but lishers like Boosey and Hawkes, Faber, the number of publisher identifiers that Universal, Ricordi etc. almost all repre- have been issued has settled down to sented in Australia by Boosey and less than 15 per year in each of the cat- Hawkes until the demise of their Aus- egories of 5-, 6-, and 7-digit identifiers. tralian office 2-3 years ago. Only a very The trend shows that the largest cate- few composers are now in the cata- gory of publisher identifiers that were logues of international publishers. This issued are for 100 ISMNs although has left a publishing gap in Australia there was a considerable increase in the for even the most significant establish- demand for identifiers with only 10 ed composers. ISMNs in the last twelve months. The The Australian Music Centre agency has yet to issue any 10,000 (AMC) in Sydney exists to provide as- block identifiers, and it seems unlikely sistance and support to Australian com- that our single allocated 100,000 block posers, and to help raise awareness for identifier will be issued at all. Australian composition across the The overall number of ISMNs that world. Through a peer evaluation are allocated is expected to settle to an process, composers are selected for average of close to 1000 items per year. representation by the AMC. For those These figures are only now beginning represented composers working with to give an indication of the scale of mu- notated music, the AMC makes avail- sic publishing in Australia. However, able their scores for sale. This includes Tieke Atikah giving a presentation on the work the accuracy of the ISMN as an indica- of the ISMN agency and on Music Australia those assigned to publishers or self- tor of publishing activity is still unclear. published by the composer, plus those On the one hand, there seems to be a unpublished works licensed by the diminishing Australian music publish- The popular music market and the composer for the AMC to reproduce in ing market under the effects of globali- educational market, for long the back- facsimile form. For the purpose of sation and changing publishing prac- bone of publishing in Australia, has ISMN, therefore, the AMC acts as a tices, and on the other, the emergence been increasingly ‘internationalised’ publisher and allocates ISMN numbers of an expanding boutique Australian through the emergence of sheet music to all works it releases publicly in notat- music publishing industry. The key sales and distribution online. ed form. In this way, the AMC acts as a trends are: Previously the Australian market had major publisher to fill gaps in publish- The large publishers have experi- been well serviced by Australian pub- ing classical music in Australia. enced a major shake-up in the Austra- lishers catering for local demand since The number of items published by lian marketplace over the last decade, the rapid dissemination of music in small boutique publishers is increasing with some publishing groups such as Australia was often difficult. A few of not decreasing, as more composers and Boosey and Hawkes withdrawing from the large publishers are now moving to editors create small businesses and reg- Australia, other medium sized compa- online music publishing and e-com- ister as publishers for ISMNs. nies collapsing or reinventing them- merce. Digitised scores are now accessi- A few examples of this kind of bou- selves, and others being taken over. ble by free downloadable music web tique publishing are: The major Australian publishers readers for music notation software Stiles Music Publications are pub- have experienced increasing control by (e.g., Scorch for Sibelius files1). For ex- lishing the editions of Allan Stiles who the overseas parent companies, to the ample, the first 500 Australian music is an expert authority on the works of extent that they no longer make deci- publications produced by the company Australian composer Alfred Hill and sions about how to participate and op- Music Sales (Australia) have just been who has used the National Library for erate as independent publishers in the included in Sheet Music Direct, and an research of original manuscripts. The Australian context. The Australian sub- Australian site operating in Australian Library holds to date 95 editions that sidiaries are increasingly functioning as dollars has been launched. These have he has brought out since 2000, and he distributors in Australia of music pub- not been allocated ISMNs by the Aus- was one of the earliest registered pub- lished by the parent company overseas, tralian agency and the digital files have lishers to use ISMN allocations.

6 | ISMN Newsletter 18 (2008) http://www.musicaustralia.org

Keys Press is a small independent cant promotional and educational strat- Music Australia is an online service publisher in Western Australia that has egy is now being developed by the Aus- that showcases Australia’s musical cul- produced 365 Australian music publi- tralian ISMN agency staff to reach ture across contemporary and historical cations since 1991. these publishers. periods, from the earliest published Wirripang is another small company There has also been an embryonic music to the latest hit. It is a free re- dedicated to publishing Australian mu- move towards publishing directly on- source discovery service, hosted by the sic, and includes 677 publications since line by some of these small companies, National Library of Australia that helps 1994. notably Groovy Music, to which the people to find, explore and locate all Two examples of publishing by a Australian ISMN agency allocated the types, styles and genres of Australian single composer of his/her own works first ISMN number for born digital music – whether created, performed or by establishing a small publishing com- music in 2004. published in Australia or by Austra- pany are Nigel Westlake’s Rimshot Mu- In addition to providing a tool to lians, or associated with Australia’s mu- sic or Tristram Cary’s Southern Dot help understand and document Austra- sical culture. Factory. lian music publishing endeavours, the Music Australia crosses the bound- Most boutique publishers are regis- ISMN service also provides a mecha- aries of formats, as well as institutions, tered with the ISMN agency, especially nism by which Australian music pub- to present a comprehensive picture of in the classical field where we have lishers can make their publications Australian musical resources, musical been assisted by the Australian Music known to the public – both nationally information and research about Aus- Centre to draw attention to creators and internationally – through the tralian music, past to present. It is a and publishers about the value of the NLA’s Music Australia service (see il- collaborative service developed by the identifier scheme. However, based on lustration above). National Library of Australia in part- anecdotal evidence, it is equally likely When a publisher registers an nership with more than 50 cultural or- that there are many self- and small- ISMN number and subsequently de- ganisations around the nation. The vi- scale publishers producing music for posits a copy of the publication with sion grew in part out of the National sale that have not registered with the the National Library (which they are Library’s leadership role in coordinat- Australian ISMN agency and whose required to do under ‘legal deposit’ ing national services that make Austra- publications are not held in the Nation- provisions in Australian law), the cat- lian culture, collections and informa- al Library’s collection. This is especially alogue record for that item is automa- tion more easily accessible to the world. so in fields such as jazz, popular music, tically uploaded to a national biblio- Though the National Library hosts the multicultural music in languages other graphic database called Libraries service, it is federated and depends up- than English, or religious music – that Australia. From there, it is identified on the cooperative endeavour of music, is, in arenas that often lie outside of as a music item and is subsequently data and information technology spe- mainstream publishing practice or net- load-ed to a service called Music cialists across multiple institutions. worked music communities. A signifi- Australia. These include the National Library and

ISMN Newsletter 18 (2008) | 7 the National Film and Sound Archive, against easy access to music resources. gral to the National Library of Austra- Australia’s state and territory libraries, Music Australia, in this sense, creates lia’s ability to understand the nature specialist music organisations such as and displays to the user a ‘virtual’ na- and scope of music publishing in Aus- the Australian Music Centre, academic tional collection, where the metadata is tralia. Even though the amount of and public libraries, archives, museums aggregated centrally by the National ISMN activity is perhaps relatively low (including the Grainger Museum at the Library but returns the user to the compared to other parts of the world, University of Melbourne), special col- home institution to access the resource. the National Library considers the lections and research projects funded (see illustration above) ISMN service to be a very important by the Australian Research Council or To conclude: means of communication and under- the Australia Council for the Arts; and The way the ISMN service currently standing with publishers across what is most recently a government-commer- operates in Australia is therefore inte- a very large and disparate country. For cial partnership drawing on the new digital music and media business. Mu- Dady Rachmananta and H. Abd. Thahib bin H. Tassim from Brunei Darussalam (left) sic Australia’s innovation, then, espe- in conversation cially lies in the way it crosses the boundaries of the arts, academic, cul- tural, information and business sectors to provide a coherent vision of the na- tion’s music. Music Australia functions as a top- layer, federated discovery service to metadata with digital content created, archived and delivered by individual organisations. It provides the user with the facility to search and find music and music-related resources physically scattered across the nation, where vast geographical distances, remote loca- tions, dispersed collections and low lev- el of community funding mitigates

8 | ISMN Newsletter 18 (2008) the publishers themselves, the ISMN national bibliography of scores enabled service together with Music Australia is her to easily find out what was going evolving an important means by which on. 400 - 500 items were published Australian publishers can make their each year, this number did not imply publications known to, and available electronic scores. She would try to find to, the public – irrespective of their lo- out how many electronic scores were cation in Australia or in the world.” published in Norway. The Chairman said he was impress- The Chairman added that the Nor- ed by the professional work of the Aus- wegian National Library had a very tralian National Library. It was one of good website (http://www.nb.no) the best examples for application of which also featured the union catalogue standards. He encouraged everybody to of Norwegian publications. look at the Music Australia website on the Internet (http://www.musicaustra Nazeerah Gopaul reported that SIN- lia.org). He added that with Brad GAPORE only joined the system in 2007, Cummings a new colleague was now so they were still at a beginner’s stage responsible for the ISMN agency in and had had a soft launch last year. Australia. They had held on with their work, since the change to 13 digits had not Berit Holth from NORWAY reported yet taken place and since they had on her work. Last year she had hosted wanted to start with allocating 13-digit the AGM and Panel meeting where we ISMNs right away. Currently, they were busy with explaining publishers the ad- Sauliah Saleh from Indonesia vantages of the ISMN. Publishers were really interested in using the numbers. salam which also collected music. The Singapore ISMN agency was con- There were only a few composers and nected to the legal deposit department. music publishers in his country, the Nazeerah Gopaul tried to convince that music industry was rather small. So department to collect the complete na- there was still a lot of work and chal- tional heritage. So, when assigning a lenge for the future. number they also informed the publish- The Chairman commented that for ers to send copies to the legal deposit ISMN it made no difference whether department. They intended to put gen- the items numbered were for sale or eral information online. In August free of charge. The aim was to point at 2008, they would introduce the ISMN them in order to retrieve them, prefer- to publishers, inform them about how ably in electronic library catalogues. to apply for the number, what the ap- That offered the option to link them plications are, etc. with other metadata or catalogues and other related items. He pointed out Dr. Sauliah Saleh from the National that ISMN was also the link for rights Library of INDONESIA, the host of this management. The aim would not just Berit Holth (front) from Norway and year’s AGM and Panel meeting, thank- be numbering items of sheet music, but Nazeerah Gopaul from Singapore ed all participants for attending this taking advantage of the network of meeting. She reported that in Indone- identifiers that made it possible to had learned more about music publish- sia, so far only 27 publishers used bring the royalties from e.g. the broad- ing in Norway. The agency existed ISMN, and that her agency was trying casting station to the composer or since 1996, at first at the University Li- hard to convince the other music pub- rights holder. There might be a direct brary in Oslo, since 1999 at the Nation- lishers to join the system, too. The li- link from the ISMN to the right hold- al Library. The Norwegian population brary planned to hold a seminar on er’s account number. So, implementing was rather small (4.6 million inhabi- ISMN, ISBN and ISSN, soon. the ISMN system proved as important tants). So, there were 66 companies to small countries as to large countries. with ISMN. 11 of them were not active As there was an observer from BRU- any more, so their numbers would un- NEI DARUSSALAM, Mr. H. Abd. Thahib fortunately not be used any more. Most bin H. Tassim, Hartmut Walravens ask- Norwegian music publishers used the ed him to tell about music publishing ISMN very eagerly, only a few did not in his country. Mr. Thahib reported use it. The transition to the 13-digit that the population was rather small, ISMN went very easily, without prob- only 400,000 inhabitants. He came lems. Dealing also with registering the from the main library of Brunei Darus-

ISMN Newsletter 18 (2008) | 9 REVISION OF THE ISMN might be revised at any time without a notated music started with 979. But STANDARD AND THE ISMN bureaucratic procedure. We would no- soon books would carry numbers start- USERS’ MANUAL tify the agencies of any changes and ing with 979-1 or 979-5. This meant, would present the up-to-date version we would have to inform the distribu- on the Internet. We wanted to be flexi- tion chain and software companies The Chairman gave a summary of the ble in respect to adapting the manual to about the new apportionment. This development of the ISMN Standard re- the communities’ needs. was important as for example in the vision. All ISO standards came under The major changes between the 10- United Kingdom distributors did not revision every four years. It had to be and the 13-digit ISMN and why it was open their eyes for the 979 code for checked whether they were still useful important to inform the supply chain of music. Their systems mostly refused to for the communities. The International the change: process that number in. So we circulat- ISMN Agency had followed the United Before, there had been the letter ed the plea to our members to contact Kingdom’s community’s wish to switch “M” to indicate that the number was their national distributors, the respec- from 10 to 13 digits, as did ISBN. an identifier for music. Some colleagues tive software people, wholesalers etc. to There had been no technical necessity for it as with ISBN. ISBN had actually run short of numbers which with ISMN had not been an issue. But for wholesalers, as it had turned out, 10- digit numbers then appeared outdated. So, ISMN also turned to 13 digits. The change to 13 digits was a much bigger one for ISBN since the check digit had been calculated on a different modulus. ISBN check digits were now calculated according to modulus 10. But ISMN had used modulus 10 right from the beginning, so the check digit remained the same for 10-digit as for 13-digit ISMNs. Therefore, the ISMN community did not have to cope with difficult technical procedures. Original- ly, we had hoped for the same sunrise Hartmut Walravens thanking Dr. Sauliah Saleh for her and her staff’s date as with ISBN, January 2007. But excellent organisation of the meeting this could not be realized due to the change of the ISO secretariate and oth- regretted that the M was now missing. make it clear to them that 979-0 was er reasons. So, the Draft International But when printed, the 13-digit ISMN the normal beginning of a number for Standard (DIS) had been put up for was always to be preceded by the let- notated music. This information cam- ballot only by end of last year. The vot- ters “ISMN”. And when being process- paign should be made in each country ing period had ended in May 2008, ed, the M would not show up anyhow by end of the year. The same held true shortly before the ISO TC 46 meeting as a letter but be replaced by its numer- with library systems. It was important in Stockholm. All voted positive, and ical value. that all technical systems could process there had been only a few comments, Now, as the Chairman said, the the 13-digit numbers. but no change in the wording of the number was easy to handle for elec- Another question was the handling DIS appeared necessary. It had been tronic processing. It carried the same of old 10-digit numbers. In some coun- resolved that the draft should be made prefix that earlier had been used for the tries the ISMN system developed only the final standard and that it should be barcode version: the Bookland code slowly, few numbers were assigned, so published as soon as possible. 979. The first tenth of 979 was reserved there was no big backlog of old num- The topic had been discussed sever- for ISMN: 979-0. This had a historical bers. On the international level that al times with the ISMN community, last reason: In former times, the ISBN and was different but the 10-digit numbers time at the AGM and Panel meeting in the ISMN administration had both did not have to be changed in library Oslo 2007. Therefore the ISO TC46 been located at the State Library in catalogues or directories etc. It was im- SC9 secretariate could be convinced Berlin. It was more or less the same or- portant that librarians saw to the corre- that the new Standard should be effec- ganisation, so we could easily take a spondence between their catalogue and tive as of 2008. Meanwhile, the Interna- part of 979 for music. Now, ISBN the number printed on the item. The tional Agency had set to work with the would soon start using 979, too, i.e. solution was to replace the M by 979-0. new version of the ISMN Users’ Manual 979-1 to 979-9. If at the present time a The check digit remained the same. For which was circulated to all agencies and book was numbered starting with 979 use in OPACs, we would recommend was also on our website. This manual that would be an error. Currently, only to use plug-ins that would allow search

10 | ISMN Newsletter 18 (2008) by 10 or 13 digits. So the user did not notice any difference, he just keyed in the ISMN either in 10- or 13-digit form, and the system did the rest. That would be easier than trying both num- bers manually. The new Standard would include some new terminology. Accordingly, the ISMN Users’ Manual would also in- clude a paragraph on terminology. Some members of the working group were not happy with the terms sheet music or printed music. Nowadays, sheet music was also available in other formats, Internet formats, downloads. So it was now called notated music. Another thing was the spread of electronic publications. Traditionally, we had focused on publications on pa- Banner in front of the hotel announcing our meeting per. When performing, musicians want- ed and needed a piece of paper in front strong market players, as well as good presented. The Chairman was not in fa- of them when playing music. A screen sources for individual customers. E.g. vor of including it, because libraries would not be practical. But as to the when in a small town no music shop and wholesalers had their own more distribution and because of the over- existed, or it was very expensive to or- detailed metadata requirements. E.g. head in distribution, circulating printed der from a foreign country. The Inter- some included price changes, others material worldwide, it was a good idea net was cheaper and quicker. For the not. But the standards specialists to offer notations for download. There customer, the rights management was thought it should be done in line with was much downloadable music now. the supplier’s business. This was an im- the ISBN Standard. When we approached Internet suppli- portant argument when agencies talked So this kernel metadata set was ers, we found that they were often not to customers in their countries. mainly for user communities outside interested in cooperating. Sometimes The Chairman stated that the new the libraries and established music they had unclear sources for their mate- Standard and the Users’ Manual paid trade. rials, with obscure rights situations. Of more attention to electronic formats There had been some comments on course, it would be very nice if all those than before. Electronic formats were as the DIS e.g. from a music publisher re- items were identified by ISMNs. But eligible for ISMN as printed items. garding the allocations in a case of a set using such a unique identifier might The Users’ Manual also had an ap- and separate ISMNs on the parts. The lead to – for them – unwanted ques- pendix on metadata. A short listing of reason why this procedure was stipulat- tions. On the other hand they were the minimum required metadata was ed in the Standard went back to anoth- er requirement of the trade. Sometimes Bettina von Seyfried, Tieke Atikah and Dalia Smoriginien‹ enjoying a short coffee break a publisher decided to sell a publica- tion in parts instead of as a whole set. This might e.g. happen in the case of damage. It would be a lengthy list for the bookseller to reorder exactly what part was damaged. As resolved by the ISO TC 46 SC 9 working group, the few comments on the DIS did not require changes in the text. Nazeerah Gopaul suggested that the Music Publishers’ International ISMN Directory should be published and should not only exist for internal use. As she said it would make an attraction to many publishers to be listed there. The Chairman reported that the In- ternational Agency was of the opinion that our database should be made avail- able free of charge on our website, but

ISMN Newsletter 18 (2008) | 11 that not every agency agreed with that. Dalia Smoriginien‹ reported that ISMN Standard was established, the The question was, should the ISMN the National Library of Lithuania had a German Buchhändlervereinigung publishers data (i.e. publisher number, new publisher’s catalogue that was very (booksellers association) who ran the name and address) be kept confidential popular although some publishers did BIP decided to publish a Music in or should they be put up as a database not want to be listed. print, too. They used the same business on the IA’s website? Those agencies Hartmut Walravens agreed that some procedures, strategies and fees as for that maintained websites, like e.g. Nor- institutions had sensitive data like birth the BIP. Due to the fact that book and way, offered that data free of charge, dates that should not be published. music publishers lived in very different whereas e.g. the German ISMN agency Berit Holth informed that in Nor- worlds, this was no success. Books were sold these data as part of a package. way everybody even could read on the made for quick marketing, were more Berit Holth agreed with Nazeerah Internet how much anybody in this topical, their publishers were more in- Gopaul to publish them free of charge. country earned. terested in bestsellers. With music, Bettina von Seyfried remarked that The Chairman summarized that the there mostly were no bestsellers and although she agreed, we should think Panel meeting recommended that pub- the sellers often felt much closer to of how much work and money some lisher prefixes and the corresponding their subject. companies had invested for keeping the metadata (name, address) should be Berit Holth added that notated mu- data up-to-date. Maybe they had the made publicly available on the Internet. sic had actuality for years, which made right to get some money from it. But on it a long-seller instead. the other hand, these data were public- The Chairman emphasized the dif- ly available, so there should be no rea- ference between music publishers and son for us not to publish them. NATIONAL BIBLIOGRAPHIES book publishers. He thought that if The Chairman stated that the con- business people did not take that into tract with the agencies required them account, a Music in print would not be to give the data free of charge to the In- The Chairman described the policy of successful. He mentioned that the new ternational Agency for making them some agencies (e.g. Czech Republic and German ISMN agency produced a cat- publicly available. On the other hand, Hungary) that took efforts in having alogue which marked the first step of there was a special situation in the pub- mostly publications with standard iden- becoming an international Music in lishing sector different from e.g. the tifier in their national bibliographies. If print. They cooperated with the British food sector: Big supermarkets had e.g. a publication did not have an ISMN Music Publishers Association. He ex- 10,000 articles with bar codes in stock. they allocated one themselves and then pressed his hope that other countries They might work with 700 suppliers informed the publisher about it. So, the would join and let their publications be and when the price for an article went largest part in these national bibliogra- listed. Momentarily, wholesalers had up they just looked for another suppli- phies carried a standard identifier. This their own in-house systems. World- er. In the publishing business this was procedure motivated publishers in gen- wide, about 30 different companies had different. E.g. in Indonesia there was eral to use the number. small Music in prints which was not mainly traditional Gamelan music and economical. He hoped that one of also pop music. But there might also these directories would become so be somebody interested in Latin Amer- good and strong that the others would ican dance or Hungarian folk music. So TRADE DIRECTORIES join. The German/British Music in potentially anybody in Yogyakarta print was just given as an example, we might want to get any music publica- did not intend to advertise it. However, tion. Unlike the supermarket buyers The Chairman described that being the existing one looked pretty good. who bought the same things every there a lot of national or regional Books Anybody interested might feel free to week, they might want to buy very di- in prints (BIP), ISMN had been aiming contact the German or UK agency for verse things every now and then. This at having also Music in prints. The ad- more information. Also, the Music Aus- customer or his music seller would vantage of such a directory would be to tralia website was a very good example need the address data to order them. see what music really was available and for a library application in the music Without making those data available to what not, and to see also details like field. The Chairman thought it to be a the interested public we would be de- e.g. the price. Other than with BIPs, model for all national libraries since feating our own purposes. We would Music in print so far did not exist, de- this information system did not only want to be facilitators for people to get spite the fact that it would have an in- deal with one aspect of material, e.g. as quickly and efficiently as possible ternational market since there would be printed material. Many of the national what they needed. So, we should con- no language barriers. Music was a truly libraries also had manuscript depart- tinue to follow this policy as long as the international language, only with the ments where they kept papers of com- whole ISMN community did not com- limit that there were many music illiter- posers or poets, or they collected re- plain. ate people. cordings. He recommended the Nazeerah Gopaul announced to The Chairman reported about the agencies to look at these mentioned make Singapore’s publisher numbers first steps towards a Music in print that agencies’ websites to see what could be available on the Internet. were taken in Germany: When the done.

12 | ISMN Newsletter 18 (2008) ARCHIVING MATERIAL IN with them, also as ISMN agency. They NEXT ISMN ANNUAL ELECTRONIC FORMATS might also be able to open contacts to GENERAL MEETING music publishers.

As the Chairman said several libraries The International ISBN Agency is now were involved in archiving material in based in London, but as the Chairman electronic formats. The Scandinavian IAML stated, we still had a very good relation- national libraries had been pioneers in ship with them. In many countries (40 doing so. They used NBN (National out of 47), the ISMN and the ISBN Bibliograpic Number) which is a URN The Chairman outlined that the Inter- agencies were situated in the same insti- (Uniform Resource Name) as identifier national Association of Music Librar- tutions, and often the same people for all this material. URNs were avail- ies, Archives and Documentation were in charge of both. Most libraries able free of charge and were able to in- Centres (IAML) was a very helpful or- did not have the money to send a dele- corporate ISO standard numbers. So ganisation, too. The British IAML col- gate to both meetings. So the idea came you could include an ISMN in a NBN. leagues came up with the ISMN idea in up to align both meetings, in the fu- If you had the number on the system it the 1980s. Since then, IAML proved to ture. The ISMN meeting could take facilitated the work because you did be a very strong supporter of the place on the first day, the ISBN meet- not have to deal with long strings but ISMN. If ISMN agencies had a IAML ing on the second day, any additional you had the advantage of having branch nearby it was a good idea to programme for both could be done on Internet material in the same file system keep contact with them. the third day. We would guess to have a as the printed music identified by much larger attendance then, even if ISMNs. There was one requirement for longer trips would be involved. And it this: the name space identifier. If you would ensure better communication on wanted to make it clear that a certain ISMN AND ISBN RELATION- our network. string contained an ISMN, you had to SHIP We were planning to have the 2009 indicate it at some place at the begin- AGM in Europe again, since we ning of the number. thought this might make it possible for URNs were used for ISBN, already. Hartmut Walravens had been responsi- more delegates to participate the meet- Hartmut Walravens had talked to Juha ble both for ISBN and for ISMN for a ing. The other option for 2009 would Hakala, the expert for this, at the long time. He reported that in former be to already align with the ISBN meet- Stockholm ISO TC 46 SC 9 meeting years he was asked why there were dif- ing which would take place in Seoul, and suggested to have a name space ferent numbering systems for these South Korea, in September 2009. The identifier for ISMN, too. This would be types of publications. Also, a number advantage would be a synergy regard- important since electronic archiving of music publishers assigned ISBNs to ing the possible attendance. Also, the was a hot topic as more sheet music be- their music. The reason for this dated National Library in Korea was thinking came available in electronic formats. back to the old times when there was about introducing the ISMN in South The ISO Standard provided the assign- no ISMN. Now, we were trying to con- Korea, so might be China and Japan. ment of different ISMNs for different vince them to use ISMN. The ISMN Holding an AGM in Seoul could mean electronic formats. There came, indeed, was a means of keeping all music mate- speeding up the implementation pro- some criticism from publishers who fa- rial together. Music publications could cess in those countries. vored to use just one ISMN for the dif- easily be filtered out of large databases. All participants agreed that it was a ferent formats. But the distribution Notations could easily be found without good idea to combine the meetings. Be- needed a unique number for each item. going through millions of book entries. rit Holth asked whether only the fund- Differences could also be seen in the ing was the reason for the small atten- rights business. There were different dance in Yogyakarta, or whether maybe identifiers on the work level and the the long trip deterred people from par- MUSIC INFORMATION manifestation level: ISWC (Internation- ticipating in the AGM. CENTRES al Standard Work Code) on the work Bettina von Seyfried answered that level, ISMN on the manifestation level. as we were representing an internation- When it came to commercial use of a al number, we had to go around the There were about 25 Music Informa- piece of notated music, the royalty world and had to overcome long dis- tion Centres (MIC) worldwide. Most of chain would be ISMN – ISWC – ISNI tances. She suggested that if funding them collected contemporary music, (International Standard Name Identi- was a problem people could try to get and they kept contact to composers, fier). There was a different standard additional funding from other institu- helped them with the rights situation, identifier for textual works (ISTC), so tions, maybe if they read a paper at the found a publisher, lent compositions to notated music and books went differ- meeting. people for performances. Some of the ent ways. Also, the ISMN would be the Dalia Smorigienen‹ suggested to a- MICs also served as publishers. For ideal link for ISRCs (International lign both meetings. If it proved unsatis- many people it was useful to cooperate Standard Recording Code). factory we could change again in 2010.

ISMN Newsletter 18 (2008) | 13 Hartmut Walravens added that in INTERNATIONAL SEMINAR OF serves different purposes such as: many cases not the people directly in Recognition of authors’ rights THE INTERNATIONAL ISMN charge of ISMN or ISBN attended the International cooperation – i.e. respective meetings but that often AGENCY ON THE BENEFITS OF THE through the possibility of new data- somebody from the management level bases took part. They gave other input on a USE OF ISMN FOR PUBLISHERS, The global usage of music material more general level which was also very LIBRARIES AND TRADE including printed music important. He also mentioned that “Helps overcome difficulties” that ISBN and ISSN meetings already had arise through language gaps, differ- aligned their dates (e.g. in 2009 ISSN For the second day of the ISMN meet- ent spellings and different alpha- meets in Beijing one week before the ing, the National Library of Indonesia bets, etc. ISBN meeting in Seoul). had organised an International Seminar He resumed that he got the impres- on Standard Numbering of Printed I’m sure there are many more rea- sion that the participants saw a positive Music. It was themed “Music brings us sons and future applications that can effect and synergy in combing the global inspiration and unity in diversity be added to this list, but in generally meetings. We would, of course, have of society, politics and culture”. Sri Sul- speaking there is much to be said for separate meetings, one day ISMN, the tan Hamengku Buwono X, the Gover- the use of standard identifiers. The other day ISBN. As of 2010 we would nor of Yogyakarta, had sent his repre- ISMN serves as a “fingerprint” which either continue with this or have sepa- sentatative, Mr. Tri Harjun Ismaji, who identifies an item in an unmistakable rate meetings at separate dates, again. opened the event by ceremonially beat- manner. ing a big gong. As soon as music is used, the ques- 115 participants (from libraries, re- tion of the composer’s rights come up. cording companies, and local govern- To protect these rights we need to see GENERAL QUESTIONS ment institutions) attended an elegant major changes in technical information traditional dance performance from the systems available today. Anything that’s Sultan’s Kraton dancers followed by connected with downloading material Dalia Smorigienen‹ asked how to pro- very interesting papers. Hartmut Wal- requires digital rights management. ceed with songs as some-publishers ravens gave a comprehensive presenta- This is a problem which is recognised wanted to use ISBNs for them because tion on the ISMN and its advantages. world wide. the publications gave also the text of Bettina von Seyfried spoke on the ben- In the field of sound-recordings the songs. Others wanted an ISMN be- efits of ISMN application. Prof. Dr. we’re already confronted with the ma- cause the publications contained also Triyono Bramantyo, Dean of Institut jor problem of multiple copying of sin- notated music. Seni Indonesia, the Indonesian Cultural gle downloads. Technically this isn’t a As Hartmut Walravens pointed out Insitute in Yogyakarta, gave a report on problem, but the public must be made this was an overlap area. E.g. when the variety of music in Indonesia. Ms. aware that someone must foot the bill. there was a songbook with an equal Utiek Ruktiningsih, Head of Lokanan- There are many creative, in our case amount of lyrics and notation, the pub- ta, presented that biggest recording musical, people that create music lisher could choose which number he company in Indonesia. The fifth speak- through composing and others by per- would like to use. The most pragmatic er, Mr. Indrato Budi Satryo from ASIRI forming it. The same goes for written approach would be to assign both (Asosiasi Industri Rekaman Indonesia / materials, filming, photography etc. In numbers. Then the publisher set his Association of Recording Industry of all these fields, artists create and – foot in both sectors and distribution Indonesia), underlined the need of through our new systems of communi- channels. standard numbering as a tool of rights cation – distribute their products invol- Nazeerah Gopaul outlined the need management to fight product piracy untarily and without remuneration, to raise awareness about the ISMN. which was a very serious problem in In- making it more and more difficult to She asked if the International ISMN donesia. make a living wage. This misuse is ram- Agency had also approached the print- Mr. Ida Fajar Priyanto, MA, moder- pant in the music field. ers along with the publishers. The ated the lively discussion around the I, as a user of books, printed music Chairman answered that the IA did not advantages and application of the and sound recordings can think of one do that but that we encouraged our ISMN that ended the seminar. major reason to use an international members to keep close contact with standard number – the simplicity of printers. They were usually good allies world-wide communication through and informed a publisher when his mu- numbers used as a fingerprint, enables sic had no ISMN and might convince WHY ISMN ? ordering world-wide by eliminating the him to use it for better distribution. language and alphabet gaps – is simply By Dr. Bettina von Seyfried FUN! World-wide communications, the The usage of an internationally recog- Internet and whatever follows it de- nized system of digits as the ISMN mands a high level of simplicity, i.e.

14 | ISMN Newsletter 18 (2008) also have their own specific uses and functions. Whilst millions of numbers of pop- ular/folk music remained unwritten and disseminated orally from gen- eration to generation, traditional (or classical or courtly music) have been elaborately developed in the form of some notation systems, i.e. ‘notasi rante’ and ‘notasi kepatihan’ (‘rante’ and ‘kepatihan’ notations), etc.

3. POPULAR OR FOLKSONGS

Popular music and folksongs of In- donesia are quite some in number and most of them were composed The podium at the International Seminar by unexposed composers (no- name) and thus the music or songs easy handling inspite of complex appli- ed music could be downloaded or sent have become the belonging of the cations. to certain e-books like e-paper and e- given society at large. Not only that I recently attended the German Li- ink for direct use. Paper is no longer they are no-names but also that brary Congress in Mannheim. I receiv- involved. Such a publication equipped they are born as oral traditions, ed so much input on this theme, that I with the right numbering system will transmitted orally down from gen- could talk about it for hours! It con- take part in the electronic community, eration to generation, and thus they firmed for me that ISMN is the correct and it will be part of a world-wide pay- are dynamically open for changing. decision. ment system which is already well on its A popular song like ‘Poco-poco’ is I saw examples of databases that in- way! being composed by a known com- cluded an extra button for further in- poser and written on a numeric no- formation on the topics researched i.e. tation but due to its Papuan folk- ISBN (for books) or ISSN (for serials) song characteristic, it also can be – the sister numbers of ISMN. You ISMN: THE INDONESIAN included in the category of folk- could manoeuvre directly to the home- CASE song. The number of this genre is page of the publisher, as well as to a By Prof. Dr. Triyono Bramantyo, Dean of also countless. shop to order the item or gather further Institut Seni Indonesia, Yogyakarta information. The clear identification of 4. WESTERN HYBRID an object serves as the foundation of an 1. INTRODUCTION international system which can be ac- ‘Kroncong’ is probably the most cessed with a simple click! well known example of Western Indonesian music culture, at least This all comes down to the subject can be divided into 4 genres; tradi- hybrid since its musical instru- of paying for the use of “sound” and tional, popular, Western and East- ments are Western though its vocal the need to establish a system that is ern hybrid and industrial. style is definitely Indonesian. able to reach out to the composer, lyri- ‘Seriosa’ is surely Western in its According to their implementation, cist, musician, publisher and sound- they simply can be divided into two style, only its text is Indonesian. recording firm to enable a cash-flow categories; based on oral tradition This genre takes us to the romantic between all the people and institutions and recent development of writing arias of Schubert and the poetic of involved – especially the publishing on the so-called music notations, Schiller and Goethe. and recording companies!! both numeric and block nota- The history of ‘Seriosa’ (Indone- Once installed, this identifier will tions. sian Lied-like songs) dates back to serve to receive income as soon it the 1940s when Western educated comes into heavy use. For the “sound” 2. TRADITIONAL MUSIC Indonesian composers have been industry, as I already mentioned, this is so much influenced by German already very real. It is high time to Traditional music of Indonesia can and Italian Lieds. Typical charac- agree on such systems and to lead into be differed into two forms; music teristics of these genres were defi- the decisions that serve the uses of the as implemented by community nitely the same, that is to compose material and the people who created (popular/folk music) for some spe- to a given poem written by a well- and publish it. cific uses and functions and that of known poet a quite expressive mel- New formats are technically on their music born and developed in the ody in order to express the content way. It won’t be long before even print- courts and Sultanate palaces which of the poem.

ISMN Newsletter 18 (2008) | 15 7. CHINESE HYBRID

In the society of Betawi in Jakarta, they have traditional music that employed not only Western musical instruments but also Chinese instruments altogeth- er.

8. ORAL VERSUS WRITTEN TRADI- TIONS

Written culture in Indonesian musical employment is only a recent phenome- non since basically most of Indonesian music culture is un-notated and sadly to say that it is only less than 5% of the whole Indonesian musicians who can read musical notations. In this circum- Carolin Unger, Bettina von Seyfried, Hartmut Walravens and Prof. Dr. Triyono Bramantyo at the stances, the question may arise whether Institut Seni Indonesia notation is meaningful or useful at all?

9. INDONESIAN ISMN: IS IT NEC- Pop music: in 1960s, early Indone- in Indonesia, ever given any cultur- ESSARY? sian pop music has been flourish- al contribution to Indonesia. ing, mostly having got its influence Pops classical orchestra has been so from American pops varied from popular recently that almost every- Due to the fact that only a very small Tin Pan Alley to Elvis Presley and day on the TV shows there is a number of Indonesian musicians are lit- from the UK such as from the group of pop band performance erate in any musical notation, I guess Beatles, Rolling Stones and Queen. being accompanied by an or- that musical numbering is not yet nec- Indonesian Jazz has been develop- chestra. essary unless when ISMN comes hand ed quite significantly from the early Meanwhile, on the other hand, in hand with the copyright. But to start career of Bubby Chen to Jack Les- most of Indonesian classical or- the project in writing all the existing mana until recently that yearly held chestras have disappeared due to Indonesian music cultures can be such Java Jazz Festival has been widely bad management and lack of fund- a huge job to be taken. known as one of the most presti- ing. Only one semi-professional or- 10. ISMN VERSUS PIRACY gious Jazz Festivals of the world. chestra is existing now in Indone-

Indonesian orchestras: earlier sia, and this band is under the Western classical orchestra has patronage of the Indonesian Cen- Due to the fact that piracy is a serious been set up by the Radio Republic tral Bank (Bank Indonesia). problem here in Indonesia it is likely a of Indonesia (RRI) in Jakarta, Yog- hard job to start with the idea of Indo- 5. INDIAN HYBRID yakarta and Solo, but long before nesian ISMN. Dealing with piracy is as that, the Sultanate of Yogyakarta, terribly difficult as combating corrup- under the reign of Sultan Hameng- Indian influences on Indonesian music tion in this country. ku Buwono VI (l 855-1877), has al- can be seen in the form of Orkes Me- 11. ROYALTY VERSUS COPYRIGHT so set up a court orchestra. layu and its offspring so-called Orkes The instruments for the orches- Dangdut. Whilst it has regained popu- tra and the printed scores (mostly larity in the middle and lower class of Despite its significant contribution to Western symphonies) of its reper- society, almost none of them is compos- the GDP, musical works are hardly be- toires were a gift of King Abdul ed in the form of written notation. ing shielded by the law since even Madjid II (l 842-1918) of Turkey as Many other forms similar to this genre though the law did exist, but the en- a dedication to the Sultanate of do exist but similarly, they are also un- forcement is almost none, thus most Yogyakarta as a sign of friendship notated. musicians do not receive the royalties between two Islamic Sultanates. which they deserve to have. Gesang, for Interestingly, since then, the or- 6. ARABIAN HYBRID instance, receives his royalty every year chestra was led by the German ar- from his “Bengawan Solo” not from his tist and musician Walter Spies. The The influence of Arabian music can be Indonesian recording company, but Dutch, as the colonialist, on the found in so many forms of Islamic mu- from the Japanese agency who is re- contrary, had never in their three sic flourished mostly in Sumatra and sponsible for distributing this song in and a half centuries of occupation Java. Japan.

16 | ISMN Newsletter 18 (2008) 12. CONCLUSION ture. Beginning in 1958/1959 discs TITLE OF PLAY were offered for sale through the radio Most of Indonesian music cultures stations, using the label “Lokananta”. If the work recorded is a play, the title are un-notated and most of Indo- The name Lokananta is that of the is given in italics in line 2, after the nesian musicians are notation-illit- mythical first gamelan created by the genre identification. erate. god Bathara Guru. The dynamics of oral tradition is In 1961, apparently in recognition DATE OF ISSUE that it is open for changing as it is of the commercial potential of phono- transmitted orally down from gen- graph records, Lokananta was detach- The date when the disc was issued is eration to generation in a dynamic ed from RRI and made a Perusahaaan given in line 2, to the right of the iden- way that makes the music culture Negara (State Company), with three re- tification genre. In some cases we name so lively. sponsibilities : the first pressing (p 1), or for ijin keluar To start with Indonesian ISMN 1. to encourage, establish, and dis- (IK) atau exit permit. means a huge job to be done since seminate national arts so many musical genres are un-no- 2. to produce income for the state PRODUCTION QUANTITY tated. 3. to cooperate with other govern- To start with Indonesian ISMN al- ment agencies in programs involv- Line 2 (occasionally line 3), to the right so means to deal with the chronic ing sound recording of the date of issue. For example : disease of piracy. ARI.007, 68 Q : 1352 – means series Indonesian ISMN will be effective From this point on, Lokananta pro- Indonesian Music, the year – 1968 – Q only when the copyright law has duced its own recordings (though often = Quantity and 1352 copies had been been enforced by the government. using RRI musicians and studios). Lo- produced (Philip Yampolsky, Universi- kananta produced or manufactured ty of Wisconsin, USA, 1985). discs for sale from 1958 until 1973, us- ing a number of different formats and LOKANANTA series. These were labelled starting with LOKANANTA 1971 - 1985 : ALD, ARD, ARI, BRD, BRI, CRE, By Utiek Ruktiningsih, Head of Lokananta DN (LP series) and singles with AD and AI (D = Daerah ; I = Indonesia ; N In November 1971, as an experiment, LOKANANTA 1956 – 1971 = Nasional). Lokananta began to issue its own cas- settes, and a year later it received for- In 1956, Lokananta was founded, locat- LOKANANTA REFERENCE NUMBER (LR#) mal permission from Department of ed in Surakarta, Central Java. It is a Information to expand its activities to Government-run recording company LR numbers are of the form ARD.001, include cassettes as well as discs. which is part of the Department of In- BRI.015, etc, and are printed on the la- In 1980, they were produced by the formation. bel of the published disc. Each LR# Proyek Mass Media RRI Jakarta and Lokananta is subordinate to the designates a single disc, unless there are consisted of plays (sandiwara) present- General Directorate of Radio – Tele- letters AB or ABC under the LR#, indi- ing information and attitudes that the vision – Film, which is part of the De- cating that the item contains two or Government wished to communicate to partment of Information. As of 1985, three discs, respectively. the people. The themes of the plays Lokananta had two activities : the pro- changed from year to year until 1985. duction and duplication of audio cas- PERFORMING GROUP After 1985 until 2002 Lokananta was settes of music and theater for sale to subordinate to the General Directorate the public, and the duplication of audio The group or groups heard on the discs of Radio – TV – Film, the Department cassettes produced by another agency are named on the first line of the entry, of Information. of the Department of Information and in capital letters. distributed free to Department Infor- mation offices through Indonesia in or- JACKET TITLE LOKANANTA NOW AND THE der to disseminate government mes- FUTURE sages on a variety of topics. “JT” in line 1, after the name of the When Lokananta was established in performing group. In 2001 PN Lokananta was in liquida- 1956, it was instead of the transcription tion (PP 133/2001 ps. 8,9) and since service for Radio Republik Indonesia GENRE 2004 Lokananta is subordinate under (RRI). Its function was to manufacture Perum PNRI (Percetakan Negara Re- phonograph records for broadcast by The genre or genres of music heard on publik Indonesia), as a local branch. RRI stations throughout Indonesia. The the disc are given in line 2. The genre The activities are : master recordings were produced by names represent analytical categories Studio recording the various RRI stations and then sent and are not necessarily the names given Audio-video duplicating from an- to the facility in Surakarta for manufac- by the Lokananta sources. other agency (cassette and CD)

ISMN Newsletter 18 (2008) | 17 Local/traditional music reproduc- tion selling to the public Local/traditional music and the Government social and politics documentary (long play = 40.000 peaces and reel = 5000 items)

For the future Lokananta is devel- oping as a branch of Perum PNRI as a Multimedia Business Center/Creative Business Center with some activities : Radio – TV broadcasting (radio culture namely : Suara Lokananta were prepared) Printing and publishing Multimedia Advertising Design Music Video, Film and Photography Art Performance The participants visiting the Kraton, the Sultan of Yogyakarta’s palace We also make preparations for broadcasting short course. the AGM and Panel Meeting with an rector of the National Library, and the international ISMN seminar for inter- Chairman of the International ISMN ested parties from the whole region. Agency we were served a delicious din- The National Library kindly complied ner. This was followed by diverse per- ISMN ON TOUR – with this wish and organised this semi- formances by the most beautiful and PERSONAL IMPRESSIONS nar for nearly 120 persons. delicate dancers, accompanied by the As you can see from the minutes exotic sounds of the orchestra. Our By Bettina von Seyfried presented in this newsletter, there were stay in Yogyakarta could not have start- a lot of intense and fruitful discussions ed better than with this impressive As soon as the International ISMN on various aspects of the work of evening. Agency became an international associ- ISMN agencies and also of the music The next day brought the AGM and ation, the necessity to intensify the out- trade in the South East Asian region. Panel meeting. Dady Rachmananta reach into the world became clear. For But apart from organising a very inter- found warm words of welcome for the historic reasons, most agencies were es- esting meeting, the many colleagues participants. The meetings then were tablished in the European area, so up from the National Library also pam- intensive and stuffed with interesting to now it is these countries that profit pered us with an exquisite cultural pro- discussions and reports by the partici- most from the benefits of the system. gramme. pants. We as members of the board But it is one of the purposes of our as- The traditional ISMN dinner took could give account of the new situation sociation to expand the worldwide net- place on spectacular premises, as the of the Berlin agency, and also on the fi- work of ISMN users. So, when the Na- Sultan of the province of Yogyakarta, nancial aspects. I as treasurer of the as- tional Library of Indonesia, particularly Sri Sultan Hamengku Buwono X., in- sociation was happy to refer to the re- the Director Dady P. Rachmananta and vited us for having dinner at his palace. port of the cash auditors who had the local ISMN officer Dr. Sauliah Sa- We were welcomed by his representa- examined our financial transactions leh, kindly offered to host the ISMN tive and were seated at tables next to and had been very content with our Annual General Meeting (AGM) and one side of a gorgeous open hall. The work in that respect. Panel Meeting in 2008, the ISMN com- other side was filled with a very large Since the advised paper on Music in munity happily accepted that proposal. old Gamelan orchestra entertaining us Indonesia unfortunately had to be can- So far, only a few South East Asian with the most excellent version of this celled since the speaker, Prof. Artur Si- countries belong to the ISMN world: traditional Indonesian music. It was mon, could not attend the meeting, the Besides Indonesia, the Philippines, Sin- hard to tell how many people belonged most efficient and agile Sauliah Saleh gapore, and Sri Lanka. We hoped, by to the orchestra and how many instru- had organised an interesting alternative going to Indonesia, we might be able to ments of all kinds were there, as e.g. (see the report of Prof. Bramantyo at better advertise the ISMN and to at- gongs and cymbals of all sizes. There the seminar). tract more countries to join the system. was also a choir made up of about 10 The evening led us to a modern am- For this reason, we asked the National singers. After the official addresses of phitheatre where a traditional Indone- Library in Jakarta, to please combine the representative of the Sultan, the di- sian ballet was presented, all this in

18 | ISMN Newsletter 18 (2008) front of the spectacular scenery of the have to use the black highlighted ancient Prambanan temple. market/product pira- The second day of the meeting start- cy whereas the gov- ed with an international seminar on the ernment turns a ISMN and its benefits for the music blind eye on that. world. Mr. Dady Rachmananta and his The vibrant discus- whole staff had taken care that this sions showed that it would prove to be a great success. had been a very good About 120 participants came together idea to combine the at an elegantly furnished hall to listen AGM and Panel to interesting papers. Due to the great meeting with such a sense of Indonesian hospitality, this seminar. event did of course not start without The day ended welcoming words of the Sultan’s repre- with a visit of some The Borobodur temple near Yogyakarta sentative, who for the opening hit a big temples outside Yogyakarta. Only a impressive gong. This, apart from a few decades ago the overwhelming NATIONAL / REGIONAL ISMN welcome address from Mr. Dady Borobudur temple had been found un- AGENCIES Rachmananta, was followed by a dance der a thick layer of lava. It is now re- ceremony by again female dancers from stored and bears really impressive wit- ARMENIA the Sultan’s palace. All this was covered ness of the beauty of Indonesian National Book Chamber of Armenia. Att.: Mr. Hovhannes Bekmezyan. G. Kochar st. 21, 375009 Yerevan-9. Tel (+374 1) by lots of photographers and a film religious architecture. 527595. E-mail: [email protected]. URL http://www. team who showed that our conference The last day of the meeting began book-chamber.am made up for a very important event. with a guided visit of the Kraton, the AUSTRALIA The podium was framed with flow- palace of the Sultan. At our dinner ISMN Agency, Music Acquisition and Cataloguing. National Library of Australia. Att. Dr. Bradley Cummings. Canberra ers and had a big banner hanging on there, it had already been dark, so now ACT 2600. Tel (+61 2) 62621692. Fax (+61 2) 62734322. E- the wall above it with the slogan “Mu- we enjoyed strolling through some of mail: ismn@nla. gov.au. URL http://www.nla.gov.au/services/ ismn sic brings us global inspiration and uni- the many magnificent buildings which ty in diversity of society, politics and each served a special purpose. After AZERBAIJAN Khazar University. Khazar University Press. ISMN Agency. culture”. Hartmut Walravens was the that we visited Prof. Bramantyo’s ISI Att. Mr. Zakir M. Yusifoglu. 11 Mehseti St., Baku AZ1096. Tel first speaker and gave a comprehensive institute for music and the arts. There (+994 12) 4217916. Fax (+994 12) 4989379: E-mail: report on the application of the ISMN. we had the chance to get an impressive [email protected]. URL http://www.khazar.org I followed with a presentation of the look at the diversity of Indonesian cul- BELGIUM Partitor vzw. Att.: Mr. Marc Hofkens. Molenhoekstraat 33, benefits of the number. ture by watching young students danc- 9170 Meerdonk. Tel: (+32 3) 2963367. Fax: (+32 3) 2885242. My main topic was the use of ing and playing traditional and modern E-mail: [email protected]

ISMNs for copyright purposes. It was music for us. It was also with great BOSNIA AND HERZEGOVINA my aim to clarify that also notated mu- pleasure that we heard of the just now The National and University Library of Bosnia and Herzego- sic profits from the marketing and sale arisen plan to notate Indonesian tradi- vina. Att.: Ms. Nevenka Hajdarovic. Zmaja od Bosne 8B, 71000 Sarajevo. Tel. (+387 33) 212435. Fax: (+387 33) 212435. of recorded music. Standard numbers tional music that so far is only rendered E-mail: [email protected]. URL http://www. nub.ba like the ISMN which identifies a music without written manifestation. These BRAZIL notation unmistakably, will in the notations will then all get ISMNs. This Fundação Biblioteca Nacional. Agéncia Brasileira do ISMN. future be of key importance in proved that our seminar already had Att.: Ms. Liana Gomes Amadeo. Rua Debret 23 - 8. andar, sala 803. Rio de Janeiro Centro 20030-080. Tel.: (+55 21) copyright questions. made good impulse. 30953953. Fax: (+55 21) 25448596. E-mail: [email protected]. URL Prof. Dr. Triyono Bramantyo gave During those few days in Indonesia http://www.bn.br an overview on the different kinds of we as guests from foreign countries had CANADA Indonesian music. Ms. Utiek Rukti- the pleasure to learn a lot about the dif- Library and Archives Canada. Director, Acquisitions Direc- torate. Published Heritage Branch, Canadian ISMN Agency ningsih illustrated the work of the mu- ferent kinds of music in that region. On Att.: Mr. Jean-Eudes Bériault. 395, Wellington Street. Ottawa, sic business in the region. Mr. Indrato the other hand, we saw that offering Ontario K1A 0N4. Tel.: (+1 819) 994-6872. Fax: (+1 819) 997- 7517. E-mail:[email protected]. URL Satryo reported on copyright problems seminars on ISMN and the music sec- http://www.collectionscanada.ca/6/12/index-e.html in Indonesia, since the country does tor is a good way to stimulate the CROATIA not yet have a copyright law, and so it awareness of the benefits of the stan- Nacionalna i sveu†ilišna knij…nica. Hrvatski ured za ISMN. currently is a haven for product piracy. dard music number. We met many kind Att.: Ms. Jasenka Zajec. Hrvatske bratske zajednice 4, 10000 Zagreb. Tel.: (+385 1) 6164087. Fax: (+385 1) 6164371. E- Mr. Ida Faja Priyanto moderated people and had interesting talks. And mail: [email protected]. URL http://www.nsk.hr/ismn the very lively discussion. Advice from we cannot thank Dady Rachmananta, CYPRUS the ISMN representatives was gladly Dr. Sauliah Saleh and all their col- The Cyprus Library. Att.: Dr. Antonis Maratheftis. Eleftherias accepted. We were told that the main leagues from the National Library Square, 1011 Nicosia. Tel.: (+357 22) 303180. Fax: (+357 22) reason for copyright infringements was enough for the perfectly organised 304532. E-mail: [email protected] the poverty among large parts of the meeting and seminar as well as the CZECH REPUBLIC Indonesian population who simply can- manifold cultural experiences they of- Národní Knihovna ‡R. Att.: Mr. Antonín Je²ábek, Klemen- tinum 190, 110 00 Praha 1, Tel.: (+42 2) 221663306. Fax: (+42 not afford to buy music and therefore fered us. 2) 21663306. E-mail: [email protected]. URL http://www.nkp.cz

ISMN Newsletter 18 (2008) | 19 DENMARK KAZAKHSTAN ROMANIA Det Kongelige Bibliotek, Musikafdelingen, Dansk ISMN-Kon- National Book Chamber of the Republic of Kazakhstan. ISMN Biblioteca Na¢ional± a României, Centrul Rom¼n ISBN-ISMN- tor. Att.: Mr. Klaus Møllerhøj, POB 2149, 1016 Copenhagen Agency. Att.: Ms. Aigul Kadirsizova. Ulica Puskina 2, Almaty ISSN-CIP. Att.: Ms. Mihaela Laura Stanciu. Str. Ion Ghica nr. K. Tel.: (+45) 33474477. Fax: (+45) 33474710. E-mail: 480016. Tel: (+327) 2300698, 2304265. Fax: (+327) 2300698, 4, 79708 Bucuresti Sector 3. Tel.: (+40 21) 3112635. Fax: (+40 [email protected]. URL http://www.kb.dk/da/kb/nb/mta/ 2304265. E-mail: [email protected], info@ 21) 3124990. E-mail: [email protected]. URL http://www. international/ISMN.html bookchamber.kz bibnat.ro

ESTONIA KOSOVA RUSSIA Eesti Rahvusraamatukogu, National Library of Estonia, Eesti The National and University Library of Kosova, National Russian Book Chamber. Deputy Director General. Att.: Ms. ISMN Agentuur. Att.: Ms. Mai Valtna, Tõnismägi 2, 15189 ISMN Agency. Att.: Ms. Edona Munishi-Kokollari. Sheshi Elena Nogina. Kremlevskaja nab. 1/9 str. 8, 119019 Moscow. Tallinn. Tel.: (+37 2) 6307372. Fax: (+37 2) 6311200. E-mail: “Hasan Prishtina” p.n., 10000 Prishtina. Tel.: (+ 381 38) Tel.: (+7 499) 7631468. Fax: (+7 095) 6889983. E-mail: [email protected]. URL http://www.nlib.ee/ismn 212458. Fax: (+ 381 38) 248940. E-mail: enimunishi@ [email protected]. URL http://www.bookchamber.ru yahoo.com. URL http://biblioteka-ks.org FINLAND SERBIA Helsinki University Library. Att.: Ms. Maarit Huttunen, P.O. LATVIA National Library of Serbia. Att.: Ms. Vesna AleksandroviÊ. Box 26 (Teollisuuskatu 23), 00014 University of Helsinki. Tel.: Latvijas Bibliogr¼fij¼s Instit½ts. Att.: Ms. Laimdota Pr½se. Skerliceva 1, 11 000 Belgrade. Tel.: (+381 11) 2451242, local (+358 9) 19144329. Fax: (+358 9) 19144341. E-mail: Anglik¼nu iel¼ 5 (Bibliotekas iel¼), LV 1816 Rƒga. Tel.: (+371) 79. E-mail: [email protected]. URL http://www.nbs. [email protected]. URL http://www.nationallibrary.fi/ 7212668. Fax: (+371) 7224587. E-mail: [email protected]. bg.ac.yu publishers/ismn.html URL: http://www.lnb.lv SINGAPORE FRANCE LITHUANIA Library Supply Centre, National Library Board. Att.: Ms. SEAM. Société des Éditeurs et Auteurs de Musique. Att.: Mr. Martynas Ma…vydas National Library of Lithuania. The Centre Nazeerah Gopaul. 3 Changi South St 2, Xilin Districentre François Leduc, 175, rue St.-Honoré, 75040 Paris cedex 1. of Bibliography and Book Sciences. Att.: Ms. Dalia Building B Level 2, Singapore 486548. Tel: (+65) 6546-7271. Tel.: (+33 1) 42967646. Fax: (+33 1) 42860283. E-mail: Smoriginien£. Gedimino pr. 51, 01504 Vilnius. Tel.: (+370 5) Fax: (+65) 6546-7262. E-mail: [email protected]. URL [email protected] 2398649. Fax: (+370 5) 2496055. E-mail: d.smoriginiene@ http://www. deposit.nl.sg lnb.lt. URL http:// www.lnb.lt/services_e.html GEORGIA SLOVAKIA National Parliamentary Library. Att.: Ms. Nino Simonishvili, LUXEMBOURG Slovenská národná kni…nica, v Matici slovenskej. Att.: Ms. 5 Gudiasvili st., 0107 Tbilisi. Tel.: (+995 32) 935862. E-mail: Bibliothèque nationale de Luxembourg. Fonds musical - CE- Erika Poloncová. Nám. J. C. Hronského 1, 036 01 Martin. [email protected] DOM. Att.: Ms. Françoise Molitor. 31, b.d. K. Adenauer, L- Tel.: (+421 43) 4224983. Fax: (+421 43) 4224983. E-mail: 1115 Luxembourg. Tel: (+352) 260959275. Fax: (+352) [email protected]. URL http://www.snk.sk GERMANY (ALSO FOR AUSTRIA AND 260959500. E-mail: [email protected]. URL: SWITZERLAND) http://www.bnl.lu SLOVENIA On behalf of the Deutscher Musikverlegerverband: Acamar Narodna in univerzitetna knji…nica v Ljubljani. Att.: Ms. MACEDONIA Management & Service GmbH & Co KG. Att.: Ms. Anne Alenka KaniÊ. Turjaška 1, p.p. 259, 1000 Ljubljana. Tel.: (+386 Schink. Kalscheurener Str. 8, 50354 Hürth. Tel.: (+49 2233) Narodna i Univerzitetska Biblioteka “St. Kliment Ohridski”. 61) 5861333. Fax: (+386 61) 5861311. E-mail: Alenka.Kanic@ 8041060. Fax: (+49 2233) 8041061. E-mail: info@ Music Department. Att.: Ms. Eleni Novakovska. Bul. “Goce nuk.uni-lj.si. URL http://www.nuk.uni-lj.si acamar-service.net. URL http://www.idnv.net/idnv/de/IS/ Delcev” 6, 1000 Skopje. Tel.: (+389 2) 3115-358. Fax: (+389 2) SPAIN index.html 3226846. E-mail: [email protected]. URL http://www. nubsk. edu.mk Centro de Documentación de Música y Danza, Ministerio de GHANA Cultura. Att.: Mr. Antonio Álvarez Cañibano. c/ Torregalindo, MOLDOVA George Padmore Research Library On African Affairs. Ghana 10, 28016 Madrid. Tel.: (+34) 913531480. Fax: (+34) Library Board. Att.: Mr. Omari Mensah Tenkorang. P. O. Box Camera Nationala a Cartii din Republica Moldova. Att.: Ms. 913531761. E-mail: [email protected]. URL 2970, Accra. Tel.: (+233 21) 223526. Fax: (+233 21) 247768. Renata Cozonac, Manager. Bd. Stefan cel Mare, 180, Office http://cdmyd. mcu.es/ismn.htm 205, 2004 Chisin±u. Tel.: (+373 22) 295746, 295916. Fax: GREECE (+373 22) 295860. E-mail: [email protected], SRI LANKA National Library of Greece. National Centre of ISMN. Att.: [email protected]. URL http://www. National Library and Documentation Services Board. Att.: Mr. Ms. Virginia Papazian, Panepistimiou 32, 106 79 Athens. Tel.: bookchamber.md W. S. Punyawardena, Deputy Director. No. 14, Independence (+30 210) 3382529. Fax: (+30 210) 3608141. E-mail: Avenue, Colombo 07. Tel.: (+94 11) 2687583. Fax: (+94 11) NEW ZEALAND [email protected]. URL http://www.nlg.gr 2685201. E-mail: [email protected]. URL http://www.natlib.lk ISMN Librarian, National Library of New Zealand. Att.: Ms. HUNGARY Joy Grove. PO Box 1467, Wellington 6140. Tel.: (+64 4) SRPSKA (REPUBLIC OF) National Széchényi Library, Hungarian ISBN/ISMN Library. 4743074. Fax: (+64 4) 4743161. E-mail: [email protected]. National and University Library of the Republic of Srpska. Att.: Ms. Orsolya Szabó. Budavári Palota F.ép, H-1827 URL http://www.natlib. govt.nz/services/get-advice/ Att.: Ms. Tatjana Dunovic. Jevrejska 30, 78000 Banja Luka. Budapest. Tel.: (+3 61) 4878670. Fax: (+3 61) 4878687. E-mail: publishing/ismn Tel.: (+387 51) 215859 ext. 124. Fax: (+387 51) 217040. [email protected], [email protected]. URL http://www.oszk.hu E-mail: [email protected]. URL http://www.nubrs.rs.ba NORWAY INDONESIA The Norwegian ISMN Agency, National Library of Norway. SWEDEN National Library of Indonesia, Perpustakaan Nasional Indo- Att.: Ms. Berit Holth. POB 2674 Solli, 0203 Oslo. Tel.: (+47) Kungl. Biblioteket. Division of Legal Deposits. Att.: Mr. nesia, National ISMN Agency, Att.: Dr. Sauliah Saleh. Jl. Sa- 23276057. Fax: (+47) 23276010. E-mail: [email protected]. URL Mathias Lindquist. Box 5039, 102 41 Stockholm. Tel.: (+46 8) lemba Raya 28 A, Jakarta 10002. Tel.: (+62 21) 3154863-64 ext. http://www.nb.no/html/ismn.html 4634083. Fax: (+46 8) 4634225. E-mail: mathias.lindquist@ 437. Fax: (+62 21) 3927919. E-mail: [email protected]. URL kb.se. URL http://www.kb.se/isbn-centralen/ismn PHILIPPINES http://www.pnri.go.id The National Library of the Philippines. Att.: Ms. Elizabeth W. TURKEY IRAN Arevalo, Bibliographic Services Div., P. O. Box 2926, Ermita, ISMN Türkiye Ajans¥, Kültür ve Turizm Bakanl¥g¥, Kütüpha- Iran Book House, Iran ISMN Agency. Att.: Mr. Ali Shojaee Manila 1000. Tel.: (+63 2) 5241011. Fax: (+63 2) 5241011. E- neler ve Yay¥mlar Genel MüdürlüÛü. Att.: Dr. Ahmet Ar¥. Saein. 1178 Palestine Crossroad, Enghelab Ave.. POB 13145- mail: [email protected] Necatibey Caddesi No:55, 06440 Sihhiye - Ankara. Tel.: (+90 1455, Tehran 13157. Tel.: (+98 21) 6414991. Fax: (+98 21) 312) 2322760. Fax: (+90 312) 2322764. E-mail: ismn@ POLAND 6415360. E-mail: [email protected]. URL http://www.ketab.ir kultur.gov.tr. URL http://kygm.kulturturizm.gov.tr Biblioteka Narodowa, Instytut Bibliograficzny. Att.: Ms. Han- ISRAEL na Zawado. Al. Niepodleg|oÎci 213, skr. poczt. 36, 02-086 UKRAINE The Israeli Center for Libraries. Att.: Ms. Ruth Haimovich. Warszawa. Tel.: (+48 22) 608 2432. Fax: (+48 22) 8255729. Kny…kova Palata Ukrainy ‘Ivan Fedorov’. Att.: Ms. Iryna Baruch Hirsh 16-18, POB 3251, Bnei Brak 51131. Tel.: (+972 E-mail: [email protected]. URL http://www.bn.org.pl/ Pogorelovs’ka. 27, Yuri Gagarin Ave, #101, 02660 Kyiv. Tel.: 3) 6180151 ext. 106. Fax: (+972 3) 5798048. E-mail: index.php?id=7&ismn (+380 44) 5735236. Fax: (+380 44) 5735236. E-mail: [email protected]. URL: http://www.icl.org.il [email protected]. URL http://www.ukrbook.net PORTUGAL ITALY Biblioteca Nacional. Centro de Estudos Musicológicos. Att.: UNITED KINGDOM Agenzia ISMN per l’Area di Lingua Italiana, Informazioni Dr. Catarina Latino. Campo Grande, 83, 1749-081 Lisboa. Music Publishers Association Ltd, ISMN Agency. Att.: Mr. Editoriali I.E. spa. Att.: Dr. Michele Costa, CEO. Via Bergon- Tel.: (+351 21) 7982016. Fax: (+351 21) 7982142. E-mail: David Butler. 6th Floor, British Music House, 26 Berners zoli, 1/5, 20127 Milano. Tel.: (+39 02) 283151. Fax: (+39 02) mlatino@bn. pt. URL http://www.bn.pt/servicos-ao-publico/ Street, London W1T 3LR. Tel.: (+44 20) 7637 4052. Fax: (+44 28315900. E-mail: [email protected]. URL http://www.ismn.it sp-ismn.html 20) 7637 3929. E-mail: [email protected]. URL http://www.mpaonline. org.uk

We would like to ask all ISMN agencies to kindly inform us if your address and communication data changed. Internationale ISMN-Agentur e.V., Schlossstr. 50, 12165 Berlin, Germany Fax: (+49 30) 7974 5254 E-mail: [email protected] URL: http://ismn-international.org

20 | ISMN Newsletter 18 (2008)