InternationalAssociationofMusicLibraries,ArchivesandDocumentationCentres(IAML) InternationalMusicologicalSociety(IMS)  Congress “MusicResearchintheDigitalAge”  NewYork,USA 21–26June2015,TheJuilliardSchool  Programme (withabstracts;lastupdated:20June2015)

 

SUNDAY,21JUNE

9.00–13.00 BoardRoom IAMLBoardmeeting Boardmembersonly 9.00–15.00 Room340 IMSDirectoriummeeting 14.00–17.00 BoardRoom IAMLBoardmeeting Boardmembersonly 14.00–17.00 Classroom527 IMSStudyGrouponTransmissionofKnowledgeasaPrimaryAiminMusicEducation (closedworkingmeeting) Chair:GiuseppinaLaFaceBianconi(ProfessorofMusicHistoryandMusicPedagogy;Departmentofthe Arts,UniversityofBologna) http://www.ims-education.net/home/meetings/new-york-2015/ Speakers: LucaAversano(AssociateProfessorofMusicologyandMusicHistory;DepartmentofPhilosophy, CommunicationandVisualArts,RomaTreUniversity) NicolaBadolato(ResearchFellow;DepartmentoftheArts,UniversityofBologna) MatthewBalensuela(ProfessorofMusicHistory;SchoolofMusic,DePauwUniversity,Greencastle,IN) LorenzoBianconi(ProfessorofMusicalDramaturgyandMusicHistory;DepartmentoftheArts, UniversityofBologna) Sunday,21June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   SuzanneG.Cusick(ProfessorofMusic;FacultyofArtsandScience,NewYorkUniversity,NYC) JamesA.Davis(ProfessorofMusicology;SchoolofMusic,SUNYatFredonia,NY) MariaRosaDeLuca(AssociateProfessorofMusicologyandMusicHistory;DepartmentofHumanities, UniversityofCatania) MariaCristinaFava(AssistantProfessorofMusicology;EastmanSchoolofMusic,Rochester,NY) CarolA.Hess(ProfessorofMusic;DepartmentofMusic,UniversityofCaliforniaatDavis) RobertHolzer(AssociateProfessorofMusicHistory;YaleSchoolofMusic,NewHaven,CT) StephenMeyer(AssociateProfessorofMusicHistory;SyracuseUniversity,Syracuse,NY) PierpaoloPolzonetti(AssociateProfessorofMusicandLiberalStudies;UniversityofNotreDame,IN) ColinRoust(AssistantProfessorofMusicology;SchoolofMusic,UniversityofKansas,Lawrence,KS) CesarinoRuini(ProfessorofMedievalMusicandMusicPaleography;DepartmentoftheArts,University ofBologna) PaoloSomigli(AssistantProfessorofMusicologyandMusicHistory;FacultyofEducation,Free UniversityofBozen–Bolzano) AnneJudithStone(AssociateProfessorofMusic;TheGraduateCenter,CUNY,NYC) PhilipTaylor(LecturerinMusic;KMMusicConservatory,Chennai,India) ÁlvaroTorrente(ProfessorofMusicHistory;InstitutoComplutensedeCienciasMusicales,Universidad Complutense,Madrid) JamesR.Briscoe(ProfessorofHistoricalMusicology;JordanCollegeofArts,ButlerUniversity, Indianapolis,IN)

14.00–15.30 Room543 IMSStudyGrouponDigitalMusicology(opensession) DigitalMusicology:MissionAccomplished? Chair:FransWiering(DepartmentofInformationandComputingSciences,UtrechtUniversity) Thethemeofthe2015IAML/IMSconference,MusicResearchintheDigitalAge,hasyieldedanamazingresponsefromthe scholarlycommunity.Notonlywasthenumberofsubmissionsquitehigh,butaverylargemajorityoftheseare emphatically‘digital’inthattheypresentnewdigitaltoolsorresources,applytheseinmusicresearch,studymusicin adigitalenvironment,orpresentcriticalreflectionsonthesedevelopments. Theresultisanamazinglyrichanddiverseprogramme;seldom(ifever)beforehassuchalargeselectionof'digital musicology'papersbeenpresentedatasinglescholarlyevent.Nolongeristheapplicationoftechnologytomusicresearch amarginalactivityofcomputergeeks:ithasbecomepartofmainstreammusicologyandotherbranchesofmusicresearch. Thisconferencepresentsalsoauniqueopportunitytostudydigitalmusicology‘inthewild.’Hasitbecomewhatits advocatesimaginedittobe,orhasitdevelopedintosomethingentirelydifferent?Andhowdoesthepresentstateof affairsreflectonthegoalsandactivitiesoftheIMSStudyGrouponDigitalMusicology? Herearesomequestionsthatmaybediscussedinthissession: •Giventhesuccessofdigitalmusicology,dowestillneedastudygrouptopromoteit? •Is,infact,digitalmusicologysosuccessful?Howdowemeasureitssuccess?Havealltheobstaclesbeenremovedorare therebarriers,bottlenecks,orpricestopay? •Howsustainablearetheresultsofdigitalmusicology?Cantheybegeneralised?Doweseeanemergingdigital infrastructureformusicology? •Whataboutthepresumedtransformativepotentialofdigitalmusicology?Istheaimtoredefinemusicologyorratherto enhancethedailyworkpracticesofmusicresearchers? Aftershortpresentationsbythespeakers,therewillbeanopportunityforotherattendants,nonͲmembersoftheStudy Groupinparticular,tomakebriefstatements. Speakers: FransWiering(Chair,IMSStudyGrouponDigitalMusicology) TimCrawford(ProfessorialResearchFellow,GoldsmithsCollege,UniversityofLondon) CharlesInskip(Lecturer,UniversityCollegeLondon) AudreyLaplante(Écoledebibliothéconomieetdessciencesdel’information,UniversitédeMontréal, Canada)

2  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   15.30–17.00 Room529 IMSStudyGroup(closedworkingmeeting)  TablatureinWesternMusic Chair:JohnGriffiths(MonashUniversity,Melbourne,Australia);TimCrawford(DeputyChair, GoldsmithsCollege,UniversityofLondon)

18.30 PJSharpTheaterLobby Openingreception

MONDAY,22JUNE

8.15–8.45 PaulHall TheIAMLBoardWelcomesFirstTimeAttendees.Anintroductorysessionforthoseattendingtheirfirst IAMLmeeting

8.45–10.30 PJSharpTheater Openingsession AnnouncementsfromtheCongressorganizers DigitizingMusicalNewYork(andmore):BAM,CarnegieHall,andtheNewYorkPhilharmonic PresentedbytheOrganizingCommittee Chair:JaneGottlieb(TheJuilliardSchool,NewYork) Withacumulativetotalofnearly450yearsofuninterruptedhistory,threeofNewYorkCity’soldestperformingarts institutionsarecurrentlyfocusedonthefuturewiththeirlargeͲscaledigitizationprojects.Millionsofpagesofscores, programs,correspondence,businessrecords,andeventuallyaudioandvideowillbemadeavailableforresearch documentingeachinstitutions’experienceandNewYorkCity’shistory.Eachpresenterwilldiscussthegoaloftheir projects,thechallengesandbenefitsofdigitizingtheircollections,andshowsomeoftheirdigitizedmaterial.Inaddition theArchivistswilldiscusshowthedigitizationprojectshaveinformedandilluminatedtheconnectionsbetweenthe collections. Speakers: BarbaraHaws(Archivist/Historian,NewYorkPhilharmonicLeonLevyDigitalArchives) GinoFrancesconi(Director,Archives&RoseMuseum,CarnegieHall) SharonLehner(Director,BrooklynAcademyofMusicHammArchives) 10.30–11.00 MorseHall Tea&coffee  CoffeeCornerforMenteesandMentors PJSharpTheaterLobby 11.00–12.30 WillsonTheater Musiclibrariesanddigitalhumanities PresentedbytheReseachLibrariesBranchofIAML Chair:ThomasLeibnitz(ÖsterreichischeNationalbibliothek,Wien) KristinaRichts(ResearchAssistant,MusicologicalInstituteoftheUniversityofPaderbornandthe DetmoldUniversityofMusic,Detmold) NewapproachesofcataloguingmusicalholdingswithMEIandTEI Followingthedigitalturnandthedevelopmentandavailabilityofvirtualresearchenvironments,thecollaboration betweenlibrariesandresearchinstitutionsbecomesincreasinglyimportant.Suchcooperationsshouldbedevelopedonthe basisofsupplementarydatastandards.InthefieldofmusicologythenewinternationaldataformatoftheMusicEncoding Initiative(MEI)satisfiestheparticularrequirementsintermsofmergingmetadatainlibrariesandmusicologicalresearch data.

3  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Thegoaloftheproject“DevelopmentofamodelforextensivecontextualindexingofmusicholdingsbasedonMEIandTEI, usingtheexampleoftheDetmoldcourttheatreinthe19thcentury(1825–1875),”whichisfundedbytheDeutsche Forschungsgemeinschaft(DFG)fortwoyearsfromSeptember2014onwards,istousetheMEIformatforacontextual indexingofsheetmusicforthefirsttime.Itisintendedtodemonstratethepotentialofthestandardonthebasisof anumberofspecificexamplesofvaryingcomplexityandtoenhanceitincloseexchangewiththelibrarianand musicologicalcommunity. ThecollectionsofmusicfromtheheydaysoftheDetmoldcourttheatreandthelocalcourtorchestrainthenineteenth century(around1825–1875)holdbytheLippischeLandesbibliothekDetmoldareofnationalimportanceandparticularly suitedtoexploreanddemonstratetheextensiveopportunitiesoftheMEIformatbecausetheirmaterialcomponentshave beenretainedinaremarkablevarietyandcompleteness.Someofthematerialsshallbemorethoroughlyindexedinan exemplarywaytoillustratetheadvantagesofdeeplyindexedmaterialscomparedwithtraditionalcataloguerecordings. BenefitswillresultfromtheuseoftheFRBRmodel,whichhasbeenimplementedinMEI2013.Theuseofitallows,for instance,amoreprecisedescriptionofperformancematerialsandtheirtreatmentwithinahistoricalprocess. ThelongtermobjectiveistocreateanMEIͲandTEIͲbasedgenericmodel,whichcouldbealsousedforindexingother comparablecollections.Forfurtherresearch,allresultsaretobestoredinadigitalenvironment.Theywillbepresentedin anopenstructureinordertoallowextensionsbylocalaswellasexternalcollectiondataandtoenableinterdisciplinary researchwithintheseholdings. Thelecturewillgiveanoverviewovertheprojectobjectivesandapproachesandwillpresentfirstexperienceswiththe creationoftheintendedmodel.  BarbaraWiermann(SächsischeLandesͲ,StaatsͲundUniversitätsbibliothekDresden) Musiclibrariesanddigitalresearch.StrategicconsiderationsandperspectivesoftheSaxonStateand UniversityLibraryDresden,Germany TheSaxonStateandUniversityLibraryDresden(SLUB)isoneofthelargestandbestendowedacademiclibrariesin Germany.TheSLUBservesastheuniversitylibraryofDresdenUniversityofTechnology.ItisthestatelibraryofSaxonyand amajorinnovationandcoordinationcenterforGermanlibraries. InthelastyearstheSLUBconductedmajordigitizationprojectsinallsubjectareas.Inmusictheydealtforinstancewith manuscriptoftheprivateroyalmusiccollection,theroyalchurchmusicandtheroyaloperaaswellaswithearlyrecordings ofvocalmusic(“ArchivderStimmen”). InmypaperattheIAMLconferenceNewYork,Idiscusstherelationshipbetweenmusiclibrariesandmusicological research.Iwillpresentthestrategicconsiderations,whyandhowthemusicdepartmentofSLUBDresdenlooksforcloser cooperationwithdigitalresearchprojectsandwillpresentfirstprojects,whichgobeyondsimpledigitizationoreͲ publishing. IwouldbehappytobeplacedinonesessionwithKristinaRichtspaperonthe“Detmoldcourttheatreinthe19thcentury (1825–1875)”sincebothourpapersdealwithMusiclibrariesandDigitalHumanities.  LaurenceDecobert(HeadoftheSpecialCollectionsSection,BibliothèquenationaledeFrance,Music Department,Paris) MusicSpecialCollectionsoftheBibliothèquenationaledeFranceforresearchersandwith researchers TheMusicDepartmentoftheBibliothèqueNationaledeFrancehasbeenworkingforresearchersandwithresearchersfor manyyears.Todaythedigitalagebringsanewdimensiontothiscollaboration.TheDepartmenthasundertakentoprovide accesstoMusicspecialcollectionsandtoArchivalcollections(about400intheMusicDepartment),bydescribingthemin aspecificway,bydigitizingthem,byshowcasingthembytargetedactions. InGallicaspecificfileshighlightseveraldigitizedcollections.Moreover,collaborationswithresearchinstitutionsaresetup. Theprojectofdigitizationofthe37Livresd’airsdedifférentsauteurspublishedbytheParisianprinterBallard(from1658 to1694),carriedoutwiththeCentredeMusiqueBaroquedeVersailles,isagoodexampleofcooperationbetweentheBnF andmusicologists.Inthisproject,digitizedprimarysourcesarelinkedwiththedigitalcriticaleditionsavailableonline(1220 airsandsongs)publishedbytheCMBVandbyateamofmusicologists.Ontheotherhand,cooperationwithBärenreiterͲ VerlagfortheeditionoftheCompleteWorksofCamilleSaintͲSaëns(1835–1921)willenabletodigitizethehandwritten musicofthecomposer,inconnectionwiththeneedsofthescientificeditorsforthepreparationofthevolumes.Afile «SaintͲSaënsManuscripts»willsoonbeaddedinGallica. Someotherkindofinitiativeinvolvingresearchershasbeenlaunchedin2014:anewseriesofworkshopisabouttobe plannedincooperationwiththeInstitutdeRechercheenMusicologie(IReMus),laboratoryoftheFrenchNationalScientific ResearchCentre(CNRS).TheseworkshopswilldealwiththewaytheMusicspecialcollectionshavebeenbuilt.Duringthe firstworkshop,22musicologistsandlibrarianswillfocusonthecollectionsoftheLibrarybefore1815:forinstancethoseof thePrincessesofFrance,daughtersandgranddaughtersoftheKingLouisXVandofMariaJosephaofSaxony(1731–1767) DauphineofFrance.Similarkindofworkshopsisplannedonthenext3yearstobeginwith.Thisway,musicologistswill

4  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   havetheopportunitytoworkonthecollectionswithacombinedhistoricalandscientificapproach,improvingthe knowledgeofthesourcesandtheirorigins.Thankstothatwork,descriptionofmusicmanuscriptswillbeenhancedinthe RISM.Notonlythecorrespondingdocumentswillbedigitized,butalsoconferenceswillbeorganizedandscholarlyarticles publishedfollowingtheworkshopsfindings. Thispaperwillpresenttheglobalapproachofthesetwoareasandalsosomespecificexamplesdependingonthe achievementlevelofeachproject.  DepuisdenombreusesannéesledépartementdelaMusiquedelaBibliothèquenationaledeFrancetravaillepourles chercheursetavecleschercheurs.Aujourd'huil'èredunumériquepermetdedonnerunenouvelledimensionàcette collaboration.Ledépartementaentreprisdedonneraccèsauxgrandescollectionsmusicalesetauxfondsd'archives(près de400audépartementdelaMusique),enlesdécrivantdemanièrespécifique,enlesnumérisant,enlesvalorisantpardes actionsciblées. DansGallica,desdossierspermettentdeprésentercertainesdecescollectionsnumérisées.Pourallerplusloin,des collaborationsavecdeslaboratoiresderecherchesemettentenplace.Leprojetautourdes37Livresd’airsdedifférents auteursdel’imprimeurBallard(de1658à1694)avecleCentredemusiquebaroquedeVersaillesestunexempledetravail menéenparallèleparleschercheursetparlaBnF.Ceprojetmetenrelationlessourcesprimairesnumériséesavecles éditionsscientifiquesenligne(1220airsetchansons)publiéesparleCMBVetparuneéquipedemusicologues.Par ailleurs,lacollaborationavecleséditionsBärenreiterpourleprojetd’éditiondesœuvrescomplètesdeCamilleSaintͲSaëns (1835–1921)vapermettredenumérisertouteslessourcesmanuscritesdesœuvresducompositeur,enlienavecles besoinsdeséditeursscientifiquespourlapréparationdesvolumes,etdeprésenterprochainementundossier«Manuscrits deSaintͲSaëns»dansGallica. Unautretyped’actionassociantdirectementleschercheursaétéengagécetteannée.Ledépartementadémarréun programmedeséminairesderecherchesurlaconstitutiondesesgrandescollectionsmusicalesencollaborationavecle laboratoireIREMUS(Institutderechercheenmusicologie)duCNRS.Lapremièresession,consacréeauxcollections jusqu’en1815,réunit22musicologuesetbibliothécairesquivontexplorerunevingtainedecollectionsmusicales,comme parexemplescellesdesprincessesdeFrance,fillesetpetitesͲfillesdeLouisXV,etdeMarieͲJosèphedeSaxe(1731–1767) dauphinedeFrance.Planifiésur3ansaumoins,cesséminairesdonnentl'opportunitéàdesmusicologuesdetravailler directementsurlescollectionsd’unpointdevuehistoriqueetscientifique.Cestravauxdéboucherontsurunemeilleure connaissancedessourcesetdeleursorigines,unedescriptionplusprécisedesdocumentsdontleRISMpourrabénéficier. Ilsserontaccompagnésdenumérisationdessources,etserontsuivisdecolloquesetdepublicationsd'articles scientifiques. Macommunicationprésenteracesdeuxaxesetseraillustréed’exemplesprécisenfonctiondel’avancementdesprojets.

11.00–12.30 Room543 Soundrecordingsanddigitallibraries PresentedbytheIAMLCommissiononAudioͲVisualMaterials Chair:AndrewJustice(AssociateHeadMusicLibrarian,UniversityofNorthTexas,Denton,TX) JeremyAllenSmith(SpecialCollectionsLibrarianandCuratoroftheJamesR.andSusanNeumannJazz Collection,OberlinConservatory,Oberlin,OH) Musichasitsdestiny:Oncollectingaudioinadigitalage Privatecollectorshavelongplayedaninfluentialroleindeterminingtheholdingsofaudioarchivesandmusicspecial collectionslibraries.Asanaudioarchivistoncequipped,“Icollectcollectors.”Suchanapproach,inpart,canbeunderstood asapracticalstrategybylibrariansforefficientcollectionbuilding.Why,afterall,investtheimmensetimeandeffortit takestobuildathematicallyunifiedcollectionitemͲbyͲitemwhensuchworkhasalreadybeencarriedoutby knowledgeableandenthusiasticcollectors?Thisapproachisalsoarecognitionthatindividualcollectorshavethetime,the interest,andoftenthefinancialresourcestodevelopuniqueexpertise—anduniquecollections—inhighlyspecificrealms ofmusicalcultureinwaysthatwouldnotbeavailabletoinstitutionallyͲbasedlibrarianstaskedwithbroaderresponsibilities Historically,audiocollectorshaveofnecessityfocusedonthevarietyofphysicalcarrierspresentacrossthetwentieth century:fromwaxcylinders,to78s,toLPs,toCDs.Butinthecurrentdigitalagewhenaudioismorecommonlyavailable viastreamingservicesanddownloadͲonlyreleases,whatbecomesofcollectors? Astheliteratureoncollectinghaslongdemonstrated,individualshavebeenmotivatedtobuildcollectionsbythethrillof thehunt,longinganddesireforitemsofmaterialscarcity,repetitiveacquisition,culturalpreservation,andinamore pathologicalvein,obsessionandcompletism.Inthedigitalage,however,manyinheriteddiscoursesaroundcollectorsand thepracticeofcollectinghavebeguntobedrawnintoquestion.MarcusBoon,forexample,hasrecentlyaskedwhetherit isevenpossibletobeacollectorinanerawhencollecteditemsnolongerexistasphysicalobjectsbutinsteadas“endlessly replicablepatternsofdata.”Whenreplicabilityreplacesscarcity,hyperͲabundanceofinformationreplacesthethrillofthe hunt,andstreamingaccessreplacesthetactileandvisualpleasurethatcomefromacquiringindividualphysicalcarriers,

5  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   whatdoesitmeantoselfͲidentifyasanaudiocollector?Relatedly,howmightthesechangingconceptionsofcollectorsand collectionsimpactthefutureholdingsofaudioarchivesandmusicspecialcollectionslibraries? Thispaperwillexplorethehistoryandevolvingdiscoursesaroundnotionsofcollectingandtherelationshipbetweenaudio collectorsandmusicspecialcollectionslibraries.WithanemphasisontheuniqueissuessurroundingbornͲdigitaland digitizedaudio,thispaperwilladdresstheramificationsofwhathasbeentermed“postmaterial”culturalproductionfor theongoinglibraryworkofpreservingandprovidingaccesstorecordedsound.  AndrewJustice(AssociateHeadMusicLibrarian,UniversityofNorthTexas,Denton,TX) Somanybits,ithertz:Digitalsoundrecordings&soundquality Inthispresentation,theworldofdigitalsoundrecordingsandsoundqualitywillbeexplored:thehistoriesandattributesof digitalsoundplatforms(CompactDiscs,digitaltapeandvariousfileformats)willbediscussed,alongwithsideͲbyͲside comparisonsofdifferent‘major’formats(WAV,MP3scompressedatvariousbitrates,etc.)toconsiderthelistener’s experience.Specialattentionwillbepaidtocompression,streamingservices(suchasNaxos,AlexanderStreet,YouTube, SpotifyandPandora),andtherecentmovementtowardhighdefinitionformats,includingNeilYoung’srecentlyͲunveiled Ponomusicplayerandotherplatforms.Thegoalofthepresentationwillbetoenhanceattendees’understandingofthe variousissuesatplayinthecurrentclimateofsoundrecordingsandhowtheyrelatetolibrarians'workwithcollectionsand patrons’usage,aswellasaffordustheopportunitytotestourownlisteningskills.  JannPasler(UniversityofCalifornia,SanDiego,LaJolla,CA) TheTreasuresofGallica,orhowdigitalsound,visual,andprintarchiveshavetransformedresearch Nothingsubstitutesforworkinginarchives,havingdirectaccesstodocumentswithoutthemediationofotherscholars’ agendas.Eavesdroppingonconversationsanddebatesbetweenindividuals;pouringoverthedebrisofhistoryandlooking intoitscrevicestounderstandhowmusicaltastetookshapeandevolved;discoveringsomuchmorethancouldbe imaginedinadvanceofsuchresearch—archivesbroadenourquestionsaswellasourconclusions.TheBibliothèque Nationale’sGallica,andotherdigitalarchives,canfunctionsimilarly. Afewexamplesfrommyownresearchwillsuggestnotonlytheirpotential,butalsothetremendouscontributionthey havemadetomyresearch,especiallywhenusedinconjunctionwithlibrarycollections.InstudyingFrenchmusicallifeover time,thewordͲsearchablemusicjournal,Ménestrel(1833–1940),hasbeenindispensable.IndigitizedFrenchnewspapers, IhavebeenabletostudythemusicalscoresreproducedweeklyinLeFigarofromthe1870s–1920sandcomparethemwith urbanpopularsongsreproducedinthemassͲmarketedPetitJournal.Digitizednewspapersandgovernmentdocumentsin AlgeriaandMadagascar—countriesthatareverydifficulttovisitforreasonsofdistanceorpoliticalinstability—have helpedmetounderstandmusicalandtheatricallifeinthecolonies,thedynamicsofgovernmentsubventions,andlocal receptionofperformances.DigitizednonͲmusicjournals,suchasL’EveileconomiqueinSaigon,haveshedlightonmusical tasteinthecontextoflocalpoliticsandcolonialradio.Digitizednewspapersalsocanunveilthelivesofminorcultural actors,suchasthepersonresponsibleforchoosingthescorespublishedinLeFigaro.Gallica’sdigitizationofnewspapers acrosstheMediterraneanregionhasallowedmetotrackthecareersofmusicians,suchastheconductorSaugeywho, afterpremieringworksbyMassenetinAlgiers,laterwonpositionsinNiceandMarseille,andfemalesingerswhodidwellin AlgeriaandlaterdirectedoperatroopsinIndochina,positionsunavailabletotheminFrance.TounderstandhowFrench scholarsheardnonͲwesternmusic,IhavecomparedAzoulay’s newlydigitizedwaxcylinderrecordingsofperformancesatthe1900ParisUniversalExhibition(currentlyattheCentre d’EthnomusicologieinParis)withhistranscriptions,andstudiedfieldrecordings,madeinNorthAfricafrom1904–1920s, beingdigitizedattheBerlinPhonogrammArchiv.Gallica’srare,digitizedphotographs,suchasoneofyoungAfricans learningsolfègefrommissionariesandthosemadeatthe1931ColonialExhibitioninParis,havealsobeenuseful. Gallica’spossibilitiesarelimitedonlybyone’simagination,time,andenergy.

11.00–12.30 PaulHall Musicphilology PresentedbytheIMSProgrammeCommittee Chair:PhilippeVendrix(Dean,Centred'étudessupérieuresdelaRenaissance,UniversitéFrançoisͲ Rabelais,Tours,France) AndreaLindmayrͲBrandl(Professor,UniversitätSalzburg,Austria) Earlymusicprintsindatabase:Thequestionofidentity Nowadaysweareusedtorefertobookssimplybytheirtitle,envisagingonecopyofaspecificeditionthatmayhave severalthousandsoffͲprints.ThatmakessensebecausealloffͲprintsareidenticalanditmakesnodifferencewhichcopy oneactuallyholdsinhand.Booksfromthebeginningoftheprintingeraarenotthateasytohandle.Veryoftentheprinting processwasinterruptedduringthepressͲruntomakecorrectionsorotherinterventionstothelayoutsothatthesurviving

6  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   copiesfromtheseearlytimesmaydifferinseveralminorormajorrespects.Moreover,duetoitshistoricalprominenceand thesmallnumberofoffͲprintsofoneandthesameedition,eachsinglecopyhasaspecificsignificance.Laterannotations, severalownerships,bindingandcoͲboundbookstestifyitsindividual“destiny”whichisworthdocumenting.Thustheidea of“onebook”collapsesintoabundleofhighlyspecificindividualcopies. InourprojectonearlymusicprintinginGermanspeakinglands(1501–1540)wehadtofacethisfact(andalltheproblems associatedwithit).Wedidsobyestablishingadatabasethatworksonseverallevelsrelatedtoeachother.Thecentral relationshipistheonebetweenthetitlelevelandthecopylevel.Theoretically,thesumofallindividualcopiesofone editionmakeupatitle,butseveraldiscrepanciesmayoccur.Onepossibilityisthatthereareonlyincompletecopieswith missinglayersoronlyonecopywithouttitlepage(thatactuallyhappens!).Shouldonereconstructan“idealcopy”insuch acase,asStanleyBoormanhasdoneinhisPetruccicatalogue?Anotherissueconcernsthequestionofidentity.Isitthe sameeditionifoneoftheextantbookshaschangedoneletteronthetitlepage,ifamusicexamplehasbeenleftout,orif designationsareindifferentfonts?Onlyadeeperknowledgeoftheprintingprocessallowsustodistinguishbetweenclose editionsofabook. Asaconsequenceofthiscloserscrutiny,thenumbereditionsofmusicbooks(particularlyregardingmusictheoryand hymnbooks)inourdatabaseincreasedremarkably,comparedwithtraditionalbibliographies.Thisdifferenceinquantityof editionshasfarͲreachingconsequencesnotonlyforthestatistics.Itreshapesourpictureofearlymusicprintingingeneral andleadstootherconclusionsconcerningthemeaningofmusicinearlymoderntimes.  ChristopheGuillotelͲNothmann(Chercheurassocié,InstitutdeRechercheenMusicologie/IReMUS [UMR8223–CNRS,ParisͲSorbonne,BNF,MinistèredelaRecherche,France]),UllrichScheideler (InstitutfürMusikwissenschaftundMedienwissenschaftderHumboldtͲUniversitätzuBerlin) ThesaurusMusicarumGermanicarum:AmultidisciplinaryeditionprojectonGermanmusicͲ theoreticalsourcesoftheperiod1500–1650 Digitaleditionshavegrownconsiderablyinimportanceinthelasttwodecades.Thisalsoappliestotheelectroniceditionof musicͲtheoreticalwritings,whichwerepartofthisprocessfromtheearlyninetiesthroughmanyseminalprojectsfocused onLatin,Italian,English,FrenchandSpanishsources.Duetoitstheoretical,linguisticbutalsotypographicalcomplexity,the Germancorpus,however,hasacquiredaparticularstatusinthisprocess.TheVD16andVD17digitizationprojectscarried outinGermanyhavedramaticallyimprovedtheaccesstothesesources.However,despitetheircrucialhistorical importance,nosystematicmusicologicalinvestigationofthesewritingshasbeenundertakenwiththetoolsofdigital humanitiessofar. TheprojectThesaurusMusicarumGermanicarum(TMG),jointlyinitiatedattheUniversityParisͲSorbonneandHumboldt University,Berlin,aimstofillthisgapthroughamultidisciplinaryapproach,bringingtogetherlibrarians,researchersin digitalhumanities,andmusicologists.Theprojecthasthreemaingoals:1)providingfulltextaccesstothesourcesthrough criticalelectroniceditions;2)creatingtoolsforinvestigatingintertextualrelationships;and3)contributingtoasystematic studyofthesource’smusicͲtheoreticalcontentsthroughathesaurus. First,thistalkwilldescribethedifferentlevelsofcollaborationbetweenlibraries,centresfordigitalhumanitiesand researchinstitutesinmusicology.Thepresentationwillfocusonthetranscriptionmethodsused,andthewaytheXTF framework(CalifornianDigitalLibrary)hasbeenimplementedtomeetthespecificproject’srequirements.Thissectionwill alsoexplainhowthelibrariesandculturalinstitutionscontributetotheprojectwiththeirspecificexpertiseindatabases andelectronicedition. Second,theproject’smethodologywillbedescribedthroughexamplesillustratinghowtheXMLͲTEI/MEImarkuplanguage isusedtograspthethreedimensionsofthesource(text,illustrations,andmusicalexamples)andthentocombinethe originalcontentswithamodernedition.Ourpresentationwillthenshowthecriticalapparatus,indicesandmaps,which contributetotheidentificationofthecultural,intellectual,geographicalandhistoricalcontexts.Finally,wewillpresent statisticaltoolsusedforcreatingsemanticnetworksandathesaurus,whichgathersdefinitionsofmusicalterms. Ourtalkwillconcludewithageneralreflectiononthebenefitsandlimitsofdigitalhumanitiesappliedtotheeditingand investigationofmusicͲtheoreticalwritings.  ThesaurusMusicarumGermanicarum:unprojectpluridisciplinaired’éditionportantsurlessourcesgermaniquesdela période1500–1650 Leshumanitésnumériquesontgagnéconsidérablementenimportanceaucoursdesdeuxdernièresdécennies.C’estlecas aussidel’éditiond’écritsthéoriquessurlamusiqueengagéedèsledébutdesannées1990àtraversdenombreusesbases dedonnéesportantsurlessourceslatines,italiennes,anglaises,françaisesetespagnoles.Dansceprocessus,lesécrits allemandsdelapériode1500Ͳ1650acquièrentunstatutparticulierenraisondeleurcomplexitéthéorique,linguistique, maisaussitypographique.LaproductiondefacsimilesélectroniquesdanslecadredesprojetsVD16etVD17,engagésen Allegamge,amodifiéenprofondeurl’accèsàcessources.Cependant,lecorpusn'afaitl'objetd'aucuneexploitation musicologiquesystématiqueàl’aidedesoutilsnumériquesdontnousdisposonsàl’heureactuelle.

7  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   LeprojetThesaurusMusicarumGermanicarum(TMG),initiéconjointementàl’UniversitéParisͲSorbonneetàlaHumboldtͲ UniversitätdeBerlin,viseàcomblercettelacuneàtraversuneapprochepluridisciplinaire,réunissantspécialistesdulivre, chercheursenhumanitésnumériquesetmusicologuesdanslebutd’atteindretroisobjectifs:1.fournirunaccèsintégral auxsourcesconcernéessouslaformed'éditionsélectroniquescritiques,2.mettreàdispositionlesoutilsinformatiques nécessairesàl'étudedelacirculationdusavoiret3.contribueràl’étudesystématiquedescontenusàtraversun thesaurus. Lacommunicationreviendraenunpremiertempssurlesdifférentsniveauxdecollaborationentrebibliothèques,centres d’humanitésnumériquesetinstitutsderechercheenmusicologie.Elleexposera,parlasuite,lesméthodesdetranscription employées,puismontreracommentl’infrastructureXTFaétéaménagéepourlesbesoinsspécifiquesduprojet.Enfin, serontmisenévidencelesapportsdesinstitutionsdulivreetdupatrimoineenmatièred’expérienceenédition électroniqueetdebasesdedonnées. Enunsecondtemps,desexemplesillustrerontlaméthodologiemiseenœuvreparTMG.Serontabordéslesenjeuxdu XMLͲTEI/MEIafinderestituerlanaturetrimédialedelasource(dotéedetexte,maisaussid’exemplesmusicauxet d’illustrations)etdeconcilierlesinformationsdel’originalavecl’éditioncritiquemoderne.Lacommunicationreviendra ensuitesurl’appareilcritique,lesindexetlescartographiespermettantl’étudeducontexteculturel,intellectuel, géographiqueethistoriquedelasource.Puisseraprésentéelamanièredontlesoutilstextométriquesetstatistiquessont employéspourlaconstructionderéseauxsémantiquesetlaréalisationd’unthesaurusregroupantdesdéfinitionsde termesmusicaux. Lacommunicationconcluraparuneréflexiongénéralesurlesapportsetleslimitesdeshumanitésnumériquesappliquées àl’éditionetàl’investigationdessourcesdethéoriemusicale.  FransWiering(AssociateProfessor,DepartmentofInformationandComputingSciences,Utrecht University,TheNetherlands),DavidLewis(Researcher,UtrechtUniversity,TheNetherlands;Goldsmiths College,UniversityofLondon;BirminghamConservatoire) ConnectingRenaissancemusictreatisestotheLinkedDatauniverse TheThesaurusMusicarumItalicarum(TMI)wasconceivedinthelate1990sasarichlymarkedͲupcorpusofillustrated musictreatises,madeavailableonlineandonCDROM.TextandcontextualinformationwererecordedusingtheText EncodingInitiative(TEI)P3guidelinesandencodedinSGML. ThesoftwarethatoriginallypublishedtheeditionsontheWebisnolongersupportedandhasnowstoppedworking. ThankstotheuseoftheTEIstandard,updatingthefilesfromSGMLtoXMLandfromP3toP5,ismostlyamechanicaltask, requiringlittleextensiontoexistingtools.Similarly,publicationoftheresourcelargelyinvolvesselectingandcustomising publiclyͲavailabletoolsthatsupportTEI. ModernisationbecomesmoreinterestingwhenweconsideraspectsofTMIthathadbespokesolutionsbecausenobetter optionwasavailableatthetime.Thetextsoftenmakereferencestoexternalentities,suchaspeople,treatises,musical works,philosophicaltextsandmythologicalstories,whichareadermightexpecttoberenderedashyperlinks.Some referencedtextscouldbeconnecteddirectly,sincetheyarealsopublishedinTMI,othersareavailableinothercorpora, othersmaynotbeURLͲaddressable,ormaybeuneditedorlost. WheretheoriginalTMIhandledsuchconnectionsthroughaseparateSGMLfilewhichconnectedID’stoinformationand documents,itisnowpossibletoaccommodatetheselinksusingacombinationofmorerecentinnovationsinweb technologies—mostnotablythoseconcernedwiththeSemanticWebandLinkedData. Inthispaper,wedescribeournewapproachestopublishingthecorpusandtheopportunitiesthattheyopenup.Wefocus ontheissuessurroundingthemanycrossͲreferencesintheeditions,showinginparticularhowweconnecttoother ongoingmusictreatisepublishingprojects:ThesaurusMusicarumLatinarumandtheCompleteTheoreticalWorksof JohannesTinctoris.Ouruseofthesetechnologiesnotonlyallowsrelationshipstoexistingresourcestoberepresentedand explored,butalsoenablesnewresourcestobelinkedtoTMIwithrelativelylittleeffort.Ourapproachsupportsthese references,allowingnavigationtoonlineversions,wheretheseexist,andprovidingalternativeinformationtotheuser wheretheydonot.

11.00–12.30 BrunoWalterAuditorium Musicandplace PresentedbytheIMSProgrammeCommittee Chair:AaronA.Fox(AssociateProfessor,DepartmentofMusic,ColumbiaUniversity,NewYork) JudithOlson(Researcher,AmericanHungarianFolkloreCentrum,Albertson,NewYork) Transylvanianvillagedance:Fromgoldentodigitalage Intáncház,musiciansanddancerstakeonthedancesandmusicofHungariansinTransylvanianvillagessuchasSzékas theirowninpartiesthattakeplacethroughoutEurope,NorthAmerica,andotherpartsoftheworld.Thebeginningofthe

8  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   táncházmovementaround1972islinkedtorecordings,films,andtranscriptionsoftraditionalmusicanddancemadeby Bartókandlaterresearchers.Inspiredbythesematerials,táncházorganizersandparticipantsfollowedtheroutesofdance researcherstolearnfromvillagemusiciansanddancers.Whentheycouldnotvisit,musicianslearnedbyearfrom recordings,anddancerspassedaroundeverͲfadingcopiesofarchivalfilms.Someofthesefilmsbecamethestandardfor dancefigures(Kalotaszegilegénes,Kallós,Martinetal,1969),andsometimesdanceswereentirelyreconstructedfrom dancefilms(Bonchidaidances,preservedonasinglefilm,Martinetal,1968). Participantresearchpeakedinthe1980s,withdancersdrivingaroundTransylvaniaonweekends,lookingforweddings. However,asTransylvaniamovedintothemodernagemanyvillagersturnedawayfromtraditionalarts,whicharenow representedmostlybyolderpeople,youngpeoplewholearnedunderthetáncházmovement,andlatergenerationsof Gypsymusicians.Meanwhile,theuseoftechnologywithinthetáncházmovementhasgrown.Noweveryparticipantcan ownavideocamera,andtheoldfilmsareevermoreavailableonresearchsitessuchastheNéptáncAdatbázisFilmtár (FolkdanceFilmLibraryDatabase)oftheHungarianAcademyandonYouTube.Thisrelianceonvaryinglevelsoftechnology fromtravelingteacherstolibrariesandcollectionstoYouTubeandFacebookhasallowedtáncháztoinvolvelargenumbers ofpeopleasfarfromTransylvaniaasChina,Japan,andAustralia. Butwiththedeclineofdanceinthevillages,táncházdancersandmusicianshaveshiftedfocusfromlivingpeopletofilms fromthe“highpoint”ofdanceresearchinthe1960s.Whatarethecreativeimplicationsandprognosisforthisform,now lookingprimarilytothepast?Asonebassplayerputit,“Themusiciansaren’tasgoodnow,butitdoesn’tmatter,because wehavetherecordings.”Thisanalysiswillexplorethechangesbroughtonbythepassageoftimeandbyshiftsin technologyandcompareviewpointsofmusiciansanddancersusinginterviewsconductedinTransylvania,Hungary,and theUSoverthepastnineyearsanddiscussionsduringmyowninvolvementintáncházoverthepast30years,with implicationsforcontinuedresearchofthisunusualdancepractice.  ErinE.Bauer(ClaremontGraduateUniversity,Pomona,CA) Newtechniquesindigitalmusicology:LocalizingTexasͲMexicanconjuntomusicthroughsocial networkanalysis Asdigitalaccessibilitystimulatesculturalpossibilities,musiciansoftenchooseacreativeidentityoutsideoffamilial heritage.ThispaperusesonlineconnectionsandsocialnetworkanalysistoexploretheadoptionofTexasͲMexican accordionmusic,calledconjunto,aroundtheworld.Inthisway,newmethodsofdigitalmusicologyallowfordetailed analysisofstylisticrelationshipsbetweeninternationalconjuntomusicians,exposinganunexpectedinverserelationship betweenlocationandinnovativemusicalcharacteristics. ConjuntoformsapowerfulsymbolofculturalidentityfortheworkingͲclassbordercommunityintheUnitedStates.Yet, musicianslikeKenjiKatsubefromJapanandDwayneVerheydenfromtheNetherlandshaveusedelectronicmethodsof communicationtoteachthemselvestoplaythebuttonaccordioninaconjuntostyle.TravelingtoSouthTexas,these internationalparticipantsperformassurrogatemembersoftheTexasͲMexicancommunity.Similarly,listenersworldwide useelectronicplatformslikeYouTubetoparticipateinconjuntooutsideofmoreconventionalboundaries.Asthispaper demonstrates,internationalmusiciansidentifywithconjuntothroughthefamiliaraccordionsoundandrecognizablepolka rhythms,butalsothroughacommonsenseofretaliationagainstadominantculture. Whiletheinternationalspreadofconjuntomightsuggesttheinsertionofglobalcharacteristics,artistslikeKatsubeand Verheydenactuallystayclosetothetraditionalstyle.Incontrast,TexasͲMexicanmusicianslikeFlacoJiménezregularly incorporateelementsofjazzandrock.MusicianslikeSunnySaucedahavestretchedtheboundariesofconjuntoeven furtherwithheavyͲmetalstyledistortionandanonͲstagerockpersona.Bymaintainingthetraditionalsound,international conjuntoartistsproduceatypeofculturalfolklore.TexasͲMexicanmusiciansinsteadturnthemusicintopopularculture throughcommercializationandexternalelements. UsingdatafromtheTejanoConjuntoFestival,thispapershowsthatinternationalconjuntoartiststypicallymaintain aconservativestyle,whileexternalcharacteristicscomefromTexasͲMexicanmusicians.Byapplyingvisualization techniquesbasedondigitalnetworkanalysis,acommunityofconjuntomusicianstakesshapethroughcommonstylistic characteristicsandmusicallineages.UsingCytoscapetocrossͲreferencethesestylistictraitswithgeographiclocations producesadatabaseofmusicalconnections.Differentcolorsonthevisualizationrepresentrelativedistancesfromthe stylisticcenterofconjuntomusicinSouthTexas.Analysisofthevisualizationsshowsclustersofconservativemusicians fromaroundtheworld,whilelocalmusiciansoftenlieoutsideofcentralstylisticpatterns.Techniquesofdigitalmusicology thereforeprovidevaluableinsightsgainedthroughcontemporarytechnologicaladvances.  SarahSuhadolnik(Ph.D.candidate,Musicology,UniversityofMichigan,AnnArbor) Ain’tYourCity:Rethinkingmusicandplaceincyberspace WhatdoesitmeantohearmusicasNewOrleans?ThetraditionalNewOrleanssecondlineparadeemploysagenreof brassbandmusicthatisdeeplyembeddedinthelocalcultureofthecity.Thepracticeisknowncolloquiallyas“takin’itto thestreets.”Moreandmorethough,proliferatingdigitalmusicmedia—intheformofmusicwebsites,carefullycrafted promotionalcampaigns,andwidelycirculatedmusicvideos—transmitsthetalentsofparticipatingNewOrleansmusicians acrosstheUnitedStatesandbeyond.Thispaperasks,whatsenseofplacefollowssecondlinersintothetransient,virtual

9  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   spacesofwebͲbasedmusicconsumption?HowmightwebestexploretheterrainofexpandingNewOrleansparade routes?Anumberofscholarsintheemergingfieldofmusicandplacestudieshaverespondedtosuchquestionswith adaptedapplicationsofmusicscene.Theirworkbothidentifiesanddiscussesinterconnectednetworksofmusicians, audiences,andinstitutionsthatsupportthevirtualspacesandplacesoflocalizedmusicalactivity. IproposeanewmethodofunderstandinghowideasofandaboutplacepermeateAmericanmusicallife.Myanalysis focusesontwocontrastingcasestudies,whichexaminedifferentmusicalrepresentationsofaNewOrleansSecondLine Parade.Iask,whenweparticipateinanonlinemusicevent:1)whereareweexactly?2)Istheassociatedmediatoberead asamusicalrepresentationofplace,and3)ifso,thenhow?Liveparadefootagefromthe2005worldpremiereof“Congo Square”situatesWyntonMarsalis,theJazzatLincolnCenterOrchestra,andotherfeaturedperformerswithinthework’s primarysubject.Thejuxtapositionofsiteandsoundblurstheboundariesbetweenanabstractmusicalrepresentationof placeandapalpablefeelingofsettingoratmosphere.Themusicvideofor“Ain’tNoCity,”whichjustrecentlyintroduced theOriginalPinettesBrassBandtoanationalaudience,providesadifferenttake.Auralandvisualgeographicalmarkersof NewOrleansareintermingledwithscenesfromtheirNewYorkCitystudiosession.Thiscarefulrepackagingofthegroup’s “streetqueen”personaprojectsaNewOrleanssecondlineexperienceoutward,invitingnewlistenerstotakepart.These examplescutacrossmultipleculturalcontextsandplatforms,speakingtothewaysinwhichintersectionsbetweenmusic andplaceactivelyshapehowwe“navigate”music.Underlyingrelationshipsofplaceandmusicprovedynamic, constructed,andcontested—acomplexinterminglingofsound,terrain,andworldview.

9.00–10.30 NYPhilHullRoom Balletmusic Pasdedeux–Howamusiclibrarianandaconductorprepareballetmusic PresentedbytheBroadcastingandOrchestraLibrariesBranchofIAML Chair:NienkedeBoer(HetBalletorkest/DutchBalletOrchestra,Amsterdam) Speaker: MatthewNaughtin(MusicLibrarian,SanFranciscoBallet,SanFrancisco,CA)  Musiclibrarianswhofindthemselvesdealingwithballetrepertoireorworkingwithballetcompaniesareoftenventuring intoastrangenewworldwhoselanguageandcustomstheymayfindbafflingandmysterious.Tosomeonewithoutadance background,certainphrasesandterms–Boy’sVariation,pasd’action,apothéose–simplydon’tfitintoastandardmusical vocabulary.Evenfamiliarmusicaltermslikeadagioandcodameansomethingquitedifferentintheworldofdance.Also, whilethereisarichliteratureofwritingondanceanddancehistory,therearepreciousfewbibliographicalresourceswith specificinformationaboutthemusicusedinballetandwhereitcanbeobtained.Sinceballetcompaniesroutinelyrevise thegreatballetstofittheirownneeds,balletrepertoirecanbeatangledwebfortheuninitiated. Thispresentationwilldiscuss: x Thelanguageofdanceandhowconductorsandmusiclibrarianswhocollaboratewithchoreographersandballet masterslearnit. x Methodsofresearchingballetrepertoire,includingadiscussionofhowdigitalresourcesareincreasinglyusedtofind, obtainandcreatemusicalscoresforballetproductions. x Themanyversionsofclassicballetsandhowaballetlibrarianfindsthecorrectmusic. x Theinteractionofconductors,librarians,balletmastersandchoreographersincreatingnewballetsandresettingold ones. x Thecollaborativerolesoftheconductor,companypianistandmusiclibrarianinthedailyroutineofaballetcompany. x Stresspoints–howaballetlibrariandealswithloomingdeadlines,premieresofnewproductionsandlastͲminute changesinexistingmusic. x Rewards–thosesatisfyingmomentswhenmusicanddancecoalesceinabeautifulballetexperience. x MybookBalletMusic:AHandbook,intendedasareferenceresourceformusiclibrariansandapracticalguidefor professionalmusiciansworkingwithballetcompanies.Animportantpartofthebookisanextensivelistingofclassic balletsinthestandardrepertoire,givingtheirhistory,versions,revisions,instrumentations,publishersandother sourcesforboththeoriginalmusicandlatermusicaladditionsandadaptations. IhopethatthispresentationwillprovideaclearexplanationofthedayͲtoͲdayroutineofballetcompaniesandtheprocess throughwhichmusicfornewdanceworksiscreatedandexistingmusicforclassicballetsisadaptedfornewproductions. Ithinkitwillbeofinteresttoanyonewhoisinterestedinwhatgoesonbackstageattheballetandwhatresourcesare availableforfindingthosemysteriouslosttreasuresof19thcenturyballetrepertoirethathavebeenovergrownbyjungles ofrevisionandadaptationoverthedecades. Afterthispresentationthepanelistswilldiscusstheirexperiencesofpreparingandpresentingballets.

10  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Panelists: CharlesBarker(Conductor,AmericanBalletTheatre,NewYork,NY) DavidLaMarche(MusicAdministratorandConductor,AmericanBalletTheatre,NewYork,NY) MatthewNaughtin(MusicLibrarian,SanFranciscoBallet,SanFrancisco,CA) 11.00–12.30 Classroom527 IAMLWorkingGroupontheAccesstoMusicArchivesProject Reportingandplanningsession(open) Chairs:JonBagüés(ERESBIL–BasqueArchivesofMusic,Errenteria),KlaasJaapvanderMeiden (Resonant,Leuven) 12.30–14.00 Lunch 12.45–13.45 Classroom529 IAMLConstitutionCommittee  Lunchworkingmeeting Chair:RichardChesser(BritishLibrary,London) 14.00–15.30 WillsonTheater InConcert:Towardsacollaborativedigitalarchiveofmusicalephemera PresentedbytheIAMLBibliographyCommission Chair:RupertRidgewell(BritishLibrary,London) TheInConcertprojectaimstosetnewstandardsinthedevelopment,curation,anduseofdatainarapidlygrowingareaof contemporarymusicologicalresearch.Dataaresourcedfromconcertprogrammes,bills,andreviewsandadvertisements publishedinhistoricalnewspapersandperiodicals,toproduceadiscrete,authoritativeresourcefacilitatingthepursuitof specificlinesofenquiry.Variousdatasetsofthistypeindifferingformatscanbebroughtintoassociation,interpretedand interrogatedusingnewtechnologies–LinkedDataandgeocoding,forexample–andcanbenefitfromfreshapproaches suchascrowdͲsourcing. Recentworkonsuchephemeralmaterialshasdemonstratedtheirpotential,incriticalmass,toilluminatesignificant aspectsofperformancepracticeandconcertculturethathavebeenpassedoverinmoretraditionalmodesof musicologicalresearch.Thissessionwilloutlinetheprojectmethodologyandtechnicalframework,aswellasdiscussingthe outputsandpotentialapplicationsofthecurateddata. Speakers: RachelCowgill(UniversityofHuddersfield) ChristinaBashford(UniversityofIllinoisatUrbanaͲChampaign) SimonMcVeigh(Goldsmiths,UniversityofLondon) AlanDix(UniversityofBirmingham) 14.00–15.30 Room543 Libraryservicesinthedigitalage(I) PresentedbytheIAML/IMSProgrammeCommittee Chair:StanisųawHrabia(InstituteofMusicology,JagiellonianUniversity,Kraków) ClotildeAngleys(NationalLibraryofFrance–MusicDepartmentCoordinatorforthedigitizationand thebibliographicalinformation,Paris) Improvingaccessandfacilitatingresearch:ThemusiccollectionsinthenewcataloguesoftheFrench NationalLibrary(BnF) *Arenewedgeneralcatalogue Thelatestimportantimprovementinthecataloguewasthekeywordsearch,introducedin2009.Sincethentherehad beennomajorchangeinthefunctionalitiesandservicesofthecatalogue.Meanwhile,theamountofdatainthecatalogue hasconsiderablyincreasedupto12600000records(October2014,amongwhich900000forthemusiccollections).

11  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   ThecurrentprojectistodevelopafacetedsearchusingthecodeddataoftheIntermarcbibliographicrecords.Thenew interfacehasspecificfacetsforthedifferenttypesofdocumentswhichshouldhelptheuserstoprecisehissearchstarting fromaverywidesearch.Thefirst“lab”versionistobelaunchedinoctober2014. *Anew“datahub” Data.bnf.froffersseveralservicestobringthedocumentsoftheBnFtotheuser: •Asasemanticcatalogue,itcreatespagesthatcanbefounddirectlybythesearchengines; •Basedontheauthorityfileandthepermalinks,itprovidesauniquepagetogiveaccesstoallthedocumentslinkedto oneauthorityinallthecataloguesanddatabasesoftheBnF(“pivot”role); •ThestructureofthepageisafirststeptoacompleteFRBRcataloguedata.bnf.frhasbeenonlinesincejuly2011and currentlycovers60%oftherecordsintheBnFcatalogues. *AnewaccesstothescoresonGallica Gallica,thedigitallibraryoftheBnF,isbothavisualizerforthedigitalcollectionsandacatalogue,basedonDublinCore dataextractedfromthecompletecatalogues(BnFcataloguegeneralorBnFArchivesetManuscrits).Asinthegeneral catalogue,usersareconfrontedwithamassofdata(3000000documentsonGallica). Oneofthestrategiesistobuildeditorialpagesfacilitatetheresearchandtheaccesstothedocuments.Thesepageswill presentspecialcollections(liketheChambure,DecroixorPhilidorcollections),butalsogiveaglobalaccesstoallmusic scoressortedbytheirmusicalgenre,orfocusesongreatcomposers. Thefirstpageswillonlineattheendof2014Ͳbeginningof2015.  JürgenDiet(BavarianStateLibrary,Munich) DigitalservicesformusicologistsofferedbytheMusicDepartmentoftheBavarianStateLibrary TheMusicDepartmentoftheBavarianStateLibrary(BSB)isofferingmoreandmoreservicesintheareaofdigital musicology,inadditiontoprovidingitspatronswithalargeamountofcurrentandhistoricalholdingsindigitalandnonͲ digitalformats(musicprints,musicmanuscripts,musicperiodicals,musicbooks,andsoundcarriers;seehttp://www.bsbͲ muenchen.de/en/aboutͲus/departments/departmentͲofͲmusic/).ThistalkwilldescribeBSB'scurrentdigitalofferingsfor musicologistsanditsplansforthenearfuture. WiththehelpofseveralgrantsfromtheGermanResearchFoundation,theBSBandtwoprojectpartnerssetupthe "VirtualLibraryofMusicology"(ViFaMusik,seehttps://www.vifamusik.de/home.html?L=1).ViFaMusikisacentralportal formusicandmusicologyandgivesaccesstoanextensivedigitallibrarycontainingthelatestscholarlyresearchandonline resources.Usingasinglesearchengineonecanfindbibliographicaldata,fulltextdata,andinformationaboutexpertsin musicology.ThedatasourcesintheViFaMusikͲsearchinclude—amongotherthings—themusiclibrarycataloguesofthe BritishLibrary,theStateLibrariesofBerlinandBavaria,andtheNationalLibrariesofGermanyandAustria.ViFaMusikalso offersadocumentserverwherebornͲdigitalanddigitizeddocumentsformusicologistsarebeingpublished(see https://www.vifamusik.de/documentͲserver.html?L=1),e.g.thecongressreportsoftheGermanNationalICTMͲcommittee (InternationalCouncilforTraditionalMusic). TheRISMͲOPACisanotherdigitalserviceformusicologiststouse.JointlydevelopedbytheRISMcentralofficeinFrankfurt, theStateLibraryofBerlinandtheBavarianStateLibrary,itishostedinMunich.ThedataintheRISMͲOPACisupdated monthly,andnewversionsoftheRISMͲOPACwithnewfunctionalitiesarereleasedeveryoneortwoyears. Inthefuture,theBSBwillextendthefunctionalitiesoftheViFaMusikwithalreadysecuredfundingfromtheGerman ResearchFoundation.TheBSBwillalsocontinueitsdigitizationactivitiesincludingtheuseofopticalcharacterrecognition capability,andintendstouseopticalmusicrecognitionforthemusicprints(probablyusingtechnologyfromtheSIMSSAͲ project,wheretheBSBisoneofthelibrarypartners). TheBSBisalsothetechnicalpartnerresponsibleforsettingupthetechnicalinfrastructureconnectedwithalargegrant proposalfortheproject“BürgerlicheMusikkulturinDeutschlandim19.Jahrhundert:Edition–Dokumentation– Reflexion”.ThisnewprojectisintendedtosucceedtheGermanMusikgeschichtlicheKommisson’sseriesofDenkmäler DeutscherTonkunstandErbeDeutscherMusik.  FransWiering(AssociateProfessor,DepartmentofInformationandComputingSciences,Utrecht University),CharlesInskip(Lecturer,UniversityCollegeLondon) Whatdomusicologistsdoallday?Workprocessesandtheadoptionofsoftwaretoolsin musicologicalresearch Inthelasttwodecades,anastonishingamountofcomputertechnologieshavebeencreatedfortheprocessingofdigitized musicandmusicmetadata.Quiteafewofthesearespecificallytargetedatmusicologicalresearch.Veryoften,such software,standards,servicesorresourcesaretheoutcomeofinterdisciplinarycollaborationsbetweencomputerscientists, audioengineers,musicologistsandlibraryscientists.AneverͲpresentsubtextinthediscoursearoundthesecollaborations isthepotentialoftechnologytotransformthedisciplineofmusicology.Itisoftenassertedthattechnologywillhelp

12  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   musicologiststodealwithissuessuchassearchinglargemusiccollections,formalizinganalysis,detectinghighͲlevel patternsinmusichistory,quantifyingdifferencesbetweenmusicalcultures,andwillgenerallystrengthenthescientific natureofmusicology.Yettheuptakeofthesetechnologiesinmainstreammusicologyisnotwidespread.Asa consequence,numerouspleashavebeenmadeforbettertraining,morepublicityandgenerallypreachingthebenefitsof technologies,butmoreoftenthannotattemptstodosohavefailed. Inotherdigitalhumanitiesareas,asimilarlukewarmreceptionofnewtechnologieshasfrequentlybeensignalled.Thishas stimulatedaconsiderableamountofcriticalthinkingaboutthecollaborationbetweencomputerscientistsandhumanists, mainlyfromtheperspectivesofHumanComputerInteractionandHumanCentredDesign.Contrarytopopularbelief,the underlyingissueisnotsomuchtechnophobiaastherelevanceandacceptabilityoftechnologyaspartofhumanities researchprocesses.Anecdotally,musicologistsseemtobeopentotheuseoftechnologywheneveritallowsthemtowork moreeffectively.Insightsintothepurposesandvaluesoftheresearchersderivedfromaclearerunderstandingofthe musicologicalworkprocesseswouldenableandenhanceinterdisciplinarycollaboration,leadingtothedevelopmentof usableandusefulsystems. Todate,onlyveryfewstudieshavebeenmadeoftheworkprocessesandrelatedtechnologyneedsofmusicologists. Asystematicexplorationoftheareaisinorder.Asafirststep,wewillpresenttheresultsofaquestionnaireamongst musicologistsworldwidefocussingontheuseofresourcesintheirdailyworkprocesses,informedbytheirstoriesof rewardingandfrustratingexperiencesandtheirviewsontherisksandlimitationsoftechnology.Basedontheoutcomesof thequestionnaire,wewillpresentanagendaforfurtherresearchofmusicologicalworkpractices,andanumberof recommendationstoenableamovetowardsthedesignoftechnologiestosupportthese.

14.00–15.30 NYPhilHullRoom Renaissancestudies PresentedbytheIAML/IMSProgrammeCommittee Chair:DavidFallows(EmeritusProfessorofMusicology,TheUniversityofManchester,UK;Past President,InternationalMusicologicalSociety) TimCrawford(ProfessorialResearchFellow,GoldsmithsCollege,UniversityofLondon),DavidLewis (Researcher,UtrechtUniversity,TheNetherlands;GoldsmithsCollege,UniversityofLondon) Publishingearlymusiconline:Arichcasestudyoflinkeddata Digitisationisoftenregardedasasingleact,thatofpublishingasingleaspectofacollectionofphysicalitemsonline,but thisrepresentsonlythefirststageinaprocessofprogressiveenrichment,whichmakestheresourceincreasingly accessibleanduseful.Inthispaper,weconsidertheenrichmentofonesuchcollection,reviewingsomeoftheprocessesof addinglayersofinformationwhichaugmentthewaysinwhichitmightbeexploredandanalysedbyscholars,enthusiasts, andtheonlinepublic. EarlyMusicOnlineisanonlinecollectionof324sixteenthͲcenturymusicprints.Thecorpustakestheformof approximately22,000pageͲimages,alongwithcatalogueinformationbasedonexistingBritishLibrarydatabases.The resourcerepresentsasignificantsliceofanimportantperiodinmusichistory—effectivelythefirstcenturyofmusic publishing.However,thenatureoftheMARCͲbasedcatalogueinformation,andthelimitationtoimagesratherthan transcribedscores,reducesthesophisticationandgranularityofsearchesrunoverthecollection. Wedescribeaseriesofsteps,beginningwithaddingstructureandlinkstothecatalogueinformation,andautomated transcription(albeiterrorͲprone)ofthemusicalcontentoftheimages,thataddevergreaterdetailandincreasing functionalitytotheoverallresource.Wedescribetherequirementsfortoolsthatsupportthecreationofthisextra information,demonstratingworkingsoftwareorprototypes.WediscusstheuseofLinkedDatatopublishthisdataand illustratethebenefitswithaprototypeinterfacerelatingthecollectiontoitemsbroadcastontheBBCRadio3EarlyMusic Programme,andthencetopublishedrecordingsandperformers,aswellasvariousexternalonlineresources. Finally,weassesstheimpactthatsuchrich,andrichlyinterconnected,resourcescanhaveformusicologists,musiciansand enthusiasts,showingtheextenttowhichanenricheddigitisationprojectsuchasthiscanprovidethesemanticfoundations ofaninfrastructurewithinwhichnewmodesofscholarshipcanflourish.  CraigSapp(ConsultingAssistantProfessorofMusic,StanfordUniversity,Stanford,California),Jesse Rodin(AssociateProfessorofMusic,StanfordUniversity,Stanford,California) DigitalanalysisandsearchingofearlyRenaissancemusic:TheJosquinResearchProject TheJosquinResearchProject(josquin.stanford.edu)changeswhatitmeanstoengagewithRenaissancemusic.OuropenͲ accesswebsitenotonlyhostsaneverͲgrowingcollectionofcompletescores,butforthefirsttimemakesthemusicfully searchable:inafewclicksyoucanidentifyeveryinstanceofagivenmelodicand/orrhythmicpattern.TheJRPalso providesanalyticaltoolsthatcanbeusedtogaininsightintoindividualworks,thestyleofagivencomposer,orthemusical linguafranca.Thegoaloftheprojectistofacilitateanewkindofknowingthatbrings“bigdata”intoconversationwith traditionalanalyticalmethods.

13  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)    SusanWeiss(ProfessorofMusicology,PeabodyInstituteandDepartmentofGermanandRomance Languages,KriegerSchoolofArtsandSciences,TheJohnsHopkinsUniversity,Baltimore,Maryland), IchiroFujinaga(AssociateProfessor,SchulichSchoolofMusic,McGillUniversity,Montréal,Canada) DigitalprosopographyofRenaissancemusicians Inthisproject,weareinterestedindescribingrelationshipsbetweenmusiciansoftheRenaissance,therebyestablishing anewbiographicaltool.WearecreatingadistributedinternationaldatabasebasedonLinkedOpenData,suchasFOAF (FriendofaFriend),wherethedataisextractedfromexistingcomputerͲreadabledocuments.Theproject,fundedbyan NEHDigitalHumanitiesStartͲupGrant,aimstocreateaframeworkthatcananswerquestionsnoteasilyansweredby GoogleͲlikesearchesortraditionalmeans.Forexample,“WhichprintersinRomeinthe1540swerepublishingbooksof music?DidcomposerAandcomposerBliveinRomein1543?WhichBolognesemusiciansvisitedRomein1543?Were theremusiciansworkinginRomefrom1540–1545whoperformedmusicbybothofthesecomposers?Whowerethe musicalinstrumentmakersthereinthoseyears? Althoughonlinebiographicaldatabasesexist,theyareexpensivetobuildbecausetheyaremostlycreatedmanually.We areattemptingtoreducecostsbyapplyingtechnologies(someexistingandsomenew?),specificallynaturallanguage processing(NLP).ThisprogramautomaticallyextractsnecessaryinformationfromexistingcomputerͲreadabledocuments andusescrowdͲorexpertͲsourcingtechniquesforcorrections.GATE(GeneralArchitectureforTextEngineering)isour mainNLPtool.BecausethestateͲofͲtheͲartNLPtechnologyisimperfectfornamedentityandeventsextractions,wehave developedaJavaScriptͲbasedonlineeditortocorrecterrors.TheresultsarestoredusingthequadRDF(Resource DescriptionFramework)format,whichthencanbesearchedviaSPARQL,aquerylanguageforRDF. Thecrucialpartofthisresearchistodeterminethebestmodelsforefficientlystoringandqueryingtherelationships betweenpeople.EventhoughthisprojectconcentratesonmusiciansoftheRenaissance,itsmodelcanbeappliedtoother timeperiodsanddisciplines.Musicians’livesintersectwithartists,writers,clerics,patrons,printers,etc.Combining networkswillaidindeterminingcirclesofinfluenceandpatternsofpatronageessentialforscholars,teachers,and studentsofRenaissanceculture.Asmorehistoricaldocumentsaredigitizedandastheautomaticnaturallanguage processingimproves,awealthofinformationthatwasavailablebutextremelydifficulttoextractcanbemoreeasily retrieved.Infact,thisisapilotprojectforamoreambitiousHumanHistoryProject,whichaimstocreateadatabaseforall documentedhumanhistory.

14.00–15.30 BrunoWalterAuditorium Archivingandpublishingmusic:Standardsandpracticalapproach PresentedbytheIAML/IMSProgrammeCommittee Chair:MartieSevert(NetherlandsBranchofIAML,Amsterdam) ElizabethSurles(Archivist,InstituteofJazzStudies,DanaLibrary,RutgersUniversityͲNewark,Newark) Sharingnotes:CurrentmusicdescriptionpracticeinthecontextofDACS DescribingArchives:AContentStandard(DACS)providesarchivistswithbestpracticeguidelinesforcreatingfindingaids witharchivaldescriptionintheUnitedStates.However,DACSoffersarchivistslittleguidancewhentheydescribearchival musicmaterialsbecausethestandarddoesnotclearlyaddressalloftheuniquequalitiesofmusic.Musiciscomprisedof soundwaves,andanytangiblematerialsthatdepict,provideinformationabout,orareusedtoproducethissoundserveas proxies.Forthisreason,archivalmusicmaterialspresentdifferentkindsofinformationthandotextͲbasedrecords,and archivistscanandshouldtakethesedifferencesintoaccountwhencreatingfindingaidsthatincludemusicmaterials. BecauseDACSwasdevisedprimarilyforusewithnonͲproxy,textͲbasedarchivalrecords,itdoesnotdirectlyaddressthese differences,therebychallengingarchiviststodescribemusicmaterialsconsistentlyusingthestandard. Thispaperpresentstheresultsofastudythataddressestheissuessurroundingstandardizeddescriptionofmusic materials,includingrecommendationsforaligningthisdescriptionwithDACS.Thepaperwillexplorehowsimilarly archivistsdescribemusicmaterials,andtowhatextentthisdescriptionalignswithEADandDACS.GiventhenearlytwentyͲ yearhistoryofEADandthedecadeͲlonghistoryofDACS,manyexistingfindingaidsforcollectionswithmusicmaterials havebeenencodedusingthesespecifications.Unfortunately,theirapplicationhasnotbeenconsistent,andmanyfinding aidsformusicmaterialshavebeenpublishedonlinewithoutbeingencodedusingEAD.Basedonanexaminationofexisting findingaidsontheweb,theresultsofthisstudyofferhelpfulsuggestionsthatcanbeutilizedindevisingasupplementfor DACSforthedescriptionofmusicmaterials. 

14  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   SusanVita(Chief,MusicDivision,LibraryofCongress,Washington,DC),MaryWedgewood (Administrator,U.S.ISMNAgency,LibraryofCongress,Washington,DC) InternationalStandardMusicNumberintheU.S. TheMusicDivisionoftheLibraryofCongressrecentlybecametheofficialagencyforoverseeinguseofISMNintheUnited States.TheU.S.onlinesystemisnowinoperationandavailablefreeofchargetoallU.S.musicpublishers.Afteraninitial registrationprocess,thesystemrequireslittlestaffintervention,makingitsoperationfeasiblefortheLibraryofCongress. ThescopeofmusicpublishingintheU.S.isunusualinthatmanyworksareinthegenresofpop,rock,world,salsa,hipͲhop, country,folk,contemporaryChristian,Gospel,jazz,etc.—andhybridsofallkinds—aswellas“classical”compositions. Manycomposersaretheirownpublishers.Manyworksareissuedelectronically,ondemand.TheU.S.systemisdesigned tomanagealloftheseconsiderations,andithasflexibilitytoincorporateadditionalchanges,asnecessary.Inaddition,the sheervolumeofmusicpublishedintheU.S.demandsthatanentirelyautomatedapproachbeused. Thesystemforregisteringeachparticipatingpublisherandthenregisteringeveryscoreissuedbyeachpublisherwillbe demonstrated,showinghowmusicpublishersthemselvesprovidedataabouttheirmusic.Thisdataisthenautomatically reͲpurposedintoanumberofformatsofspecificvaluetotheLibraryofCongressandavailabletothegeneralpublic. 1)RDAcompliantMARCrecords 2)MARCXML 3)METSobjectdescription 4)MODSbibliographicdata ThestructureandusefulnessofthepermanentonlineISMNarchive,whichservesasawindowonU.S.musicpublishingin allitsrichnessanddiversity,willbediscussed.  ŽivilĦasaitĦ(HeadofMusicDepartment,MartynasMažvydasNationalLibraryofLithuania,Vilnius) AturningpointinpublishingLithuaniansheetmusicaftertherestorationofindependence(1990– 2015) SheetmusicpublishingisaculturalfieldwhichisnotcoordinatedstrategicallyinLithuania.Therearenopublisherswho specializeexclusivelyinsheetmusicpublishing(universalpublishersdominate).Themusicalcommunity,whichcovers about2–3%ofallcitizens,hasbothpermanentandchangingneeds,andsheetmusicpublishersadjusttotheseneeds precisely.ThesubjectofthispaperissheetmusicpublishinginLithuaniaafter1990,whenLithuaniarestoredits independence.Duringthisperiod,whentheeconomicalsituationchangeddrammatically,thecentrallyplannedeconomy collapsedandmarketeconomystartedtobuild,thesituationwithsheetmusicpublishingunderwentsubstantial transformation.Thenumberofpublishedcopiesdecreasedseverely,andsheetmusicpublishingwasfinallyfreefrom censorshipandbecamemoreopenandflexible.Manynewminorpublishersappearedandanewimpulsetopublish alargervarietyofmusicgenresandreflectworldwidetendenciesarouse. ThepaperanalysestheLithuaniansheetmusicpublishedin1990–2015fromatypologicalpointofview:Itrevealsthe varietyofgenreswithinthepublishingdomainaswellasthedynamicsoftraditionalandnewgenrepublishing.Italso analyseshistoricalchangesoftheneedsoftheLithuanianmusicalcommunity,theirreflectioninsheetmusicpublishing andtheimpactthattheyhaveonthisactivityarea.

14.00–15.30,16.00–17.30 PaulHall Collections,collaborations,andcommunities(I) PresentedbytheAmericanMusicologicalSociety Chair:EllenT.Harris(President,AmericanMusicologicalSociety;Classof1949ProfessorEmeritus, MusicandTheaterArts,MassachusettsInstituteofTechnology[MIT],Cambridge,Massachusetts) Giventhethemeoftheconference,“MusicResearchintheDigitalAge,”thisAMSpanelwilltaketheopportunitytoask somefocused,thematicquestionsaboutwherewehavebeenandwherewemightbeinanotherdecade(bothinthe UnitedStatesandabroad). Ourthreethemes,statedbroadly,are: *Collections:themanynewkindsofdigitalresources(soundandimagearchives,facsimilesofprintandMSeditionsall over;digitalencodingsofmusicalnotationandotherinformation;JSTORandchangestakingplaceintheworldof publishing).Howdowemakesurethattheseresourcesarevisibleanddiscoverable?Howisubiquitousaccesstomaterials manifestincurrentwork,andwhatkindsofresearchquestionsarescholarsasking?Whatquestionsmighttheyasknext? Howarenewmodesofpublicationchangingthematerialaspectofourwork? *Collaborations:themanywaysthatmusicologistsarelearningfromeachother(ingroupprojects),orwithlibraryandIT specialists,and,ofcourse,withscholarsfromotherdisciplines,fromcognitivesciencetoethnographytogenderstudies. Howhavedigitaltechnologiesinparticularencouragedsuchcollaboration?HowdoesparticipationinmultiͲauthored

15  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   publicationsorprojectschangethecharacterofourwork?Whatpossibilitiesseemespeciallyripeforinternational collaboration?Whatbarriersaretheretosuchwork,andhowcouldtheAMSandIMS/IAMLworktoreducethem?How arestate(private)fundingbodieslikelytoviewsuchwork?Howsustainableisanyofthis? *Communities:Whatgoodisourworkintheworldatlarge?Whohasaccesstoit?Whatistheimpactonscholarshipof theopenͲaccessandopenͲsourcemovement?IntheageofWikipedia,whowillbothertolookatcurrentmusicological publications?Howdowecommunicatewithpeersinotherdisciplines,withprofessionalandamateurmusicians,andwith thepublicatlarge?Howcandigitalmodesofpublicationhelpusreachsuchfolks?Andwhatofthenextgenerationof studentsandscholars?Howistheteachingofmusicologyandtheformationofmusicologistschanging?HowareNorth Americangraduateprogramschanging? Ourspeakers,allpastPresidentsofAMSorIAMLͲUS,willengagewiththethreethemesintermsoftheirmostcurrent research.Notallquestionswillbeansweredandsurelymorewillbeasked.Ourrespondentswillhelpustostartadialogue. Speakers: AnneWaltersRobertson(PresidentofAMS,2011–2012;ClaireDuxSwiftDistinguishedService ProfessorofMusic,UniversityofChicago) SecularsongsinsacredMasses:Uncoveringmeaninginthedigitalage  ElaineSisman(PresidentofAMS,2005–2006;AnneParsonsBenderProfessorofMusicatColumbia University) Telescopes,timesofday,andtransitsofVenus:Digitalcollectionsandconnectionsoutsidemusic  Respondents: RichardFreedman PhilippeVendrix MichaelColby  ChrisReynolds(PresidentofAMS,2013–2014;ProfessorofMusic,UniversityofCalifornia,Davis) Digitaltoolsandstrategiesforcollectingandstudyingsheetmusicbywomencomposers  SpecialRespondent: MichaelColby(PastͲPresident,IAML/US;President,MusicLibraryAssociation;PrincipalCataloguerand MusicLibrarian,ShieldsLibrary,UniversityofCalifornia,Davis) Women'ssongintheLibrary  SessionRespondents: RichardFreedman PhilippeVendrix  AnneWaltersRobertsonistheClaireDuxSwiftDistinguishedServiceProfessorofMusicattheUniversityofChicago.She servedasPresidentoftheAMSfortheyears2011and2012.Robertsonwritesonsubjectsrangingfromtheplainchantof theearlychurchtotheLatinandvernacularpolyphonyofthelatemiddleages.HermajorpublicationsincludeGuillaume deMachautandReims:ContextandMeaninginHisMusicalWorks(Cambridge,2002)and“TheManwiththePaleFace, theShroud,andDuFay’sMissaSelafaceaypale,”JournalofMusicology27(2010).Robertson’scurrentworkfocuseson theinteractionoflatemedievalmusicwithaffectivetheologyandart. ElaineSisman,AMSPresident(2005–2006),istheAnneParsonsBenderProfessorofMusicatColumbiaUniversity.The authorofHaydnandtheClassicalVariation,Mozart:The'Jupiter'Symphony,andeditorofHaydnandHisWorld,she specializesinmusicofthe18thand19thcenturies,andhaswrittenonsuchtopicsasmemoryandinventioninlate Beethoven,ideasofpathetiqueandfantasiaaround1800,Haydn'stheatersymphonies,thesublimeinMozart'smusic,and Brahms'sslowmovements.SheiscurrentlycompletingstudiesofHaydn'sMetastasiooperaL'isoladisabitataandofmusic andmelancholy.HermostrecentworkconcernsHaydn's"poeticsofsolartime." ChristopherReynoldsisprofessorofmusicattheUniversityofCalifornia,Davis.Hisarticle,“PorgyandBess:An‘American Wozzeck’,”intheJournaloftheSocietyforAmericanMusic(2007),wonawardsfromtheAmericanMusicologicalSociety andtheKurtWeillFoundation.Hisarticle“DocumentingtheZenithofWomenSongComposers:ADatabaseofSongs PublishedintheUnitedStatesandtheBritishCommonwealth,ca.1890Ͳ1930,”Notes(2013)wontheRichardS.HillAward fromtheMusicLibraryAssociation.HismostrecentbookisWagner,Schumann,andtheLessonsofBeethoven’sNinth(UC Press,2015).ReynoldsservedasPresidentoftheAMSfortheyears2013and2014.

16  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   EllenT.HarrisistheClassof1949ProfessorEmeritusinMusicandTheaterArtsattheMassachusettsInstituteof Technology.SheiscurrentlyPresidentoftheAMS.Harris'sresearchcentersaroundBaroqueoperaandperformance practicewithafocusonthemusicofHandel.HerbookHandelasOrpheus:VoiceandDesireintheChamberCantatas (Harvard,2001)receivedboththeKinkeldeyAwardfromtheAmericanMusicologicalSocietyandtheGottschalkPrizefrom AmericanSocietyforEighteenthͲCenturyStudies.Herarticle“HandeltheInvestor”(2004)wontheWestrupPrizefrom Music&Letters.Hermostrecentbook,GeorgeFridericHandel:ALifewithFriends(Norton)waspublishedbyinautumnof 2014. SessionRespondents: MichaelColbyisPastPresidentoftheMusicLibraryAssociation/IAMLͲUSBranch.HeisPrincipalCataloguerandMusic Librarian,ShieldsLibrary,UniversityofCalifornia,Davis.HeisalsoactiveintheAmericanLibraryAssociationandthe ProgramforCooperativeCataloging.HehashadarticlespublishedinNotesandCataloging&ClassificationQuarterly. RichardFreedmanisJohnC.WhiteheadProfessorofMusicatHaverfordCollegeinHaverford,Pennsylvania.HeisEditor andProjectDirector,TheLostVoicesProject,HaverfordCollege2011–2014[AnalyticTools,DynamicEditions, Reconstructions]http://digitalduchemin.organdhttp://duchemin.haverford.edu/editorsforum WithDavidFiala(CESR,UniversitéFrançoisͲRabelaisdeTours),heisCoͲPrincipalInvestigatorofCitations:TheRenaissance ImitationMass(CRIM),2014–2017. HealsoservesasDigitalScholarshipandMultimediaEditor,JournaloftheAmericanMusicologicalSociety.Hismostrecent book,MusicintheFifteenthandSixteenthCenturies(withcompanionAnthologyofRenaissanceMusic)waspublishedby W.W.Nortonin2012. PhilippeVendrixisseniorfellowattheCentreNationaldelaRechercheScientifique(France)andprofessoratthe UniversityofLiège(Belgium).Since2007heisDeanoftheCentred'étudessupérieuresdelaRenaissance (http://cesr.cnrs.fr),wherehehasconductedtheRicercarprojectfortwentyyears.Sincejune2014,Vendrixisalso presidentofthenationalnetworkofthe22institutesforsocialsciencesandthehumanitiesinFrance.Hehisalso responsibleforseveralresearchprojects,someofthemrelatedtodigitalhumanities.Amongthem,andwithRichard Freedman,twoprojects:onededicatedtothechansonsofDuCheminandanewoneonthemassesadimitationem. Outsidemusicology,PhilippeVendrixalsoconductsinterdisciplinaryprojectslikeIntelligencedesPatrimoines (http://www.intelligencedespatrimoines.fr)orBioPaTIC(BiodiversitéͲPatrimoinesͲTIC).From2000to2010,Vendrix servedaseditorofActaMusicologicaandisgeneraleditorofseveralseriesonEarlyModernStudies(Epitomemusical, ÉtudesRenaissance).HereceivedtheDentMedalin2000andwaselectedcorrespondingmemberoftheAmerican MusicologicalSociety,theRoyalAcademyofBelgium,andtheAcademiaEuropaea,wherehechairstheArtsand Musicologysection. 14.00–15.30 Classroom527 IAMLCopyrightCommittee Workingmeeting(open) Chair:ClaireKidwell(TrinityLabanConservatoireofMusicandDance,London,UK) 14.00–15.30 Classroom529 IAMLMembershipCommittee Workingmeeting Chair:JimCassaro(UniversityofPittsburgh,Pittsburgh,PA) 15.30–16.00 MorseHall Tea&coffee CoffeeCornerforBroadcastingandOrchestraLibrarians 16.00–17.30 BrunoWalterAuditorium Americanaresearchandpubliclibraries PresentedbythePublicLibrariesBranchofIAML Chair:CarolynDow(LincolnCityLibraries,Nebraska) GeorgeBoziwick(Chief,MusicDivision,TheNewYorkPublicLibraryforthePerformingArts,NewYork) “TakeMeOuttotheBallGame”:TheStoryofKatieCaseyandOurNationalPastime “KatieCaseywasbaseballmad, Hadthefeverandhaditbad;

17  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Justtorootforthehometeamcrew, ev'rysouKatieblew. OnaSaturday,heryoungbeau calledtoseeifshe'dliketogo, Toseeashow,butMissKatesaid“no”, I'lltellyouwhatyoucando...” “TakeMeOuttotheBallGame”wasKatieCasey'sanswerͲarefrainthatwouldbeechoedbygenerationsofbaseballfans, mostofthemunawareofthesignificanceoftherarelyheardopeningverse.Asthe“newwoman”emergedintothearena ofequalrightsintheearly1900's,thesupportacrossclassandgenderlinesthatguaranteedthesuccessofthewoman's movementwasthesameformulathatallowed“TakeMeOuttotheBallGame”toendorseanddisseminatetheinclusive messagethatawomancouldandshouldbeseenintheballpark.Theevolutionofbaseballasaparticipatorysportthrough theplaygroundmovementandtheprogressiveeracreatedthesocialcontextforbaseball'srisingpopularityandthesong's timelymessageofsharedvaluesandpleasuresthattranscenddivisionsofrole,genderandclass.Overtheyears,the gradualeliminationofthesong'sopeningverseinthesong'sperformanceallowedagenderlessnarrativetoevolvethat todayunitesgenerationsoffanswhoseekacommonbondtobepartoftherootingcrowdatthebaseballpark. ThispaperwillshowcaserareresearchmaterialsrelatingtobaseballandtheperformingartsthatareuniquetotheMusic andTheatrecollectionsofTheNewYorkPublicLibraryforthePerformingArts,manyofwhicharemadeavailablethrough digitaltechnologyforthefirsttime.  DougReside(Curator,BillyRoseTheatreDivision,TheNewYorkPublicLibraryforthePerformingArts, NewYork) “YaGottaHaveaGimmick”:Usingdigitaltoolstopresentmusicaltheatercollections Musicaltheater,whichcommunicatesnotjustthroughspokentextbutwiththesimultaneousexpressionofmusical language,isnotmerelyreducedwhenreadfromthepage;itis,formostreaders,redactedintoanapproximatedstateof pitches,rhythms,andassociatedtexts,sometimesdifferentfromwhattheymayalreadyknowthroughrecordings,videos orliveperformances.Tomakemattersevenmoredifficult,textsandmusicofamusicaltheaterpiececanbenotoriously unstable.AuthorBruceKirleeffectivelydemonstratedinhisbook,UnfinishedShowBusiness,thatmusicaltheaterisalmost always“unfinished”—eachmajorrevivaltendstodifferfromtheoriginal,notjustinhowitisperformed,butalsoinwhatis performed.Forexample,songsfrommovieversionsareinterpolatedintostagelibretti,concessionsaremadetochanging politicalsensibilities,obscurejokesareupdated,andorchestrationsarefrequentlymodernized. Presentingthiscomplicated,fluidartinaforminwhicheachlayerofchangecanbecaptured,preserved,recognizedand read,isextraordinarilydifficult.Overthepasttenyears,Ihaveexperimentedwithdifferentformsofdigitaltechnologyto solvetheproblemofthechangingscholarlyeditionofmusictheatre.Inthispresentation,Iwilldiscuss,demonstrate,and critiquemyvariousattemptswhichbeganwithaCDͲROMin2005,andhaveincludedvariouswebeditions,andmost recentlyincludestheAndroidapp,“Libretto,”thatdemonstratesthesuccessfuluseofthistechnologyanditsapplicationto revisionsofmusicaltheatertextandmusic.Iwillfurtherdiscuss,moregenerally,techniquesthatTheNewYorkPublic LibraryofthePerformingArtsisexperimentingwithtousedigitaltoolstopreserveandprovideaccesstocomplicated musicandperformingartscollections.  SusanneHein(HeadoftheMusicDepartment,ZentralͲundLandesbibliothekBerlin) Baseballoperasandmarchingbands:TheCollectionofUS20thͲCenturyMusicattheZentralͲund LandesbibliothekBerlin TheZentralͲundLandesbibliothekBerlin(ZLB)wasfoundedin1995bymergingBerlinerStadtbibliothek,situatedinthe easternpartofBerlinandAmerikaͲGedenkbibliothek(AmericaMemorialLibrary)inthewesternpart.TheZLBisthelargest PublicLibraryinGermany.FunctioningalsoasaStateLibraryitactsaslegaldepositlibraryforallmaterialspublishedin Berlinsince1995.ThebuildingoftheAmerikaͲGedenkbibliothekgoesbacktoadonationfromtheUSin1954.Since1998 themusicdepartmentofthemergedZLBhasbeenlocatedintheAmerikaͲGedenkbibliothekbuildingwherethehumanities andfineartssection,fiction,filmsandthechildren'slibrarycanalsobefound. In1968,theAmerikaͲGedenkbibliothekreceivedmusicalmaterialfromtheUnitedStatesInformationAgency(USIA)as abasisforacollectionof20thͲcenturyAmericanmusic.Onepartofthismaterialhadpreviouslybeenheldbyvarious AmericaninformationfacilitiesinGermany,theotherpartbytheInteralliedMusicLendingLibrary,aninstitutionsituated inEastBerlinthatbeganitsservicesin1946.Thecollectionwascontinuouslyaugmenteduntil1982.Theprintedmusic sectioncomprisedabout2,300titleswith5,500copies;itcoversabroadvarietyofstylesandscorings,mostlyclassical,but alsofolksongs,musicalsormusicformarchingbands.Morethan400AmericancomposersarerepresentedhereͲfor exampleBarber,Bernstein,Cage,Copland,Gershwin,Ives,Weill,aswellasfemalecomposerslikeAmyBeach,Ursula Mamlok,RuthSchonthal,furtherHenryCowell,GeorgeCrumb,ConlonNancarrow,GuntherSchuller,RogerSessionsand CharlesWuorinen.Therecordsectionscontainsmorethan1,700titles.

18  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   16.00–17.30 WillsonTheater Smallcollections,bigdata:Challengesandsolutions PresentedbytheIAML/IMSProgrammeCommittee Chair:JenniferWard(RISMZentralredaktion,FrankfurtamMain) PatriciaSasser(FurmanUniversity,MusicLibrarian,Greenville,SC) ChroniclingCaruso:Blendeddatainarchivalresearch In1953,TheJohnsHopkinsUniversity’sPeabodyInstituteacquiredthepapersofthetenorEnricoCaruso.Thecollection includessheetmusic,letters,telegrams,photographalbums,originalart,andmanuscriptscores.Italsoincludesnine boundvolumescontainingseveralthousandnewspaperclippings.AssembledbyCarusohimself,thesevolumestracehis personalandprofessionallifeintheUnitedStates,documentinghiscomplexrelationshipwithpressandpublic.They suggestmanyinterestingresearchquestions,notonlyaboutthetenor’sapproachtohiscareerbutalsoaboutAmerican musicaltasteintheearlytwentiethͲcentury.Unfortunately,Carusorarelyincludedthesourcesofhisclippings.While articlesfrommajornewspapersmaybetracedwitheffort,themanynoticesandreviewsfromsmallorforeignͲlanguage papersaredifficulttoidentifyandthesheernumberofclippingsmakessuchataskprohibitiveforresearchers.Inaddition, duetotheinherentcharacteristicsofprintnewspaper,thevolumesthemselvesarefragileandshouldbehandledaslittle aspossible. Intheearly2000s,theLibraryofCongressandtheNationalEndowmentfortheHumanitiesbeganworkontheNational DigitalNewspaperProgram.MuchofthiscollaborativeprojectisnowaccessiblethroughthewebsiteChroniclingAmerica (http://chroniclingamerica.loc.gov),afullͲtext,searchabledatabaseofdigitizedhistoricAmericannewspapers.Atthetime ofwriting,ChroniclingAmericaindexesnearlyallthearticlesintheCarusoCollection,allowingresearcherstoidentifythe sourceoftheclippingsbysearchingaphrase,aheadline,orkeywords.Italsoallowsresearcherstogenerate“bigdata” aboutCarusothroughthousandsofclippingsnotincludedinthevolumes.Thisdataplacesthetenor’sowncollectionof materialsinthecontextoflargertrendsinoperaticperformances,tastes,andcriticismsthroughouttheUnitedStates. Thispaperdescribesthewaysinwhichthe“bigdata”providedbyChroniclingAmericacomplementsthe“smalldata”of thePeabody’sCarusoCollection,resolvingissuesofidentification,access,andpreservation.Byidentifyingboththesource andauthoroftheseclippings,researchersmaybetterunderstandhowthesematerialsilluminatenotonlyCarusobutalso widerdevelopmentsinAmericanmusiccriticismandtaste.Thispaperdemonstratesthatconnecting“traditional”archival researchwithlargeͲscaledigitalhumanitiesprojectslikeChroniclingAmericahasascholarlyaswellaspracticalvalue.The CarusoCollectionpositsquestionsthatChroniclingAmericacanexpandandrefine,providingresearcherswiththeabilityto situatethesearchivalmaterialswithinabroaderhistoricalframework.  GabriellaHankeKnaus(HankeKnausMusikdokumentationSchweiz,Director,Berne) Smallmusiccollection–BigData WhilediscoveringthepreciousMusiccollectionoftheBenedictineMonasteryofMariasteininSwitzerlandthefocusofthe editorialprocessingwasfirstofallsetonthetraditionaltaskofcataloguingi.e.tocreateresearchablescientificdata.Users ofmusicallibrariesinthedigitalageexpectfurtherdevelopmentssuchasfulltextͲdigitalizationofthemostimportant musicalsources—forexampletheautographoftheKyrieͲfragmentKV73xbyWolfgangAmadeusMozart.Forasmall privatemusiccollectionwithnoinvolvementinabiglibraryͲframeworkwithcentersofdigitalizationtheexpectationsof customersbecameahugechallengeandstretchthelimitsoftheircapacities.Inparticularthequestionishowcanthe smallmusiccollectionofMariasteinsatisfytheexpectationsofcustomersusedtolinkedorbigdata?Thepapertobe presentedwilldescribesomevaluablestepstomakethetreasuresofthecollectionmorevisiblebyusingnewopendata toolslikeWikipedia,OnlineͲPublicationswithCreativecommonslicenseetc.Newopendatatoolsareoneaspecttobetter visibilityofasmallcollection;theotheraspectisthetraditionalwayofthemusicalinterpretationofrediscoveredtreasures andtheproductionofaudiovisualsources—i.e.toproduceaconcertandaCD:Bothefforts—newopendatatoolsand traditionalpromotion—aremethodstoimprovethevisibilityofasmallmusiccollectionintheuniverseofbigdata.  StacyAllisonͲCassin(YorkUniversity,AssociateLibrarian,Philosophy,Toronto) Bothsidesnow:TheMariposaFolkFestivalandaLinkedOpenDataTestbed Inaworldincreasinglyconcernedwithbigdata,librariansandarchivists,aspractitionerschargedwithbringingorderto perceivedinformationchaos,haveopportunitiestobeontheforefrontofmakingsenseofthis“flood.”Musicdocuments withtheirmyriadofinterpersonalrelationshipsandcomplexgenericandformalcharacteristicsareoftenunderservedby thestandardformsandpracticesofarchivalandbibliographicdescription.Withmassiveamountsofdatabeingproduced ontheWebeverydayhowarelibrariesandarchivestoleveragethesedatastoreswhencurrentpracticeskeeplibrarydata trappedinclosedsystems? LinkedOpenData(LOD)andSemanticWebtechnologiesareapathforward.LODisaformofstructuredmetadatathat allowsfordynamicinterlinkingofdataacrosstheWeb,creatinganactivewebofrelationships,ratherthanastaticsetof documents.WhileLODsourcesareincreasingthereareveryfewsystemsactivelymakinguseofthedatasets,andeven

19  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   fewertakingmusicasafocus,particularlyinNorthAmerica.Thisprojectaimstoexplorearadicalrethinkingof bibliographiccontrolandlibrarysearchdesignbyconstructinganexperimentalprototypesusingLODtosurfaceandexploit hiddenrelationshipsintheMariposaFolkMusicdigitalarchivalcollectionatYorkUniversityLibraries.TheMariposaFolk MusicFestivalbeganinOrilliaOntariointheearly1960sandquicklybecameanimportantCanadianculturalinstitution.It wasanearlyandsignificantactorinthefolkmusicrevivalinNorthAmericawithearlyperformancesbyluminariessuchas NealYoung,JoniMitchellandLeonardCohenandcontinuestohaveanactiveroleinthesupportofmulticulturalmusicin Canada. Thistalkwilloutlinetheproject’sinitialstepstocreateaLinkedOpenDatadataset,includingtheassessment, enhancementandrefinementofthedata;thecreationofenhancedcontextualinformationthroughtheinteroperation withotherrelevantdatasources;andtheadditionofcommunitycreatedmetadata.Thetalkwillalsofocusonthe challengesandopportunitiesofLODforthelibraryandarchivalcommunities. 16.00–17.30 Room543 Virtualspaces PresentedbytheIAML/IMSProgrammeCommittee Chair:DavidLewis(Researcher,GoldsmithsCollege,UniversityofLondon) ÉmileWennekes(ChairProfessorofPostͲ1800MusicHistoryandformerHeadoftheSchoolofMedia andCulturalStudies,UtrechtUniversity,TheNetherlands) Obsoleteorongoing?RevisitingthemusicalworldofSecondLife Recently,LindenLabannouncedanewversionofthevirtualenvironmentofSecondLife(SL).Animprovedbetaversionwill beavailablein2015,whereasadefiniteversionwillbelaunchedin2016.SLisfarfromtheneardeathmanycriticshad augured—atleastaccordingtoitsmakers.(Classical)musicwithinthisvirtualcommunityhas,however,remainedlittle morethananicheinmusicologicalresearch,probablydueinparttothefactthataparticipatorymethodologyisa prerequisiteforstudyingSL. Thispapersharestheexperiencesaswellasthechallengesthatsuchparticipatoryresearchimplieswhentryingtokeep datauptodateinacontinuouslychangingvirtualenvironment,notonlyintermsofSLcontent,butalsoregardingboth softandhardware.Thispaperproblematizestheprocessfromsubjectiveobservationtoamoreobjectivedataanalysis,as wellastheaccessibilityandverifiabilityofdigitaldatabyreturningtoapreviouslyconductedstudyofthemusical (sub)culture(s)withinSecondLife.Whatisstillouttherefromthevenuesstudiedandwhathasremainedoftheparticular concertconventions?Whataboutthequantityofconcertscurrentlyprogrammed?HastheimmersivequalityofSLmaybe changedsincetheaforementionedresearchfrom2009–2010? Music’sfunctionwithinSLcanonlybeunderstoodattheintersectionoftwoworlds:SecondandFirst.Thesoundofmusic andpartsofthevisualfootagearecreatedinRealLifeandsubsequently‘streamed’intoSL.Thereforethesignsof‘thereal’ functionactnotonlyassubstitutionsfor‘therealitself,’butarenow‘remediated’withinanewlycreated,‘hyperreal’ context.AnalyzingmusicwithinSL,therefore,raisesnotonlyquestionsofaphilosophicalandtechnicalnature,butalso onesrelevanttoperformativity,reception,‘liveness,’andeveneconomy.Besidesallthese,thereisthematterofthe spatialdesignofsimulatedconcertvenues.Theyareeitherreplicaor‘chimaera’,asIwouldcallthem—achoiceofoneor theotherissignificantlyconsequential. MusiceventswithinSLwillbebriefly(re)categorized.ConcentratingonsoͲcalledclassicalmusic,thetechnicalpossibilities andlimitationsofperformanceswillbeconsideredinordertopinpointthetensionsbetweenFirstandSecondLife (re)presentations.Fiveyearshavepastsincemypreviousresearch;indigitalterms,thesefiveyearsmaybeequivalentto decades   BraxtonB.Boren(PostdoctoralResearchAssociate,PrincetonUniversity,Princeton,NJ) Computationalacousticmusicology Musicologicalscholarshiphasunearthedagreatdealofinformationonperiodinstrumentreconstructionandhistorical performancepractice,twocriticalstepstowardhearinghistoricalmusicasitwouldhavesoundedtoitsaudience.Thethird dimensioninsuchaprojectrequiresaccountingfortheacousticsofthespaceswherethemusicwouldhavebeenheard. Whensuchspaceshavebeenaltered,itisnotusuallyeconomicallyfeasibletophysicallyrecreatethem,asitiswithperiod instruments.Butifthespacesexisttoday,eveninanalteredform,computationalmodelingtechniquescanbeusedto recreateacousticconditionsastheyexistedinthepast.Thisrequirescarefulcalibrationofthemodel’sassumptionsto acousticmeasurementsmadeonsite.Then,operatingwithinmeasuredvaluesformaterials’acousticproperties,the modelmaybealteredtoaccountforchangesinlayoutandmaterialovertime.Becausesoundreflectionsaremultipliedin interiorspaces,attemptstoblindlyreconstructspacesthatnolongerexistaresubjecttoerrorpropagationandmayleadto unreasonableestimatesofroomacousticconditions. Ifasufficientlydryrecordingismadeinaperiodstyleusingperiodinstruments,therecordingmaybeauralizedinthe historicalroomusingthecomputersimulationofthespace’sacousticimpulseresponse.Thisprocessallowsusnotonlyto evaluateacousticclaritynumerically,butitcanalsoletushearhistoricalmusicasitwouldhavesoundedtoitscomposeror

20  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   audience.Thistechniquecanprovidecrucialempiricalevidencetoinformmusicologicalresearchoncomposerswhowrote musicforspacesthatarestillextanttoday.Examplesaregivenofmusicologicalhypothesesthathavebeenevaluatedby examiningtheacousticconditionsinperformancespaces,andfutureworkinthisfieldisoutlined.  AnnaKijas(SeniorDigitalScholarshipLibrarian,BostonCollege),FrancescaGiannetti(Digital HumanitiesLibrarianatRutgers,TheStateUniversityofNewJersey,NewBrunswick,NewJersey) Digitalmadeleinesandbreadcrumbs:Discoveringthemusicalpastthroughmultimodalanalyses Digitalmusicalscholarshipenablestheresearchertoextendbeyondlimitsoftheprintedpageandcombinevariousmedia typesintheserviceofcreatingcontentͲrichscholarlyresources.Theonlinemediumenablesresearchersandmembersof thepublictodiscoverandaccesstheseresourcesandtheirmetadata;italsoactivatestheirpotentialforreuseinnew scholarship.Geospatialtechniques,timelinesandothervisualizationsallowfornewquestionstoemergebydrawing attentiontogapsininformation,burstsofactivity,andrelationshipsbetweentexts.Inthispaper,weintendto demonstratethat1)digitalmultimodalresourcesprovideacompellingmodelfordigitalmusicalresearch;2)particularly rewardingmodesofuserengagementcanemergefromtheonlineenvironment,and;3)asJohannesKepperhasnotedin regardtothecreationofdigitalcriticaleditions,thedigitalmediumrepresentsmoreofa‘paradigmshift’thanachangein format(J.Kepper,“TheImpactoftheDigital,”paperdeliveredattheMusicEncodingConference(May22,2014), Charlottesville,Virginia). KijasisdevelopinganopenͲaccessproject,DocumentingTeresaCarreño,focusedontheperformancecareerofTeresa Carreño(1853–1917),aVenezuelanpianistandcomposer.UsingthewebpublishingplatformOmeka,shedocuments asampleofCarreño'skeyperformancesfrom1862to1917throughcuratedinformationandmetadatadrawnfrom primarysourcematerials.ThisprojectwasundertakenasanalternativetothetraditionalbioͲbibliographyandasawayto addresstheoverwhelmingamountofmaterialsfromCarreño’slongcareer,aswellastheirgeographicdispersal.Byusing anopenͲsourceplatformandgeospatialanalysistools,Kijasdemonstrateshowalternativepublishingmodelscanoffer greaterflexibilityandaccessibility,offernewwaystounderstandandaskquestionsaboutourresearch,aswellaspromote collaborationbetweenscholarsandthepublic. Giannetti’sprojectanalyzesFeliceRomani’sIdueFigaroalongsideitsFrenchsourceplay,LesdeuxFigaro.Romanibased his1820librettouponHonoréͲAntoineRichaudMartelly’swildlypopularDirectoryͲeraplay.Giannettiexplores relationshipsbetweentheFrenchandItaliantextsusingfreeandopensourcestatisticalandvisualizationtoolsincludedin thetextualanalysistoolsuite,TAPoR.Shepresentsherfindingsinawebnarrativepunctuatedbystaticandinteractive visualizationsthatanalyzeandcomparethegenderbalance,maptheadaptationandreassignmentofdialog,andexplore sentimentanalysesacrossthetwotexts.Giannetti’suseofvisualanalysesrepresentsanefforttodiscoverinformation aboutcontemporaryattitudestowardspower,politicsandclassstruggle;thesevisualizationsaugmentandcomplement thetoolsofclosereadingandlocalizethecomplexitiesofoperaticadaptation. 16.00–17.30 Room309 Culturalcrucibles PresentedbytheIAML/IMSProgrammeCommittee Chair:AntonioBaldassarre(ProfessorandDirectorofResearchandDevelopment,Departmentof Music,LucerneUniversityofAppliedSciencesandArts,Switzerland;President,AssociationRIdIM Luzern) KiaHedell(Librarian,DepartmentofManuscriptsandMusic,UppsalaUniversityLibrary,Sweden), MariaSchildt(Researcher,DepartmentofMusicology,UppsalaUniversity,Sweden) TheDübenCollectiondatabasecatalogueafter25years:Newopportunities,methods,and perspectives TheDübenCollectionisoneofthemostextensiveEuropeanmusicalcollectionsfromtheseventeenthandearlyͲeighteenth century.ItderivesitsnamefromtheDübenfamily,ofwhichfourwerecourtchapelmastersattheSwedishroyalcourt.It wasdonatedtoUppsalaUniversityin1732.Thecollectioncontainsmorethan2000worksbycomposersfrompresentͲday Germany,Austria,Italy,France,England,Poland,andtheBalticcountries;onlyaminorpartofthemusicisbySwedish composers. ThehistoryoftheDübenCollectionDatabaseCatalogue(DCDC)goesbackto1987,whenthedevelopmentofthedatabase began.Thisistheresultofafruitfulcooperationbetweendifferentinstitutions:UppsalaUniversity,UniversityofRochester (NY),andUppsalaUniversityLibrary.Thecataloguingofsourcesstartedintheearly1990s,and,in2006,theDCDCwas launchedontheInternetinopenaccess.Thedatabasecontainsaconsiderableamountofmetadataanddigitalimagesof theMSsourcesinthecollection.TheDCDCisoneoftheearliestdatabasesofamusicalcollectionandithasservedas amodelforothersubsequentandsimilardatabases.TheDCDCismoreoveradynamicandopenͲendedresourceanditis continuouslyupdatedwithnewdata,representingthestateofrelevantandpresentresearch.Arecentmajorstepwas

21  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   takenin2013,whenfundsweregrantedforcataloguinganddigitizationofthesubͲcollectionofFrenchstagemusicfrom theearlyeighteenthcentury. InthispresentationwewillfocusontheresultsstemmingfromtheuseoftheDCDCasaresearchtoolandadigitalmusic library.MusicologistsaretheprimarytargetgroupfortheDCDC,andwewilldiscussrecentandongoingprojectswherethe DCDCplaysasignificantrolebyprovidingnewopportunities,methods,andperspectives.TheDCDCalsobenefitsthe libraryintermsofpreservationandincreasedaccessibilitytotheoriginalsources.AnotheroutcomefromtheDCDCisan increasingproductionofmusicaleditionsandarichsupplyofrepertoryformusiciansspecializedinthistypeofmusic.  KristinVandenBuys(ResearchCoordinator,RoyalConservatoryofBrussels,ErasmusUniversityCollege Brussels;Professor,FreeUniversityofBrussels,Belgium) Brussels,acrossroadforFrench,German,andRussianmusicalmodernismintheinterwarperiod (1919–1940) Towardtheendofthe1920sandinthe1930s,Brusselsbecameanimportantcentreofmusicalmodernism.Forexample, thefirstperformancesofStravinsky’sSymphonyofPsalms(1930),Prokofiev’sLeJoueur(1929),andAlbanBerg’sWozzeck inaFrenchtranslation(1932)serveastestimoniesofthecity’shighstatus,comparabletoothermajorEuropeancentresof modernmusic.BrusselscreatedauniqueplatformforFrench,German,andRussianmodernism. ThisresearchonmodernistmusicinBrusselsbetween1919and1940isbasedonaquantitativeandqualitativeanalysisof historicaldatasourcescollectedandcentralizedinaselfͲdesignedrelationaldatabasewhichprovidesaccesstoca.5000 recordsrelatingtoBelgianmodernism,includingca.1000articlesfromca.30Belgianjournalsonthearts;ca.2000 concertsthattookplaceinBrussels(concertprogrammesoftheBrusselsopera,symphonicconcertsocieties,chamber musicseries,andadhocinitiatives(1920–1939);radio(NationalInstitutefortheRadio)orchestras(1931–1939);and lettersaswellasotherdocumentsincomposers’archives,directors,andformerorganizationsinBrusselsthatpromoted modernismform1919until1940.Inaddition,thearchivesofconcertsocietiesandtheNIR,containingreportsofboardsof directorsandfinancialdocuments,wereconsulted. Thankstothisrelationaldatabasethatprovidesaccesstorelationshipsbetweenconcerts,articles,letters,composers, compositions,culturalentrepreneurs,criticsetc.,itispossibletogaininsightsintotheriseandfallofmodernistmusicin Brusselsduringtheinterwarperiod(therise,1920–1927;growth,1927–1932;decline,1933–1936;andrevival,1936– 1939).Otherresearchquestionscanbeanswered.Whatistheconceptordefinitionof“NeworModernMusic”?Howddid thisconceptevolve?Whichcomposerswereconsidered“leadersoftheavantͲgarde”?DidtheBrusselscultural entrepreneursandcriticstakeoverthepolarisationbetweenGermanandLatincontemporarymusic?Isthereagreement ontheconceptordefinitionof“NeworModernMusic”andon“leadersoftheavantͲgarde”amongmusiccriticsand culturalentrepreneursandhowdiditevolve?Whichnetworkswereestablishedwiththeinternationalmodernistscene?  FionaM.Donaldson(Ph.D.inMusicologycandidate,ReidSchoolofMusic,UniversityofEdinburgh, Scotland) TheReidconcertsattheUniversityofEdinburgh:Adatabaseproject ThisdatabasehasbeencreatedaspartofcurrentPh.D.researchintothehistoryoftheReidConcertsattheUniversityof Edinburghfrom1841.TheReidConcertsDatabaseprojectisconcernedwithtransferringdatafromprintedconcert programmestoasearchableonlinedatabase.Theimplementation,evolution,anddevelopmentofthisonlineresourcewill bediscussedinthispaper. ThedesignofthedatabaseprovidesanoverviewoftheReidConcertsandenablesmultipleresearchquestionstobeposed andanswered.WhatwastheorchestralandchambermusicrepertoirebeingofferedbytheUniversityofEdinburghand howdiditdevelopandchange?Whichcomposersorperformerswerepopularandwhichlessso?Interrogationofthe databasefacilitatesdirectcomparison,forexample,betweenRossini(1792–1868),whoseworksappearedintheUniversity concertprogrammesfrom1841to1906andnotagainuntil1938,andMendelssohn(1809–1847),whoseworkswere performedalmosteveryyearbetween1841and1941. TheprimarydatasourcefortheprojectisthecollectionofReidConcertprogrammesintheCentreforResearchCollections attheUniversityofEdinburgh.Thecontentsoftheseprogrammes,devisedbytheReidProfessorsofMusicatthe University,amongwhomwereJohnThomson,FrederickNiecks,andDonaldFrancisTovey,formpartofanimportant historicalresourcethathasneverbeenfullyrecordedorresearched.Thedatabaseofferseaseofaccesstothiskey resource,complementswritingsabouttheuseofconcertprogrammestorecordtrendsanddevelopmentsinconcert presentationandprogramming,andbroadenstheappreciationofthistypeofperformanceephemeraforacademic research.Thisopenaccessonlinefacilitywillprovideabasisforfuturestudy,contributetothemusicalandsocialhistoryof Edinburgh,andhasgreatpotentialtobeadaptedforuseinothersimilarprojects. TheopensourceDrupalcontentmanagementsystemwasidentifiedasthemostappropriateformatfortheprojectand thedesignwasdevelopedandrevisedinassociationwiththeUniversityofEdinburgh,CollegeofHumanitiesandSocial SciencesWebDevelopmentteam.Thisexcitingresourceoffersaninsightintoreceptionhistorythroughthecontentsofthe ReidConcertprogrammes,awindowonconcertlife,andanoverviewoftheorchestralandchambermusictowhichthe EdinburghconcertͲgoingpublicwereexposed.

22  Monday,22June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   16.00–17.30 PaulHall Collections,collaborations,andcommunities(II) PresentedbytheAmericanMusicologicalSociety Chair:EllenT.Harris(President,AmericanMusicologicalSociety;Classof1949ProfessorEmeritus, MusicandTheaterArts,MassachusettsInstituteofTechnology[MIT],Cambridge,Massachusetts) Seedetailsonpages15–17.

16.00–17.30 Classroom527 IAMLBroadcastingandOrchestraLibrariesBranch Workingmeeting(includingavisittotheArchivesoftheNewYorkPhilharmonicOrchestra) Chair:NienkedeBoer(HetBalletorkest/DutchBalletOrchestra,Amsterdam)

16.00–17.30 Room504 IAMLCataloguingCommission BusinessMeetingandCataloguingNewsfromAroundtheWorld Chair:JosephHafner(McGillUniversity,Montréal)

16.00–17.30 Classroom529 IAMLAdHocCommitteeonOrganizationalStructure(Level2) Workingmeeting(closed) Chairs:JohnH.Roberts(UniversityofCalifornia,Berkeley),BarbaraWiermann(SächsischeLandesͲ, StaatsͲundUniversitätsbibliothekDresden)

18.30 CircleLineCruiseReceptionaroundtheislandofManhattan inhonorofRILM's50thAnniversary sponsoredbyRILM,RIPM,RISM,andRIdIM

23  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   TUESDAY,23JUNE

9.00–10.30 Room309 TheMusicEncodingInitiative(MEI) PresentedbytheIAML/IMSProgrammeCommittee Chair:FransWiering(UtrechtUniversity) PerryRoland(MusicMetadataLibrarian,MusicLibrary,UniversityofVirginia) MEIat15:Reflections,challenges,andopportunities Injustafewshortyears,theMusicEncodingInitiative(MEI)hasmovedfroman“outsidethebox”dreamtoadefacto standardforacademic,researchͲorientedmusicencoding.Anumberofprojects,headquarteredinvariousinstitutionsin EuropeandNorthAmericaanddrivenbyavarietyofneedsandgoals,arecurrentlyunderwayandinterestinMEI continuestogrow.NowthatMEIhasreachedadolescence,itisappropriatetoreflectonitsguidingprinciples,designgoals anddevelopmenthistory.Athoughtfulexaminationofthechallengesandopportunitiesalreadyencounteredwillbe presented,aswellasthoselikelytoariseinthefuture. Itistheauthor’sintentionthatthepresentationserveasanintroductiontomoredetailedexaminationsofthetechnical aspectsandspecificusecasesofMEIinotherpresentationproposals.  AndrewHankinson(PostdoctoralFellow,SchulichSchoolofMusic,McGillUniversity,Montréal, Canada),IchiroFujinaga(AssociateProfessor,SchulichSchoolofMusic,McGillUniversity,Montréal, Canada) AnintroductiontotoolsandpracticesfortheMusicEncodingInitiative Thistalkwillprovideanintroductiontothepracticalmattersofmusicencoding.Wewillbeginwithadiscussionofhowthe MusicEncodingInitiativerepresentsandencodesmusicnotation.Exampleswillbeshownfordifferenttypesofnotations, includingCommonWesternNotation,Neumenotation,andMensuralnotation.Severalsoftwaretoolsthathavebeen developedfortheMusicEncodingInitiativewillalsobepresented.Finally,thetalkwillendwithabriefdiscussionon situationswheretheMusicEncodingInitativemightbethemostappropriatechoiceforadigitalmusicarchive.  LaurentPugin(CoͲDirector,RISMSwitzerland) Encodingandvisualizationofdigitalmusiceditions Digitalmediaarebeingadoptedmoreandmoreforscholarlyprojects,includingcriticaleditionsofmusic.Thisrequires specificencodingtechniquesanddedicatedtoolstobedeveloped.Inthiscontext,theMusicEncodingInitiative(MEI), acommunitydriveneffortforcreatingacommonlyͲaccepted,digital,symbolicrepresentationofmusicnotation documents,isincreasinglyadoptedastheencodingformat.Ithastheadvantage,amongothers,toaccommodateawide rangeofmusicalrepertoiresandnotations.Anotheressentialcomponentofdigitalmusiceditionsisthevisualizationofthe musicnotation,particularlyforpublishingtheeditionsinwebenvironments.Onestrengthofdigitaleditionsisthenew possibilitiestheyofferfordisplayingtheircontentincompletelynewways.Agoodexampleisthedisplayingofvariants inlineinthemusicnotationandnotseparatelyasacriticalapparatusisinatraditionalpaperͲbasededition.Thisrequires thedevelopmentofdedicatedtools.Whilethetoolsneedtobetailoredspecificallytothistypeofapplication,theyalso need,however,tobecustomizableandflexibleenoughtobeusedfordifferentcases.Thisisparticularlychallenging becausethevisualizationscenarioscanvarysignificantlyfromonecasetoanother.Forexample,thetypeandscopeof variantsfoundinaneditioncandiffergreatlydependingontherepertoireandthenumberornatureofsources.Thisrange ofvariabilitycreatestheneedforverydifferentvisualizationsthatarenotnecessarilyeasytoanticipate.Thispaperwill considertheseissuesbylookingatthelatestachievementsinthisdomainandhowtheyarebeingapproached.  JohannesKepper(WissenschaftlicherMitarbeiter,MusikwissenschaftlichesSeminarDetmold/ Paderborn,Germany),RichardSänger(WissenschaftlicherMitarbeiter,BeethovenͲHausBonn) Scholarlyeditions2.0:Howdigitalmediapromoteneweditorialconcepts CriticaleditingofmusichasalongtraditionandwellͲestablishedmethodology.Eventhemostrecentprintededitions followthebasicprinciplesestablishedby19thͲcenturyeditions,suchastheBachGesamtausgabe.However,the increasinglyfrequentremarksaboutthelimitationsofpaperͲbasededitionsareallbutnew,andactuallydatebackmore thanacentury.(Asurprisingly“stateͲofͲtheͲart”statementcanbefoundinMaxFriedlaender:ÜberdieHerausgabe musikalischerKunstwerke,in:JahrbuchderMusikbibliothekPeters,ed.byRudolfSchwartz,Leipzig1908,p.13–33.)Atthe sametime,theinfluenceofdigitalmediaonmusicologygrows,openingperspectivesoneditorialconceptsbeyondthe capabilitiesofprintedmedia.Whilecommonwebtechnologiesplayanimportantroleinthisregard,thefullmusicological potentialofdigitaleditionshasonlybeenmadepossiblebytheMusicEncodingInitiative(MEI).Themaininnovationofthe

24  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   MEIdataformatisastrictandwellͲdocumentedterminologythatcoversvariousmusicalrepertoires,includesmechanisms totracktheeditorialworkitself,andhasbeenapprovedbyawidecommunityofmusicologists,musiclibrariansandother expertsfromvariousfieldsofscholarship.AlthoughawiderangeofMEIͲbasededitorialprojectshavebeeninitiatedinthe lastfewyears,wewillintroduceanddiscussthreeveryprominentones—allofwhichexploreneweditorialperspectives thatareclearlybeyondthetechnicalcapabilitiesofprintedmedia.JustasWeber'sFreischützisaperfectexampleofthe traditionalconceptof“work,”the“FreischützDigital”projectseekstodemonstratethepotentialofdigitaleditionsbeyond thescopeofanauthoritativemanuscript.Italsoshowcasestheintegrationbetweenaudioandlibrettocomponents.The “SartiProject”illustratesthecomplexitiesofeditingoperasandtheircustomizationsfordifferentperformances.Onthis, theprojectproceedsfromaverydifferentperspectivethantraditionalcomposerͲfocusededitions,whichnormallyonly addressasmallpartofwhatwashistoricallyconsidered“thework.”Finally,“BeethovensWerkstatt,”usingtheconceptof geneticeditions,seekstotracecompositionalprocesseswithinandacrossmanuscripts—ataskwhichwouldbealmost unthinkablethroughthemediumofprint.Whiletheseprojectscoverquitedifferenteditorialaspects,theyallrelyonMEI toenabletheirspecificresearch.Startingfromadiscussionoftheseprojectsandfocusingontheircommonalitiesand specifics,weseektodrawawiderpictureofthecurrentstateandfuturepotentialofdigitalscholarlyeditions.

9.00–10.30 WillsonTheater Soundscapes PresentedbytheIAML/IMSProgrammeCommittee Chair:DorotheaBaumann(SecretaryGeneral,InternationalMusicologicalSociety;PDEmeritus, UniversityofZurich) Billiet,Frédéric(DeanofMusicology,UniversitéParisͲSorbonne,France;Principalresearcher,Musiconis project),XavierFresquet(Associateresearcher,Musiconisproject,UniversitéParisͲSorbonne,France) Musiconis:Visualizingandindexingthemedievalsoundscape Formorethanthreedecades,thescientificinvestigationofa“soundscape”hasunitedresearchersinthefieldsof musicology,acoustics,history,anthropology,andarcheology,aimingtocreateamodelforaninterdisciplinarydefinitionof itsdiversecomponents.DuringtheMiddleAges,thesoundscapeconsistedofacomplexmélangeofsoundscombining discreteorigins:human,mechanical,musical,urbanornatural.Idiophones,forinstance,andtheirmultipledeclinations— churchbells,tintinabulum,handbells,jinglerings—areinstrumentswithorganologicalfeaturesthatconstructandalso elaborateonaspecificfunctionwithinthemedievalsoundscape. ThispresentationaimsatshowinghowtheMusiconisproject,throughitsownindexingmodel,encompassesthefullscope ofvariationsofthemedievalsoundscaperegardingboththeparticularsoundfeaturesofmusicalinstrumentsandthe soundscapecontainedwithinmedievalimages.Basedonthisindexingmodelcreatedfromdifferentscholarship— musicology,arthistory,instrumentmaking,musicalperformance—weshallalsodemonstratehowthecreationof adedicatedontologyforthemedievalinstrumentariumisrelevantforthedescriptionofthissoundscapeandhowdigital Humanitiescanhelpthemusicologicalinvestigationdrawrelevantinferencesinbothorganologicalandiconographical analysis.  VascoZara(Maîtredeconférences,UniversitédeBourgogne;Associatedmember,Centred’études supérieuresdelaRenaissance,UniversitéFrançoisRabelais,Tours,France) 3Dforancientmusic(andnewpedagogy) TheaimofthispaperisthepresentationoftwoprojectsdevelopedbytheProgrammeRicercarattheCentred’études supérieuresdelaRenaissanceinTours(France):theCubiculummusicaeandtheDiviodives—thecaseoftheSainteͲ ChapelleofDijon.Twodifferentrealizations,bothstartingfromthesamequestion:howcouldnewtechnologyhelpthe treatmentofancientmusicinamuseumcontext?Otherwisesaid:howcouldyounggenerationsappreciateand understandRenaissancemusic?TheCubiculummusicaeisanimmersiveprojectionroomforasonicandvisualexperience insideaparticularvirtualhistoricalenvironment.ThepurposeistogiveafullͲsensorialsoundexperienceintegratedwith pedagogicaldevices(amongothers,voiceͲchoosingoptionforapolyphoniccomposition).TheDiviodivesapplicationputs ina3Darchitecturalreconstitutionofalostbuilding(inthiscasetheSainteͲChapelleofDijondestroyedin1802)asound spatialdistributionoftwomusicalevents:1)thereconstitutionofavotiveceremonyfromthemidͲ15thcentury(monody, polyphonicimprovisationandinstrumentalmusic),and2)therehearsalof14thand15thcenturiespolyphonicmusic.Thanks toavideoͲgameconceptionͲsoftware,thisapplicationcandevelopdifferentpossibilitiesofinteraction:theusernotonly canselecthis/herownavatar,listentoandsinghis/herownvocalpart,butalsoanalyzethescore(asitappearsinthe originalmusicalsourceorinthemoderntranscription)ormodifythescoreforaninteractiveunderstandingofthe counterpoint.BothapplicationshaveaspinͲoffiPadapplicationthatprovidessupplementarypedagogicaldevices combiningcultural,textual,andmusicalanalysis,withalwaysthepossibilitytofocusonasingleexcerptorvoicepartofthe score. 

25  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   AnnaZayaruznaya(AssistantProfessor,DepartmentofMusic,YaleUniversity),RebeccaFiebrink (LecturerinComputing,GoldsmithsCollege,UniversityofLondon) TheRomandeFauvelassyntheticdigitalobject TheDigitalFauvelisaninteractivefacsimileͲeditionofthesatirical“RomandeFauvel”(ca.1314)aspreservedinthe manuscriptParis,BibliothèqueNationalefr.146.Inthissource,thestoryofFauvel(anallegoricalhorsethatstandsforthe worstaspectsofhumanity)isaugmentedbyhundredsofimagesandmusicalitemsinavarietyofgenres.To“read”Fauvel inawaythatapproximatestherichexperienceitsoriginalaudiencescouldhavederivedfromtheobjectrequiresaworking knowledgeofMiddleFrench,Latin,medievalmusicnotation,and14thͲcenturyiconographicconventions.Asaresult, modernscholarshavedissociatedtheobjectintomorerecognizablevolumes—editionsthatgrouplikewithlikeand necessarilyleavecontextbehind.WehaveusednewmediatoreͲsynthesizethesource,makingitmorenavigable, intelligible,andmeaningfultotheuntrainedreaderandexpertresearcheralike. Initscurrentform,TheDigitalFauvelsoftwarerunsonalargemultitouchtabletop(theSamsungSURͲ40)whichallows peopletointeractwithhighͲresolutionpagesoftheoriginalobjectusingnaturaltouchgesturesfamiliarfromtabletsandeͲ readers.Usersofthisvirtualmanuscriptcansimultaneouslyviewsuperimposedtranslationsofthetext,searchmanuscript textandmetadata,viewmoderneditionsofmusicalitems,andlistentoaudio.Suchapresentationallowstheintricate layoutoftheoriginaltoremainsalient,evenwhiletranslationsandtranscriptionsarebeingdisplayed. TheprojectemploysTextEncodingInitiative(TEI)conventionstostorecontentandlayoutinseparatefiles.Weare currentlyrefiningtheDigitalFauvelsoftwaretofunctionasa“container”intowhichnewtranslations,andevennew manuscripts,couldbedroppedwithlittleornoprogramming.Thusourprojectinfrastructure—theTEIencoding conventionsaswellasthesoftwareforsearch,navigation,anddisplay—willfunctionasafoundationonwhichscholars andprogrammerscanbuildnewanddifferenttypesofinteractions. OurapproachstandsasidefrommaintrendsinDigitalHumanities,wherethebuildingofdatabasesthatallowpowerful searchesonlargeamountsofdataisascendant.Boththeeditorsofmedievalmanuscriptsandthemodernmakersof databasesdissociateobjectsintotheircomponents.Bycontrast,TheDigitalFauvelseekstoforegroundtheintegrityofthe original.Assuchitissyntheticratherthananalytical,andmaypointtonewdirectionsindigitalapproachestomedieval objects. Theprojecthomepage,withscreenshots,canbeaccessedathttp://www.doc.gold.ac.uk/~mas01rf/DigitalFauvel/

9.00–10.30 BrunoWalterAuditorium Exploringmusic:Methodsofusingscattereddigitaldata PresentedbytheIAML/IMSProgrammeCommittee Chair:CherylMartin(UniversityofWesternOntario,London,ON) MichaelSchutz(AssistantProfessorofMusicCognition/Percussion,McMasterInstituteforMusicand theMind,Hamilton,ON),AimeeBattcock(MScStudent,McMasterInstituteforMusicandtheMind, Hamilton,ON) DigitizingBach:Diversetoolsfacilitatenewexplorationsofmusic’scommunicativepower Digitaltoolsforcataloguing,retrieval,andanalysishavedramaticallyalteredthelandscapeofmusicalresearch.Crowd sourcedeffortssuchastheInternationalMusicScoreLibraryProject(IMSLP)allowscholarstoassemblescoresfordiverse compositionsaswellasmultipleeditionsofsingleworks.Paralleltoolsforrecordingsenableacquisitionanddigitizationof evenobscurealbums.Takingadvantageofthesedevelopments,ourresearchgrouphasassembleddozensofscoresand recordingsofBach’s“WellTemperedClavier(Book1)”tofacilitateaprojectexploringcommunicationofemotioninmusic. Whileouranalysiswillultimatelyincludeavarietyofcompositions,Bach’siconicsetof48preludesandfuguesservesasan idealstartingpoint.Becausemodalityplaysanimportantroleinconveyinghappinessandsadness,usingacorpus “balanced”withrespecttobothmodality(major/minor)andkey(AMajor/BMajoretc.)isadvantageous.Thiscorpusis consequentlyideallysuitedforexploringtheinterͲrelationshipbetweenpitchheight,timing,andmodalityinshapingan audience’slisteningexperience.Investigatingcuesbeyondmodalityisimportant,asourperceptualtestinghas documentingthatpiecesuchastheCMajorFuguesoundrelatively“sad”despitebeinginamajorkey. Todate,wehaveusedtoolssuchasIMSLP(http://imslp.org)toassemble24piecepreludesfromdozensofcomposers (Busoni,Clementi,Chopin,Kabalevsky,Shostakovich,etc.).Additionally,wehaveacquiredmultipleeditionsofsinglesets soastogaininsightintotheroleofdifferenteditorialmarkings—particularlywithrespecttotempi.Thisisessential,as timingplaysanimportantroleinconveyingemotion,butvariesconsiderablyamongstdifferentinterpretations.Ourproject buildsinpartontheworkofmusicologistWilfredPalmer(Bach/Palmer,2004)whoexhaustivelydocumentedintriguing differencesinthetempiemployedin13differentperformancesofthisset:GlennGould’s(1965)interpretationoftheE minorfugue(BWV855)unfoldsattwicetherateofTureck’s(1953),andNewman(1973)performedtheBminorprelude (BWV869)atthreetimestherateofGulda(1973).Wehavenowacquiredanddigitizedeachoftheseperformances, creatinganintriguingdatabaseofscoresandrecordingsofferinginsightintotherelationshipbetweenBach’sstructural decisionsandperformer’sinterpretationsofthesedecisions.Thispaperwillreviewourfindingstodate,andintroduceour

26  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   effortstocreateanonlinerepositoryofourmaterials—therebycontributingtotheeverͲgrowingnumberofdigitaltools availabletomusicalscholars,performers,composers,andeducators.  BonnieFayeWoelk(Archivist,UniversityofCalgaryArchivesandSpecialCollections,Calgary,AB) Digitalhymnodytools:TheirusefulnessinresearchingtheimpactoftheGreatWaronCanadian ProtestantHymnals AneweditionoftheCanadianMethodistHymnandTuneBookwaspublishedin1917,“ayearofsuchdoubt,confusion andanguishasChristendomhasneverbeheld”(MethodistHymnandTuneBook,1917),accordingtothehymnal committeethatcompiledit.BoththeCongregationalandPresbyterianchurchesinCanadapublishedhymnalsduringthe GreatWar,andtheAnglicanChurchissuedhymnalsjustbeforeandaftertheWar. Thispaperwillsurveytheavailabledigitaltoolsthatarecapableofsupportingscholarlyresearchintotheimpactofthe GreatWaronCanadianmainlineProtestanthymnody,anareaofresearchnotyetcomprehensivelystudied.Hymnary.org andtheCanterburyDictionaryofHymnologywillbeevaluatedindetail.Thisstudywillbrieflyexplorethehistoryofthese twodigitalresearchtoolsincludingthehymnodyscholarshipuponwhichtheyarebased,ledlargelybymembersofThe HymnSocietyofGreatBritainandIreland,andTheHymnSocietyintheUnitedStatesandCanada. WhileHymnary.organdtheCanterburyDictionaryofHymnologyarefairlyrecentadditionstothedigitalresourcesuseful totheworkofmusicians,pastors,andlaypersonsresponsibleformusicministryinchurches,oneneedstoaskthe following:howwelldothesetoolsfulfilltheneedsofscholarstoperformtimeͲsavingtaskssuchascomparinghymnbooks, sometimescontainingoverathousandhymns,toidentifyhymnsincommon?Thesetoolswillalsobeassessedastotheir abilitytoassistindiscoveringchangeandcontinuityintherepertoirewithineachchurchdenominationandacross denominationallines,notingtrendsintopicalortheologicalthemesovertime,orchangesinthenationalityofhymn authorsasCanadabegantodiscoveranationalidentityseparatefromBritain.Finally,canthesetoolshelpidentifywhether additionstohymnalsatthetimeoftheFirstWorldWarwereofcontemporaryauthorship,possiblyindicatingthatnew textswereneededforthenewworldcircumstances,orwasitthehymnswrittenlongbefore1914thatbrought“amessage ofcheerandcouragetofaithfulsouls”(MethodistHymnandTuneBook,1917)?

9.00–10.30,11.00–12.30 PaulHall Musicreference(IandII)  ReferencingmusicinthetwentiethͲfirstcentury:Encyclopediasofthepast,present,andfuture PresentedbyRILMandtheIAML/IMSProgrammeCommittee Chair:TinaFrühauf(RILM;ColumbiaUniversity,NewYork) Musicencyclopediashavethepotentialtoreflectbroadlyuponmusicologicalapproaches.Astheytraversethedisciplines oflexicographyandethnomusicology,theyalsonegotiatespacesbetweentheseandotherdisciplines.Sincetheearly nineteenthcentury,abroadvarietyofterminologicalandbiographicalreferenceworkshaveaddressedinternaldisciplinary concernsandperspectives,contextualizingthemwithincontemporaneoustrendsinthehumanities.Infurtherpursuitof crossͲdisciplinaryconversations,thispanelwillreflectuponlexicographicalthinkingfromthenineteenthtothetwentyͲfirst centuriesinordertomakeconcretesuggestionsforencyclopediasofthefuture.Thegeographicalreachofthepanelis deliberatelybroad,stretchingfromEuropeandtheUnitedStatestoSpainandSpanishͲspeakingAmerica. Thefirst90Ͳminutesession,“Thelongueduréeofmusicencyclopedias:Mythsandrealities,”willaddressphilosophiesof contentinencyclopediasthroughoutthehistoryofmusiclexicography.Howdoencyclopediasmirrorthedisciplineof musicologyandhowdofactsrepresentvalues?Howdoeschangingcontentmirrorchangingapproachestomusichistory andthedynamicsofculturalrepresentation?Acaseinpointarethedifferentapproachestobiographicalentriesofkey figureswithinthemusicologicalcanon.Clearly,approacheschangeaccordingtotimeandplace.Theseandotherissues relatedtocontentareacentralconcernofthesession.Regionalcoverage,culturalrepresentation,andthemeaningof authoritywillbediscussedinlightofvaryingcoverage. Thesecond90Ͳminutesession,“Newencyclopediasforthedigitalage,”willfocusonthepresentandfutureofmusic lexicography.Thediscussionwillcenterontwointerrelatedissues:contentandrepresentation.Howdochangesinthe disciplineaffectthewritingoffutureencyclopedias?Suchquestionsbringuptechnologicalissuesaswell,ultimatelyraising largerquestionsonformat—thatis,printversusdigitalmedia—thatwillimpactthemakingoffutureencyclopedias.How shouldtheencyclopediaofthefuturebemadeaccessible,towhom,andwithwhatfeatures?Whatroledoescurrency play?MetaͲencyclopediashavethepotentialofbringingdifferententriesonthesamekeywordtogetherinoneinterface andthusallowforacomparativeandallͲencompassinglensonbiographicalandsubjectentries.TheconceptofthemetaͲ encyclopediawithcomparativeentriesandcrossͲdatabasesearchingwilllinkbothpanelstogetherinafinaldiscussionof newpossibilities. Thesessionsfeaturesevenspeakerswhohaveplayedorareplayingleadingrolesinestablishingdirectionsinlexicography. FifteenͲminutepositionstatementswillbefollowedbyaroundtablediscussion.

27  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Panelists: LaurenzLütteken(EditorͲinͲChief,MGGOnline;ProfessorandChairofMusicology,UniversityofZurich) DieMusikinGeschichteundGegenwart,2ndrevisededition,27vols.,editedbyLudwigFinscher(Kassel:Bärenreiter; Stuttgart:MetzlerVerlag,1994–2007).Sachteil,10vols.;Personenteil,17vols.;terminologicalandbiographical supplement(2008).  HannsͲWernerHeister(CoͲEditor,KDG;Professor,HochschulefürMusikundTheaterHamburg, 1998/99–2011) KomponistenderGegenwart(KDG)coversover900composersfromthe20thand21rstcenturies.Publishedinlooseleaf format,ithasreached9,000pagesin8folderssinceitscoͲeditors,HannsͲWernerHeisterandWalterWolfgangSparrer, foundeditin1992.Publishedbyeditiontext+kritikandupdatedquarterly,feeͲbasedonlineaccesstoKDGisavailable through  ÁlvaroTorrente(Director,InstitutoComplutensedeCienciasMusicales[ICCMU];Professorof Musicology,UniversidadComplutensedeMadrid) Diccionariodelamúsicaespañolaehispanoamericana,10vols.,editedbyEmilioCasaresRodiciowithVictoriaEli RodríguezandBenjamínYépezChamorro(Madrid:SociedadGeneraldeAutoresyEditores[SGAE],19992002).  HarryWhite(CoͲGeneralEditor,EMIR) TheEncyclopediaofMusicinIreland,HarryWhiteandBarraBoydell,GeneralEditors(Dublin:UniversityCollegeDublin Press,2013).  MarkusBandur(ManagingEditor,1996–2005,HandwörterbuchdermusikalischenTerminologie; HochschulefürMusik,Detmold,Germany) DasHandwörterbuchdermusikalichenTerminologie(HmT),basedinFreiburgimBreisgau,wasestablishedin1971and ceasedin2005(Wiesbaden:F.Steiner,19722005).Itsfounder,HansHeinrichEggebrecht,editedituntilhisdeathin1999 andwasfollowedbyAlbrechtRiethmüller.TheideaofadictionaryofmusicaltermshaditsrootsinErichRothacker's projectona“Begriffsgeschichte”(historyofconcepts,leadingtothestillactiveperiodicalArchivfürBegriffsgeschichte).For 35yearsofuninterrumpedwork,ateamofthreemusicologistsinFreiburgandseveralcollaboratorsaroundtheworld collectedresearchon247termsinsixvolumesamountingto3300pagesoftheHandwörterbuchdermusikalischen Terminologie.ImportantforEggebrecht’sdeepenedandexpandedconceptualideasonamusical“Begriffsgeschichte”were 1)theelaborationofthemanifolddifferencesamong“Begriff,”word,and“Terminus”;2)emphasisontheeminently singularcharacterofmusicalterms(comparedwithterminologyinothersciences)thatresultsfromtheontologyofmusic andmusicology;and3)concentrationonthehistoricaldimensionofthemusicalvocabularyandchangesthatreflect ongoingthoughtaboutmusic.  DonM.Randel(Editor,HarvardDictionaryofMusic,3rdand4theditions;ChairoftheBoard,American AcademyofArtsandSciences;fifthPresident,TheAndrewW.MellonFoundation) TheHarvardDictionaryofMusic(1944,1969,1986,and2003)isalandmarkterminologicaldictionaryandtheclassic sourceintheEnglishlanguage(Cambridge,MA:BelknapPressofHarvardUniversityPressReferenceLibrary,2003),1008 pp.,222lineillustrations,250musicalexamples.InitiallyeditedbyWilliApel(1893–1988)andpublishedbyBelknapPress ofHarvardUniversityPress,theprominentAmericanmusicologistDonM.Randeltookovertheeditorshipofthethirdand fourtheditions,expandingthecoverageofjazz,popularmusic,twentiethͲcenturycomposition,andnonͲWesternmusic.  AnnaͲLiseSantella(SeniorEditorforMusicReference,OxfordUniversityPress;GroveMusicOnline) GroveMusicOnlineisacomprehensivecompendiumofmusicscholarshipofferingthefulltextsofTheNewGrove DictionaryofMusicandMusicians,2ndedition,29vols.,editedbyStanleySadieandJohnTyrrell(London:Macmillan, 2001);TheNewGroveDictionaryofOpera,4vols.(1992);andTheNewGroveDictionaryofJazz,2ndedition,3vols.(2002). RecentadditionsincludeentriesfromTheGroveDictionaryofAmericanMusic,2ndedition,8vols.(2013),andTheGrove DictionaryofMusicalInstruments,2ndedition,5vols.(2014).Whenthesevolumesarefullyonline,theywilladdnearly 20,000newandrevisedentriestothewebsite.  Panelists LaurenzLüttekenisProfessorandChairofMusicologyattheUniversityofZurichandEditorͲinͲChiefofMGGOnline.Since 2008hehasbeenchairmanoftheERIHPanel“Musicology.”Hestudiedmusicology,Germanlanguageandliterature,and historyofartsattheuniversitiesofMünsterandHeidelberg,receivinghisdoctorateinmusicologyin1991witha

28  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   dissertationonGuillaumeDufay.In1995heservedasActingDirectoroftheInstituteforMusicologyattheUniversityof Heidelberg.ThefollowingyearhewasappointedfullprofessorattheUniversityofMarburg,and,since2001,heisChairof MusicologyattheUniversityofZurich.Lüttekenhaspublishedextensivelyonthemusicofthe14ththrough20thcenturies, withafocusontheRenaissanceandthe18thcentury.HisawardsincludetheHeisenbergScholarship(1997),theDent MedaloftheRoyalMusicalAssociation(2002),andelectiontotheAcademiaEuropaea(2008).In2009hewasVisiting ProfessorattheCentred'étudessupérieuresdelaRenaissance,UniversitéFrançoisͲRabelaisinTours. HannsͲWernerHeisterisCoͲEditorofKomponistenderGegenwart.HetaughtattheHochschulefürMusikDresdenfrom 1992to1998,andattheHochschulefürMusikundTheaterHamburgthereafteruntil2011.Heisterhaspublishedon varioustopicssuchasmethodologyofmusicology,musicaestheticsandsociology,musichistory,political,popularmusic andNewMusic,musicandmusicalcultureunderFascism,resistancemovementandexile,aestheticsandhistoryofmusic theatre,mediaandinstitutionsofmusicculture,anthropology(inparticularmusicandhumanperception,originsof languageandart),musicanalysis,musicandotherarts,musicandpsychoanalysis,mathandfuzzylogic. ÁlvaroTorrenteholdsaPh.D.inMusicologyfromtheUniversityofCambridge(1997).AfterteachingfortwoyearsatRoyal Holloway,UniversityofLondon,hewasappointedProfessorattheUniversidadComplutensedeMadrid(1999),wherehe iscurrentlyLecturerinMusicHistoryandDirectoroftheInstitutoComplutensedeCienciasMusicales(ICCMU).Since2007 heismemberoftheDirectoriumoftheInternationalMusicologicalSociety.Hisresearchandpublicationsfocuson vernaculargenresintheIberianworld,andonItalianoperaofthe17thand18thcenturies.HeeditedwithEmilioCasares LaóperaenEspañaeHispanoamérica(ICCMU,2001),and,withTessKnighton,DevotionalmusicintheIberianWorld:The villancicoandrelatedgenres(1450Ͳ1800)(Ashgate,2007),whichreceivedtheRobertStevensonAwardoftheAmerican MusicologicalSocietyin2008.WithEllenRosandandLorenzoBianconi,heisGeneralEditorofTheOperasofFrancesco Cavalli(Bärenreiter). HarryWhiteisCoͲGeneralEditorofTheEncyclopaediaofMusicinIreland(withBarraBoydell)andProfessorofMusicat theUniversityCollegeDublin.HeisalsoaFellowoftheRoyalIrishAcademyofMusic.Between2003and2006heservedas firstPresidentoftheSocietyforMusicologyinIreland.Heworkedasgeneraleditor(withGerardGillen)ofIrishMusical Studiessince1990andisperhapsbestknownasaculturalhistorianofmusicinIreland,whichisthesubjectofthree monographs:TheKeeper'sRecital:MusicandCulturalHistoryinIreland,1770Ͳ1970(1998);TheProgressofMusicinIreland (2005),andMusicandtheIrishLiteraryImagination(2008).HewaselectedtotheRoyalIrishAcademyin2006. MarkusBandurwasmanagingeditoroftheHandwörterbuchdermusikalischenTerminologiebetween1996and2005.He holdsaPh.D.inmusicologyfromtheUniversityofFreiburg,wherehealsostudiedphilosophyandhistory.Since2008he hasbeeninvolvedinthecriticaleditionofCarlMariavonWeber’sworks.Heisanactivelecturerandcurrentlyteaches musicologyattheHochschulefürMusikinDetmold.Hisareasofspecializationincludemusicalterminology,20thͲcentury music,Haydn,andmusicforfilms. DonMichaelRandelisChairoftheBoardoftheAmericanAcademyofArtsandSciences,andamemberoftheeditorial boardofEncyclopædiaBritannica.HehaspreviouslyservedasthefifthpresidentofTheAndrewW.MellonFoundation, twelfthpresidentoftheUniversityofChicago,asProvostofCornellUniversity,andasDeanofCornell'sCollegeofArtsand Sciences.AspecialistinthemusicoftheMiddleAgesandtheRenaissance,heisparticularlyknownforhispublicationson Mozarabicchant,Arabicmusictheory,andPanamanianfolkmusic.Hehasservedaseditorofthethirdandfourtheditions oftheHarvardDictionaryofMusic,theHarvardBiographicalDictionaryofMusic,andtheHarvardConciseDictionaryof MusicandMusicians.HeisatriplealumnusofPrincetonUniversity,havingearnedhisbachelor's,master'sanddoctoral degreesinmusicologyatthatinstitution. AnnaͲLiseSantellaisSeniorEditorforMusicReferenceatOxfordUniversityPress.SheholdsaB.A.fromSmithCollegeand anM.A.inHistoryandTheoryofMusicfromtheUniversityofChicago,wheresheiscompletingherdoctoraldissertation, “‘LadyAngels’:AmericanWomen’sSymphonyOrchestras1871Ͳ1945.”Shehascontributedseveralarticlestothesecond editionofTheGroveDictionaryofAmericanMusic(OxfordUniversityPress,2013)andherarticle“ModelingMusic:Early OrganizationalStructuresofAmericanWomen’sOrchestras”waspublishedinAmericanOrchestrasintheNineteenth Century,editedbyJohnSpitzer(UniversityofChicago,2012),whichwonthe2013RuthA.SolieAward. TinaFrühaufisEditorandProductDevelopmentCoordinatoratRILM(RépertoireInternationaldeLittératureMusicale)in NewYork,whereshecurrentlyisresponsibleforthedevelopmentofRILM’sFulltextEncyclopediaCollection.Sheisalso AdjunctFacultyatColumbiaUniversity.ShehascontributedarticlestoTheMusicalQuarterly,MusicaJudaica,andTDR: TheDramaReview,aswellaschaptersinbooksonGermanͲJewishmusicculture.SheistheauthorofTheOrgan andItsMusicinGermanͲJewishCulture(OUP,2009/2012)andeditorofAnAnthologyofGermanͲJewishOrgan Music(AͲREditions,2013,nominatedfortheClaudeV.PaliscaAwardforOutstandingEdition);HansSamuel: SelectedPianoWorks(AͲREditions,2013);andDislocatedMemories:Jews,Music,andPostwarGermanCulture (OUP,2014).



29  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   9.00–10.30 Room340 IAMLForumofNationalRepresentatives Chair:JohanEeckeloo(ViceͲPresident,IAML,RoyalConservatoryBrussels,ErasmusUniversityCollege, Brussels)

10.30–11.00 MorseHall Tea&coffee CoffeeCornerfortheNordicandBalticcountries

10.30–12.30,15.30–16.30 PJSharpTheaterLobby PosterSession(I) VincentBesson(Ingénieurd’étudesduCNRS,Centred’étudessupérieuresdelaRenaissance,Université FrançoisRabelaisdeTours,France) Desapplicationsmusicalesadosséesàdesmanifestationsculturelles Depuisdenombreusesannées,leprogrammeRicercarduCentred’étudessupérieuresdelaRenaissance(Tours,France) œuvreàlaconstitutiond’unfondsdocumentairesurlamusiquedelaRenaissance.Cefondss’estpeuàpeuconstitué grâceauxdifférentstravauxdepublicationdanslacollectionEpitomemusicalpubliéechezBrepolspublishersetgrâceau développementdenombreuxprojetsderecherches.Ilestaujourd’huiconstituéde3000sourcesnumérisées,disponibles àlaconsultationdansleslocauxdeCESR.GrâceàcellesͲci,nousavonsdéveloppéd’ambitieuxprojetsderechercheetde diffusiondecesrésultats.Ainsi,uneencyclopédiedelatablatureréunissantplusde400sourcesentablaturefera prochainementl’objetd’unepublication.Outrelespublicationstraditionnelles,leprogrammeRicercars’estdonnépour missiondeparticiperpleinementaudéveloppementdeshumanitésnumériques. Unpremierprojet,TheLostVoicesProject,avulejouràl’automne2014enpartenariatavecuneéquipeconstituéeautour deRichardFreedmand’HaverfordCollegeetnoustravaillonsactuellementàunprototypequipermettraderéaliserdes éditionscritiquesenligne.LeGesualdoprojectprésentélorsducolloquedel’IMS2015parMarcoGurrieri,collaborateur duprogrammeRicercar,estunepremièreétapeendirectiondeceprototype.Envud’enrichirdesprojetsderechercheset devalorisationdupatrimoinemusical,Ricercaraégalementdéveloppédesapplicationspourtablettesnumériques.Trois d’entreellesserontprésentéesenaccompagnementduposter.Àlasuiteduprojetderestitutiondepartiesmanquantes danslessourcesmusicalesdelaRenaissance,lareconstitutiond’unecérémonieenmusiquedansunmodèle3Ddela SainteͲChapelledeDijon(détruiteen1802)avulejourgrâceàunprojetderecherchedirigéparDavidFialaetsoutenupar l’AgenceNationaledelaRecherche.Cetteréalisationaétéprésentéedansunesalledeprojectionimmersivelorsd’une expositionaumuséedesbeauxartsdeDijon(maiͲoctobre2014).Cetteapplicationdevisitevirtuelleseraégalementmise àdispositionsurundenosordinateurs.Unautreposterenfin,présenteradeuxprojetsd’envergure–leprojetGesualdo– etunebasededonnéessurleschantresàlaRenaissance.  RaffaeleViglianti(ResearchProgrammer,MarylandInstituteforTechnologyintheHumanities, UniversityofMaryland,CollegePark) Enhancingmusicnotationaddressability:AnURLspecification Addressingmusicnotationsegmentsiscentraltomanykindsofmusicologicaldiscourse.Referencesvaryinscopeand precision,suchas“themeasurestwoandthree,”oramoregeneric“thetimpaniintheopeningbarsoftheOverture.” Giventhegrowingnumberofdigitizedmusicscores,theEnhancingMusicNotationAddressability(EMA)projectseeksto answersuchquestionsas(1)howcanonevirtually“circle”musicnotation?and(2)howcanamachineinterpretthis “circling”toretrievemusicnotation? Similaroperationsarerelativelysimplefordigitaltexts.MichaelWitmorehasarguedthattextisa“massivelyaddressable object”;thatis,givencertainabstractionsandconventions,itispossibletoidentifyareasofatextsuchascharacters, words,aswellaschaptersorpropernames.Comparedtotext,musicnotationismorecomplicatedtorepresentdigitally. HumanͲcomputerinteractionhassinceitsearlydaysbeenbuiltaroundtheconceptofcharacterandline,whichmakes dealingwith“plain”textafairlystraightforwardmatterformanybasicoperations;countingthenumberofcharactersin agivenplaintextdocumentistrivialinanydigitalenvironment.Musicnotation,however,requiressubstantial computationalmodelingevenforthesimplestmusicaltextbeforeanyfurtheroperationispossible.Thereare,indeed, manywaysofrepresentingasinglenote;someaspectsarecommontoallrepresentationsystems,suchasinformation aboutpitchandduration,butsomesystemswillprioritizecertainaspectsoverothers. TheEMAprojectisworkingonatechnicalspecificationthatallowstoaddressaselectionofmusicnotationregardlessofits representation.Theexpressionisbasedonsimpleunitsthatarecommonlyrepresentedbymusicnotationsystemsfor commonWesternmusicnotation,suchasmeasure,staff,andbeat.TheexpressionisformulatedasaURL,whichmakesit

30  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   possibletotargetresourcesontheweb.TheprojectisalsoworkingonawebserviceabletounderstandaconformantURL expressionandretrievetheselectionfromfilesencodedaccordingtotheMusicEncodingInitiative(MEI)standard.Finally, EMApartneredwiththeLostVoicesProject(digitalduchemin.org)tomodelanumberofmicroͲanalysesaddressingmusic notationfromtheirexistingcollectionofMEIdocuments..ThisposterwillexplaintheaimsoftheprojectanddetailtheURL specificationforselectingmusicnotation.  DangVu(PostdoctoralScholar,UniversityofCalifornia,SanFrancisco) Transcriptionandtranslation:ReͲpurposingDNAandproteinanalysissoftwaretoexamine improvisationpracticesinVietnamesemusic SoftwaredesignedforaligningandidentifyingmotifsinDNAandproteinsequencescanbeusedtoanalyzeandgenerate asystematicdescriptionofimprovisationtechniquesandpatternsofinheritancefromteacherstostudentsinsouthern Vietnamesechambermusic(nhҢctàitӊ)andsimilarmusicgenresaroundtheworld.NhҢctàitӊinsophisticationand ambitionisakintoWesternartmusicyetitspedagogicalpracticesarefolkͲlikeandoral.Bioinformaticsanalysesrepresent anefficientmeanstocatalogueandorganizethemusicalpracticesinsuchadiverseandinformalecology. Inbiologyresearch,computerprogramsareusedtoalignandcomparedifferentsequencesoflettersoftheDNAorprotein alphabetandgenerateanalysesthatareadaptabletomusicology.Bioinformaticsprogramscanidentifypartsofaprotein thatserveessentialfunctionswhentheaminoacidsequencesofthesameproteinbutfromdifferentanimalswouldallline upatthatonepart,calledaconservedresidue.Theprogramscanalsoidentifycommonrecurringmotifs.Finally,theycan alsocreateaphylogenetictree,showinghowfarapartlineagesoforganismsarebyhowsimilartheirsequencesareand howthesequencesaredifferent. AdaptingbiologicalsequenceanalysisisparticularappropriatefornhҢctàitӊbecausethemusicismelodicallyorganized: WrittenscoresinnhҢctàitӊareskeletalmelodies,specifyingaboutoneortwonotes(orrests)permeasure.Mostofthe notesareoptionalandshiftablerhythmically.However,onenoteevery2to8measuresisabsolutelyrequiredplayingat thatexactmomentinthesong.Thisnotewouldbeakintoaconservedresidueabove.Howthemusicisplayedand elaborateduponinbetweentheconservednotesisafunctionofone'sschoolingandimagination. Applicationofbioinformaticsalgorithmstoalargedatabaseoftranscriptionswillyieldusefulinsightsformusicologistsand musicians.Thedegreeofimprovisationalfreedominmusicalpracticecanbecataloguedandorganizedasafunctionof variationsbetweenperformancesandbetweenmusicians.Anevolutionarytreecanbegenerated,togaininsightsintohow lineagesdevelopandinfluencethepatternsofconservationi.e.howmuchoftheteacher'selaborationsarereflectedinhis students'orhowone'sgeographicallocationandcontemporariesinfluence'sone'selaborations.Finally,anorganized catalogueofcommonmotifsandmusicalresolutionsasafunctionoflineageandstylewouldbeofimmenseuseto studentsandteachersofnhҢctàitӊimprovisation.  RafaelRamirez(AssociateProfessor,UniversitatPompeuFabra,Barcelona) Automaticallyannotatingmusicwithemotionaltagsbasedonlisteners’brainactivity TheannotationofmusicdatabaseswithhighͲlevelmusiccharacteristics,suchasemotionalcontent,iserrorproneand costlyprocess.Itisoftennecessarytoinvolveanumberofpeopletoannotatemanuallyeachofthedatabasemusicpieces. ComputationalclassifiersbasedonlowͲlevelmusicfeaturesmaybedevelopedbuttheseclassifierscanoftenbebiasedand theiraccuracyisoftencompromised.InthisposterwedescribeanapproachtoautomaticallydecodingemotionfromEEG dataofmusiclisteners(recordedwithalowͲcostEEGdevice)andusethedecodedemotiontotagmusic.Subjectsare presentedwithmusicfragmentswhilewerecordtheirresponseEEGactivity.Wecharacterizetheemotionalstateof apersonbymappingtheirEEGsignalstoacoordinateinthearousalͲvalence2Demotionspace(e.g.happinessisastate withhigharousalandpositivevalence,whereassadnessisastatewithlowarousalandnegativevalence).Thishasthe advantageofannotatingthepieceswiththeinducedemotionproducedinthelisteners,ratherthantheperceived emotion,whichisnormallyreportedbypeoplemanuallyannotatingmusicpieces.  AnttiMikaelRousi(Phdcandidate,SchoolofInformationSciences,UniversityofTampere Teamleader,Researchandpublishingsupport,AaltoUniversityLibrary,Helsinki),MaariaHarviainen (Chiefinformationspecialist,SibeliusAcademyLibrary,TheUniversityofArtsHelsinki,Helsinki) Theenactive,iconicandsymbolicmodesofinformationrepresentationinthedissertationproposal writingprocessofmusicgraduatestudents Introduction.TheperceivedrolesoffirstͲhandplayingandmusiclisteningininformationͲseekingandwritingtaskshave receivedlittleattentioninpreviousresearch.Thisisinspiteofthefactthattheoriesoflearningstatethatthelevelof abstractionofaninformationsourceaffectsitsperceivedrolewithinaninformationͲseekingtask,andthatthisrolecan undergochangeasthetaskcommences.Thislackisespeciallydetrimentaltostudiesofmusicscholars,astheprevious researchhasshownthattheirworkisbasedonadialogueofdifferentinformationtypesofvaryinglevelsofabstraction, e.g.musicperse,graphicalnotationsandliterature.Thisworkpresentspreliminarydatafromthefirstauthor’sdissertation

31  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   inwhichaframeworkhasbeendevelopedtobringforththeperceivedrolesofthemoreactivityͲorientedmusic informationtypeswithininformationͲseekingandwritingtasks. Methodology.Musicsemioticliteraturewasusedtocreateaninformationtypologytocategorizemusicrelated informationsourcesrangingfromthemostactivityͲorientedtomostabstractasfollows.MusicͲmakingasthefirstmodeof enactiverepresentations;musiclisteningasthesecondmodeofenactiverepresentations;iconicrepresentationsofmusic; technologicalmodelsofmusicasthefirstmodeofsymbolicrepresentations;andideologicalmodelsofmusicasthesecond modeofsymbolicrepresentations.Thisinformationtypologywasusedinalongitudinalstudytoexaminewhetherthe perceivedrolesofthedifferentrepresentationtypesunderwentchangeduringadissertationproposalwritingtask.Inthis preliminarywork,thewritingprocessesofthreemusicgraduatestudentswereexamined.Thedataweregatheredusing twoquestionnaires,oneinthefallsemester2013andoneinthespringsemesterof2014.Thequestionnairedatawere complementedwithinͲdepthinterviews. Results.Acomplexinterlinkingofperceivedroleswerepresentbetweendifferentmusicinformationrepresentationtypes. Forexample,firstͲhandplaying,musiclisteningandanalysiswereallseentoaffectthewritingofthedissertationproposal. Thegraduatestudentssawthattherolesofsomeoftherepresentationstypesunderwentchangeduringthewriting processandalsoexplicatedemotionalaspectslinkedtoworkingwithsomeoftherepresentationtypes. Conclusion.Theresultsarepromisinginthesensethattheycommunicateabouttheimportanceofvariousinformation representationtypesforawritingprocess.Theyalsoshowcasesomeredefinitionsoftheperceivedrolesofsome representationtypesinconjunctiontofinalizingthetask.Thesedynamicsshouldbefurtherinvestigated.Thisworkand furtherresearchaboutthetopicmaybeusedtoinforminformationliteracyguidancegiveninlibrariesinmusicteaching institutions.Developmentofubiquitousmultimediaseemstofurtherincreasetheimportanceofthissubject.  HollyGardinier(PerformingArtsLibrarianLibraryoftheClaremontColleges,Claremont,CA) ErnestineSchumannͲHeink:AContralto'sLegacy–DigitalProject “ErnestineSchumannͲHeink:AContralto’sLegacy”–DigitalProject,sponsoredthroughagrantfromThomasHampson’s HampsongFoundation TheLibraryofClaremontCollegesisengagedindigitizingmusicmanuscriptsonceownedbytheworldͲfamouscontralto ErnestineSchumannͲHeink(1861–1936).TheprojectreceivedamajorgrantfromThomasHampson’sHampsong Foundationtoundertakethescanningofover1,125manuscriptsofsongsrepresenting638composers.Europeanand AmericancomposersarefeaturedaswellasmanywomencomposerssuchasMrs.H.H.A.Beach,MarionBauer,Carrie JacobsͲBond,andFannieCharlesDillon.ThemajorityofscoresincludeinscriptionstoMadameSchumannͲHeink. Mostrecentlyanimportantdiscoverywasmadefromthecollectionofanunknownholographscoreof“Frülingsmorgen” byGustavMahler.MusicologistStephenHeflingauthenticatedthemanuscriptandannouncedthefindingtothe InternationaleGustavMahlerGesellschaft. InFebruary2014,over700scansofmanuscriptsweremadeavailabletothepublicforfreethroughClaremontColleges DigitalLibrary.Theprojectisongoing.Theintentoffeaturing“ErnestineSchumannͲHeink:AContralto’sLegacy”atthe IAML/IMSpostersessionistoincreaseawarenessofthisdigitalprojectasanuntappedresourceforresearch. Thecollectionoffersawealthofmaterialsfromunknownandlesserstudiedcomposers.ScholarsinterestedinGermanand Americanartsongs,WorldWar1music,SchumannͲHeink,andAmericanpopularsongfromthelate19thandearly20th centurywillfindprimaryresourcematerialsinthisdatabase.Toviewthedigitalcollectionpleasegoto:goo.gl/cCMh0q  KatieBuehner(HeadoftheRitaBentonMusicLibrary,UniversityofIowa,IowaCity),ScottStone (ResearchLibrarianforPerformingArts,UniversityofCalifornia,Irvine) AMusicLibrarian’sguidetoTumblr:Connectinghiddencollectionswithacuriousworld Specialcollectionshavefoundawelcomecommunityinwhichtopromoteandshowcasebooksandotherdocumentson Tumblr,theshortformbloggingplatform.ThispopularsocialmediatoolallowslibrarianstohighlightlessͲdiscoverable materialsthroughthedisplayoflargephotosaccompaniedbybrieftextualdescriptions.BecauseTumblr’senvironmentis largelynonͲacademic,itwidensexposureofspecialcollectionsitemsthroughengagementwithunorthodoxuser communities.SpecifictopicsexaminedwillincludewhyarchivesandspecialcollectionsgravitatetoTumblr,thetypesof usercommunitiesthatthriveontheplatform,advantagesanddisadvantagesoftheinterface,andwhatTumblrhastooffer musiclibrariesandlibrarians. Tumblariansfromritabentonmusiclibrary(UniversityofIowa)anduciarchives(UniversityofCalifornia,Irvine)willbeon handtosharetheirexperiencestodate,havingbothstartedTumblrblogsinFall2014.Theywillfocusonreachingdifferent fandomsorusergroupsinTumblrandvaryingcollaborativemethodsformanagingpostsandbloginteractions. 

32  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   LilianHertel(Musiclibrarian,LibraryoftheUniversityofMusicandDrama“FelixMendelssohn Bartholdy,”Leipzig) UsageͲorientedanduserͲorientedevaluationofacollectionofprintedmusic Theaimoftheevaluationisagraphicalanalysisofthecollectionusingthemetadataforinstrumentationandgenre.This graphwillbecomparedinthenextstepwiththecirculationstatisticstoallowausageͲorientedevaluation.Inthethird step,thegraphicistobecomparedwiththeprofileofthemusicuniversitytoenableanassessmentofthecoverage concerningthevarietyofcourses.Thisevaluationallowsanimprovementoftheefficiencyofthelibraryandabalanced collectiondevelopment. (ThisposterwillalsobetheresultofabachelorthesisthatIamwritingcurrentlyfortheUniversityofAppliedSciences, Potsdam.ThispaperdealswithanevaluationofthecollectionofprintedmusicoftheUniversityofMusicandDrama Leipzig,whereI’memployed.)  JanetG.Lazar(PhDstudent,Rutgers,theStateUniversityofNewJersey,SchoolofCommunicationand Information,DepartmentofLibraryandinformationScience,NewBrunswick,NJ) Mysteriousmusic:Towardsmachineidentificationofinstrumentalists Inthisstudy,wewillinvestigatetheuseofcomputersoftware—specificallysonicvisualizationtools—toassistinthe identificationof“mystery”jazztrumpeters.Manyearlyjazzearlyrecordingscontainperformancesbymusicianswhoare anonymousorpseudonymous;othermusiciansareincorrectlynamed.Sometimestheseerrorswereinadvertent;inother instances,themisidentificationwaspurposefulas,forexample,whenafamousinstrumentalistwouldsendalesserͲknown musiciantosubstituteatarecordingsession(Smith&Westbrook,2001). Onestudyhasdemonstratedthatamachinecanrecognizedistinctionsamongsinglenotesproducedbytrumpeters (Knight,Upham,&Fujinaga,2011).Otherstudieshaveshownthatacomputer,usingmachinelearningtechniques,can identifyimprovisationalmusiciansbyanalyzingacombinationofcharacteristics,includingdynamics,articulation,vibrato, tuning,phraselength,andrhythmicandmelodicmodifications. Theproposedstudywillseektoidentifyasmallnumberofcharacteristicsthatcanbeusedtoautomaticallycomparesonic visualizationsinordertoassistinperformeridentification.Trumpeterswerechosenassubjectsbecausethetrumpetis acommonmelodicinstrumentinjazzandbecauseitstoneiseasilydistinguishedfromthatofotherinstruments. WeproposetouseopenͲsourcesonicanalysissoftwaresuchasAudacityinordertogeneratespectrogramsoftrumpet solos.Wewillcomparevariouscharacteristicsofthespectrogramsinanattempttodeterminethemostuseful characteristics.WeexpecttoemployhumanͲguidedrecognitionmethodstoseparatefundamentalstylisticcharacteristics fromaccidentsofrecordingmethods. (References:Knight,T.,Upham,F.,&Fujinaga,I.(2011).Thepotentialforautomaticassessmentoftrumpettonequality. Proceedingsofthe12thInternationalSocietyforMusicInformationRetrievalConference[ISMIR2011],573–578.Smith,T., &Westbrook,G.(2001).Acoustictechnology) IngridRomarheimHaugen(Researchlibrarian,TheNationalLibraryofNorway) NBnoter:APublishingServiceforContemporaryNorwegianSheetMusic NBnoteristheNationalLibraryofNorway’spublishingserviceforNorwegiancontemporarymusic.Theservicewas formerlypartofMIC–TheMusicInformationCenterNorway,untilitwastransferredtotheNationalLibraryofNorwayin 2013,asMICwasshutdown.ThroughNBnoterwearemakingunpublishedmusicalworksbyNorwegiancomposers availableformusicians,conductors,orchestras,scholarsandfestivalprogrammersamongothers.Wesupplyperformance materialforalltypesofinstrumentation,fromsolopiecestoorchestralworks,forpurchaseorhire.Ourcatalogueincludes contemporaryworksofferedbycommercialpublishinghouses,inadditiontothosesuppliedbyNBnoter.Weare consequentlyspeakingofaspecialcollectionofNorwegiancontemporarymusic,andanupͲtoͲdate,almostcomplete overviewofmusiccomposedbyNorwegiancontemporarycomposers,somethingthatisalsovaluableintermsof documentingNorwegianmusic.Thecataloguehasbeenorganizedwithfunctionalityappropriateforthetypesofmaterial containedinthecollection,aswellasthewaysinwhichthecollectionisused.Thisincludestheoptiontosearchfor differenttypesofinstrumentationandthedurationoftheworks.In2015wewillstartpublishingpreviewsofthesheet musicavailablefromNBnoteronline,makingiteasierformusicians,orchestra,scholarsandotherstoexploreNorwegian contemporarymusic.OntheposterIwillfocusonthekeyfunctionsofNBnoter,inadditiontofutureplansthefollowing years.



33  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   11.00–12.30 Room309 IMSLProundtable:SuccessstoriesandpitfallsforcooperationsbetweenIMSLPandmusiclibraries PresentedbytheIAMLProgrammeCommittee Moderator:JürgenDiet(BavarianStateLibrary,Munich) ThisroundtablebeginswithanoverviewofIMSLP'scurrentstatusgivenbyEdwardGuo,thefounderofIMSLP,alongwith shortstatementsbytheotherpanelistsconcerningtheirexperienceswiththesite.Thefollowingdiscussionamong panelistsaswellasquestionsfromtheaudiencewillcovercurrentcooperationsbetweenmusiclibrariesandIMSLP,and proposalsforimprovementsinIMSLPfromtheviewofmusiclibrarians.Othertopicstobecoveredwillbetheuseof bibliographicauthoritydata,backlinksinIMSLPtoscoresfromlibrarydigitizationprojects,andlegalissuessurrounding IMSLP. Participants: ClotildeAngleys(BibliothèquenationaledeFrance,Paris) DavidDay(BrighamYoungUniversity) EdwardGuo(thefounderofIMSLP) TammyRavas(UniversityofMontana) BarbaraWiermann(SächsischeLandesͲ,StaatsͲundUniversitätsbibliothekDresden) DouglasWoodfullͲHarris(BärenreiterͲVerlag)

11.00–12.30 Room543 Educationalactivityoflibrariansinthedigitalage PresentedbytheIAMLProgrammeCommittee Chair:JonathanGreenberg(RILM,TheGraduateCenter,TheCityUniversityofNewYork) MistiShaw(Music&PerformingArtsLibrarian,DePauwUniversity,Greencastle,IN) ApplyingACRL'snewframeworkforinformationliteracyinmusicclassroomandstudiosettings Librariansandscholarsarefamiliarwiththemanywaysresearchisbetterfacilitatedinthedigitalage,butforstudents, conductingresearchstillhasitschallenges.Infact,manychallengesstemfromthedigitalage.Forexample,digital informationblursthelinesbetweenformattypes(journalarticlesvs.blogentries),whichcontributestoconfusionwhenit comestothenatureofscholarship,howit’sproduced,andhowitevolves.Toassistinformationliteracyendeavorsinan ageofshiftinginformation“ecosystems,”theAssociationofCollege&ResearchLibrariesrecentlyreleaseditsdraft, FrameworkforInformationLiteracyforHigherEducation—anewsetofcompetencystandardsforlibraryinstruction.The draftoutlinessixcorethresholdconcepts,whichincludeScholarshipisaConversation,ResearchasInquiry,Authorityis ContextualandConstructed,FormatasaProcess,SearchingasExploration,andInformationhasValue.Descriptionsof eachthresholdareincludedinthedraft,aswellasgeneralsampleassignmentsandactivitiesforeachconcept. MypaperwillgivelibrariansandmusicprofessorsplainͲlanguageexamplesoftheseconceptsasappliedinmusicsettings— bothintheclassroom,andinthemusician’sstudio.LibrarianswithestablishedinstructionprogramswilllearnaboutmusicͲ specificsampleassignmentsandactivitiesforeachthresholdconcept.Forlibrariansandmusichistoryprofessorswho prefertocollaborateasneeded,Iwillprovideexamplesofenhancementsthatcanbemadetotraditionalassignmentsthat canincorporatesomeofthesethresholdconcepts.Finally,brieftipsforassessmentoftheseassignmentsandactivitieswill beprovided,basedonthecurriculumofACRL’sImmersionAssessmentprogram.  AlmutBoehme(NationalLibraryofScotland,Edinburgh,UK) Supportingmusicaldiasporaresearch,teachingandlearninginthe21stcentury–alibrary perspective TheNationalLibraryofScotland’scollectionsarerichinmaterialrelatingtotheScotsdiaspora.Scottishmusicians,amateur andprofessional,havetakentheirmusicintothenewworld,somebecomingmajorfigureheadsinmusicalcirclesinthe newcountry.HavingcelebratedYearsofHomecomingin2009and2014diasporastudieshavebecomerelevantevenat schoolcurricularlevelsinScotlandinrecentyears. Howcanalibrarypreparetosupportnotonlyadvancedscholarlyresearchbutteachingandlearningatalllevels? TheNationalLibraryofScotlandhasincreaseditseducationalactivitiesovertheyearsanddevelopedonlineresourcesboth forresearchandteaching. Thispaperwilldiscussvariousactivitiesandresourcesdevelopedfordifferenteducationlevelsusingtheexampleof afamilyofimmigrantandemigrantmusicians,theSchetkys.

34  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   HavingservedascourtmusicianatthecourtofHesseͲDarmstadtinGermany,JohannGeorgeChristophSchetky(1737– 1824)tookupthepostofprincipalcellistattheEdinburghMusicalSocietyin1772becomingoneofthemajorforeign figuresoftheScottishmusicscene.InterestinglyhissonJ[ohn]GeorgeSchetky(1776–1831),emigratedtotheUnited States.HeplayedanimportantpartintheearlyhistoryofthemusicallifeinPhiladelphiaasmusicianandpublisherof music.Afteraround1812George‘camehome’toBritainforafewyears.In1815heperformedalongsidehisfatheratthe firstEdinburghMusicalFestival.By1823hehadreturnedtoPhiladelphiawhereheremainedfortherestofhislife.

11.00–12.30 BrunoWalterAuditorium TheUnitedStates PresentedbytheIAML/IMSProgrammeCommittee Chair:GeorgeBoziwick(Chief,MusicDivision,TheNewYorkPublicLibraryforthePerformingArts,New York) SusanVita(Chief,MusicDivision,LibraryofCongress,Washington,DC),KarenLund(DigitalProject Coordinator,MusicDivision,TheLibraryofCongressWashington,DC) TheLibraryofCongresspresentstheSongsofAmerica TheLibraryofCongresshasrecentlylaunchedanewWebsite,SongsofAmerica,whichallowstheusertoexplore AmericanhistoryasdocumentedintheworkofsomeoftheUnitedStates’greatestcomposers,poets,scholars,and performers.Frompopularandtraditionalsongs,topoeticartsongsandsacredmusic,therelationshipofsongtohistorical eventsfromthenation'sfoundingtothepresentishighlightedthroughmorethan80,000onlineitems.Theusercanlisten todigitizedrecordings,watchperformancesofartistsinterpretingandcommentingonAmericansong,andviewsheet music,manuscripts,andhistoriccopyrightsubmissionsonline.Thesitealsoincludesbiographies,essaysandcurated content,interactivemaps,atimelineandteachingresourcesofferingcontextandexpertanalysistothesourcematerial. ThesitewillbedemonstratedbytheChiefoftheMusicDivision,SusanVita,whowillalsocommentonitsgoalsand challenges.  JohnGraziano(ProfessorEmeritus,MusicDepartment,CityCollege,CityCollege,CityUniversityofNew York),RuthHenderson(MusicLibrarian[retired]andProfessorEmeritus,CityCollege,CityUniversityof NewYork) MusicinGotham Anintroductiontotheevolution,development,andcurrentstatusoftheNationalEndowmentfortheHumanitiesͲfunded MusicinGothamproject,acontinuationofVeraBrodskyLawrence’sgroundbreakingresearchintothemusicallifeofNew YorkCityinthemidͲnineteenthcentury.Inadditiontonarrativevolumesthatwillprovideanoverviewofthevarious musicalgenresthatNewYorkersexperiencedduringtheyears1862–1875,theprojecthasdevelopedawebsiteand databasethatisavailabletothepublicfreeofcharge.Itprovidesaccesstoperformers,venues,citations,advertisements, andfulltextreviews.Abriefreviewoftheprojectandthepotentialuseofitssoftwareasatemplateforsimilarprojectswill befollowedbyademonstrationofboththewebsiteanditscapabilities,thedevelopmentofthedatabaseandits proprietarysoftware. TheMusicinGothamdatabaseprovidesthreesearchfeaturesthatallowtheusertonavigatethecontent:theGeneral Search,theFocusedSearch,andtheAdvancedSearch.Thisdemonstrationdistinguishesthedifferencesbetweenthese searches,highlightingtheirvariousaspects,whichwillprovideresearchersavarietyofapproachestoaccessdetailed informationonthemanythousandsofeventsincludedinthedatabase.  GinaGenova(GeneralDirector,AmericanComposersAlliance,Inc.,NewYorkCity,NY) TheAmericanComposersAlliancecatalogandarchives:AcollaborativeeffortbetweenACAandthe UniversityofMaryland AsweseemorecontemporarymusicpublishersintheU.S.closingbusinessorreducingservices,thetaskofdisseminating andarchivingmusicbyselfͲpublishedcomposersbecomesanevermoreimportantresponsibilitylefttoourlibraries.We haveseenpublishedworksbyimportantAmericancomposersgooutofprintorbecomeorphanedasaccesstorights holdersbecomesmurkyoncethecomposerisnolongerabletorespondtorequests.Forresearchers,libraryaccessand interlibraryloanserviceshavebeenthelifeline.Forperformers,however,andforperforminggroupswhowishtorecord contemporaryworksbyAmericancomposers,theaccesstoperformancematerialsandtheaccesstorightsholderscanbe daunting. TheAmericanComposersAlliance,formedin1937byAaronCopland,withitsfirstBoardofGovernorsincludingElliott Carter,MarcBlitzstein,ColinMcPhee,DouglasMoore,MarionBauer,andothers,begantocollectscoresofitsmembersin the1940s.Theoriginalmissionwastomakethemusicavailabletoorchestrasandperformers,andtobesurethat composerswerecompensatedfairlyandcreditedfortheirworksperformed.Overtheyears,thecollectionhasgrownto

35  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   morethan12,000works,includingmusicbycomposersunderͲrepresentedinthemainstream,suchaswomen,AfricanͲ Americancomposers,andsmallerorlesserͲknownworksbywellͲknowncomposersthatwerenotconsideredlucrative enoughformainstreampublication. Today,ACAmanagesthehistoricalscoremastersandpartsincollaborationwithSpecialCollectionsinPerformingArtsat theUniversityofMaryland(SCPA).FundedprimarilybyBroadcastMusic,Inc.(BMI),arelationshipthathasenduredsince the1940s,ACAissucceedinginbringingthiscollection,anAmericantreasure,intomoderndigitalformats.Working togetherwithSCPA,ACAisprovidinglongͲtermsafetyandaccessforthescores,togetherwitharelatedcollectionof historicalcomposerfiles,archivaldocuments,andcorrespondenceofthefoundersandleadersofACA.Wearechallenging otherorganizationstojoinusinplanningaheadtoensurecurrentcreativeactivitybyAmericancomposers,nowmostlyin digitalformats,canremainavailableincentralmanageddatabases,withoutcomposersortheirestateseachhavingto maintaintheirownprivatewebsitesthroughtime.Wearehopingtoinspireamorecommunalapproachtohandlinglong termcustodialmanagementissuesforcomposersandtoencourageadvancedarchivalplanningsothatscorematerialscan remainmorewidelyavailablebeyondourownlives,throughpublisherͲandselfͲpublishinglibrarycollaborations.

11.00–12.30 NYPhilHullRoom Spain PresentedbytheIAML/IMSProgrammeCommittee Chair:RichardFreedman(JohnC.WhiteheadProfessorofMusic,HaverfordCollege,Haverford,PA) EmilioRosͲFábregas(PermanentResearcherinMusicology,SpanishNationalResearchCouncil(CSIC), InstitucióMilàiFontanals,Barcelona) TwodigitalresourcesoftheSpanishNationalResearchCouncil(CSIC)onSpanishtraditionalmusic andHispanicpolyphony:www.musicatraditional.euandwww.hispanicpolyphony.eu TheInstitucióMilàiFontanalsoftheConsejoSuperiordeInvestigacionesCientíficas(CSIC)inBarcelonaholdsinitsFondo deMúsicaTradicionalCSICͲIMFmorethan24.000melodies,copiedonpaper,collectedbetween1944and1960 throughoutSpain;mostofthemwerecompiledthroughthe65folkloricmissionsand62notebookspresentedto competitionsorganizedbytheformerInstitutoEspañoldeMusicologíaoftheCSICinwhich47researchersparticipated. Thewebsite/databasenowmakesavailableforfreeconsultationdigitizedmaterialsofsome 10.000orallyͲtransmittedworksinthisFondoanddataaboutitsinformants.Thiswebsite,whosedatabaseincludesmore than3000locationsthroughoutSpainand4000informants,providesmultipleoptionsforresearchaboutthisrepertory. SeveralexamplesfromthisFondowillbeexaminedinconnectionwithAlanLomax’smaterialscollectedinSpainin1952 (availableathttp://www.culturalequity.org/),sinceinsomecaseshevisitedthesamelocationsandusedthesame informantsasdidSpanishresearchersarroundthesametime.Researchontraditionalmusicthroughthiswebsiteis enrichedalsothroughtheinteractionwithitsusersandwithperformersoftraditionalmusic,aswillbeshownintwo particularexamples. Theseconddigitalresource,BooksofHispanicPolyphony(www.hispanicpolyphony.eu),hasasimilarstructureasthe previousone,butadaptedtoanongoingR+DProject,fundedbytheSpanishGovernment,devotedtochoirbooksof polyphonycomposedfromca.1450toca.1650foundinSpain,orwithHispanicpolyphonyoutsidetheIberianPeninsula, includinglaterchoirbookswithretrospectiverepertory.WhilethisprojectshareswithRISMsomeofitsobjectives,suchas providingdetailedinventoriesofthechoirbooks,itismorecomprehensivewithrespecttotheHispanicworld,sincethis website/database,inadditiontolistingacompletecensusofallsources,willprovideinformationaboutinstitutionswhere thechoirbooksarekept,composers,concordances,watermarks,gatheringstructure,bibliography,imagesofchoirbooks (whenallowedbytheinstitution)andarchivaldocumentationrelatedtobookinventoriesandcompilation/restorationof choirbooks.Theentriesaresignedbytheresearcherresponsibleforenteringtheinformation.Duringthepresentation,it willbeshownhowwww.hispanicpolyphony.euaffectscurrentresearchontherichcollectionofpolyphonicchoirbooksat TarazonaCathedral.  JaneMorletHardie(HonoraryAssociate,MedievalandEarlyModernCentre,UniversityofSydney, Australia) Intothediaspora.Thesource,thescholars,andthestacksinthedigitalage:AnearlymodernSpanish JeronymiteProcessional,SydneyRareBookAdditionalManuscript380 In1509therewereabout300SpanishJeronymiteProcessionals,bothmanuscriptandprint,manyofwhichemanatedfrom theZaragozaprinterJorgeCoci(LibrosdeActasGeneralesof1685Volumes1–2folio221verso).In2004thelateMichel Huglowasabletoidentifyjust13JeronymiteProcessionalsofknownSpanishorigin,nowwidelydispersedthroughtheold andnewworlds.ThismakestheSydneyRareBookAdditionalmanuscript380number14oftheknownextantSpanish JeronymiteProcessionals.ProbablyfromthemonasteryofSantaMaríadeGuadalupeinSpain,thisProcessionalhasnow joinedanumberofotherSpanishliturgicalmusicmanuscriptsinthediasporaoftheRareBookcollectionoftheUniversity ofSydney.

36  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   AlthoughSydney380isaverysmallplainbook,presentinglittleinformation,onecan,throughcontemporarysource material,provideitwithacontextandevenreconstructparticularprocessionsforspecificfeastsatidentifiableplaces.The eventsenshrinedinthisbookhavethefunctionofunderliningmeaninginspecificandclearlydefinedways.Thecontents celebratespecialoccasions;theparticipantsmovealongpreordainedroutes;pauseatspecialplaces;singmusicspecificto anoccasion;andcommemoratespecialpeopleorevents.TheSydneyJeronymiteProcessionalRBAdd.Ms.380contains liturgicalchantandritualinstructionsforprocessionsonfeastsappropriatetotheorder,includingPalmSunday,Corpus Christi,andsomeMarianfeasts,andconcludeswithmusicassociatedwiththeperiodimmediatelyfollowingdeath. Thrownintothediaspora,andlivingfarawayfromitsoriginalhome,today’stechnologyallowsustoreturntheSydney Processionaltoitsoriginalspace.Takingthethemeofthisconference“MusicResearchintheDigitalAge”asastarting point,thispaperdrawstogetherthevoicesofscholarsaroundtheworld,documentscontemporarywiththesourceitself, andmusicandimagesofthemanuscriptanditshomemonasteryinordertorecreateacontextwithinwhichthis manuscriptwouldhavebeenused.

11.00–12.30 PaulHall Musicreference(II) ReferencingmusicinthetwentiethͲfirstcentury:Encyclopediasofthepast,present,andfuture PresentedbyRILMandtheIAML/IMSProgrammeCommittee Chair:TinaFrühauf(RILM;ColumbiaUniversity,NewYork) Seedetailsonpages27–29.

11.00–12.30 Classroom527 FontesArtisMusicae Workingmeeting(open) Chair:MaureenBuja(FontesArtisMusicae)

11.00–12.30 Classroom529 IAMLWorkingGrouponAccesstoPerformanceEphemera Reportingandplanningsession Chair:PaulBanks(London,UK)

12.30–14.00  Lunch RIPMSponsoredLunchandPresentation Room543 RIPM’scollaborationwithWikipedia,the65newfullͲtextjournalsbeingaddedtotheRIPMeͲLibrary,andanewfullͲtext collection,RIPMJAZZPERIODICALS. Spaceislimitedto90attendees;contact[email protected]toregister.Invitationrequired.

14.00–15.30 PaulHall RépertoireInternationaldeLittératureMusicale(RILM) Chair:BarbaraDobbsMackenzie(RILMInternationalCenter,TheGraduateCenter,TheCityUniversity ofNewYork) ZdravkoBlažekoviđ(ExecutiveEditor,RILM,TheGraduateCenter,TheCityUniversityofNewYork), BarbaraDobbsMackenzie(EditorͲinͲChief,RILM,TheGraduateCenter,TheCityUniversityofNew York) RILMat50



37  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   14.00–15.30 WillsonTheater Changesofmusicdescriptioninthedigitalage PresentedbytheIAMLCataloguingCommission Chair:JosephHafner(McGillUniversity,Montréal) KimmySzeto(AssistantProfessor–MetadataLibrarian,BaruchCollege,CityUniversityofNewYork) MusicLibraryAssociation’sinvolvementintheBibliographicFrameworkInitiative:Examiningmedium ofperformanceasBIBFRAMEData TheMusicLibraryAssociationintheUnitedStates(MLA)haslongbeenaleaderandapartnerindevelopingbibliographic dataformats,authorities,andvocabularies,andhasnowjoinedasmallgroupofearlyexperimentersintheBibliographic Framework(BIBFRAME)ImplementationTestbedInitiativeasatestingorganization,tolendavoiceforthemusic communityinthedevelopmentofthiswebͲbasedfoundationoffuturebibliographicdescription.LedbytheUnitedStates LibraryofCongress,theBIBFRAMEdatamodelandvocabularywillreplaceMARC,MachineͲReadableCataloguing, abibliographicdataformatwidelyͲusedforlibrarycataloguessincethe1960s.Partofthisinitialstageofdevelopment includesmakingthetransition—transformingmillionsofexistingMARCrecordsintoBIBFRAMEresources. Inthispresentation,IwilldiscusstechnicalissuesandnewconceptualizationssurroundingmusicalelementsthroughaninͲ depthanalysisofhowmediumofperformanceishandledintheMARCͲtoͲBIBFRAMEconversionprocess.Technicalissues suchasgrouping,ordinalityandcardinalityarelinkedtothehandlingofmusicaldesignationssuchassoloists, accompaniment,numberofplayerstoapart,instrumentalandvoicedoubling,andinstrumentssharing.Discussionofuse caseswilldemonstratetheeffectsofthesedataelementsonusers’abilitytosearch,filter,andsorttheinformationand theneedforanapplicationprofileformusicresources.AnothergoalofMLA’sinvolvementwiththeTestbedistorespond totherapidapplicationdevelopmentstyle,whichischaracteristicofdevelopmentsofdigitaltoolsandsoftware.Iwill touchontheorganizationaladjustmentnecessarytotransitionfromthetraditionalstructuredanalysisanddesignmethod, andMLA’sexperiencewithcultivatinglongͲtermcooperativerelationshipswiththeLibraryofCongressanditspartner organizationsinthisnewdevelopmentenvironment.  TraceySnyder(MusicCatalogandInstructionLibrarian,CornellUniversity,Ithaca,NY),KevinKishimoto (MusicCataloger,UniversityofChicago) ReconsideringpopularmusicinFRBR:TowardLinkedDatadiscovery Intoday’sInternetͲbasedinformationenvironment,researchershavenoshortageoftoolsforexploringandorganizing musicalknowledge,asexemplifiedbyresourcessuchasAllMusic,Discogs,andevenWikipedia.LinkedData,thefoundation oftheenvisionedSemanticWeb,holdsthepromiseofanevenricherenvironmentofmusicaldiscovery.Librarycatalogs andlibrariansmustadapttomeettheneedsofthesenewerWebͲbasedtechnologiesanddevelopwaystomaketheir bibliographicandauthoritydatacompatiblewiththem.TheimplementationofthenewcontentstandardRDAbylibraries worldwidewasafirststeptowardthisgoal;theongoingdevelopmentofBIBFRAME,intendedtoreplaceMARCasan encodingstandard,isanotherstep.Together,RDAandBIBFRAMEareseenasawaytoreadyourvastlibrarydataforentry intotheSemanticWeb. FRBR,theconceptualmodeluponwhichRDAisbased,seekstodescribethebibliographicuniverseusingastandardized structureofentitiesandrelationships.Whilethismodel,devisedinthe1990sandcurrentlyunderrevision,issufficientto describeamajorityofresources,problemareasexist,mostnotablyfornonͲtextualresourcessuchasmusic.Asignificant problemliesintheinterpretationofthe“Work”and“Creator”entitiesforcertaintypesofmusic.IntheWesternclassical musictradition,aworkcanusuallybedefinedunambiguously,itsaccesspoint(usingRDA)constructedwithalinktoan obviouscomposer.Popularmusic,ontheotherhand,isrepletewithexamplesofcollaborativelycomposedsongsand publishedcompilations,aswellastheprimacygenerallygiventoperformingartistsoversongwriters.TheFRBRdocument itselfacknowledgesthattheconceptofa“Work”maybevieweddifferentlyfromoneculturetoanother,andinour opinion,thisflexibilityshouldallowforarepresentationofpopularmusicmaterialsthatismoreinlinewithhowusers commonlyviewthemusicalworldthanwhatRDAcurrentlyallows. Inourpaper,wewilldiscussshortcomingsinthecurrentimplementationofFRBR(and,byextension,RDA)indealingwith popularmusic,jazz,andtraditionalmusicpointingtopracticesthatwebelievehindertheFRBRusertasksandoverͲ complicatetheworkofmetadataproviders.Additionally,wewillexploreanalternativeinterpretationoftheFRBRmodel forpopularmusicswhichmaybettermatchusers’mentalmodels,bebettercompatiblewithBIBFRAMEandothersources ofLinkedData,andsalvageahugebodyoflegacydatainsharedbibliographicandauthorityfiles. 

38  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   SophieRondeau(TechnicalSpecialist,CatalogingandAcquisitionsSyracuseUniversityLibraries, Syracuse,NY),JenniferVaughn(TechnicalSpecialist,CatalogingandAcquisitionsSyracuseUniversity Libraries,Syracuse,NY) Facilitatingdiscoveryofhistoricsoundrecordings:Rethinkingsubjectaccess Currently,musicsubjectheadings,establishedbytheLibraryofCongress,expressbothtopicalaspects(whattheworkis about)andform(whattheworkis).Subjectheadingsarefurthersubdividedintostringsthatrepresentmultipleaspectsof asubject(topical,chronological,andgeographical),andasingleheadingcanalsodescribeboththeformandmediumof performanceofamusicalcomposition.ThesemultiͲfacetedsubjectheadingstakespecialtraining,notonlytoassign,butto effectivelyuseintraditionallibrarycatalogs.Rulesforassigningheadingscanresultinthelossofnuance,andmanygenres andforms,especiallyforworldmusic,arenotcurrentlyintheLCsubjectindex. Ithaslongbeenacknowledgedthatanoverhaulformusicsubjectheadingswasnecessary.Inresponse,anewcontrolled vocabularyformediumofperformancetermswasreleasedin2013,andagenre/formthesaurusisexpectedin2015. Separatingthedifferentaspectscurrentlycombinedintoasinglesubjectfield(inMARCcataloging,the“650field”)into individualfacetswouldempowerlibrarypatronsandresearcherstomakeoptimumuseofmusiccollections.Inparticular, thesenewvocabulariesmayimproveaccesstounfamiliarhistoricsoundrecordings,suchasthoseheldattheBelferAudio ArchiveatSyracuseUniversity. OneofthemostsignificantcollectionsoftheBelferAudioArchiveisthehistoriccylinderrecordings,thelargestprivately heldcollectionofrecordingsinthatformatintheUnitedStates.Ofthe22,000cylindersthattheBelferholds,2,000of thoseissuedbytheThomasEdisonCompanyhavebeentransferredtodigitalformat.Thesedigitalsurrogatesarepublicly availableforonlinestreaming.Duetothefragilityofmanyofthecylindersandfurtherdegradationofthemediathat resultsfromrepeatedplayback,thedigitaldomainhasforsometimebeentheprimaryentrypointforaccessingallBelfer materials,includingthiscollection. TheBelferplanstolaunchanewdigitalplatform,theBelferDigitalCollection,whichwillbetheportalforthedeliveryof digitalsurrogatesofallformatsofBelferrecordings.ApilotprojectfocusingonasubsetofthedigitizedEdisoncylindersis beingimplementedtodeterminehownewformsofsubjectaccesswillworkacrosstheBelferDigitalCollection.Thispaper discussestheimplementationandresultsofthispilotprojectintendedtoinformfuturecatalogingpractices,notonlyfor theBelferDigitalCollection,butforallmaterialsintheBelfercollections.  JennyDoctor(DirectoroftheBelferAudioArchiveandAssociateProfessor,SyracuseUniversity, Syracuse,NY),RachelFoxVonSwearingen(LibrarianforDance,Music,MusicalTheaterResearchand Scholarship,SyracuseUniversityLibraries,Syracuse,NY) Facilitatingdiscoveryofhistoricsoundrecordings:Classroomandresearchstrategies TheBelferAudioArchiveatSyracuseUniversityLibrariesholdsoneofthelargestcollectionsofsoundrecordingsinthe USA,specializinginformatsdatingfromthe1890stothe1970s.ThecoͲpresentersencouragestudentinteractionwith thesecollections,guidingtheirresearchandunderstandingoftherecordings’culturalsignificanceandrelevance. ExperienceshowsthatimmediateengagementwithmusiconpreͲLPrecordingsisoftenlacking,especiallygivensonic imperfectionsthatcharacterizeplaybackfromoriginalmedia.Therefore,wecreateopportunitiesforstudentstodiscover andengagewithhistoricrecordings—tohearthem,researchthem,andultimatelyreferenceorrepurposethemintheir owncreativethinking. TheBelferDirectorpresentsasacasestudyher“MusicandAudioCultures”class,aimedatteachingcommunicationsand audioartsstudentsaboutmusic’sdisseminationthroughradioandsoundrecordings.Theyaregenerallyunfamiliarwith terminologyforarticulatingideasaboutmusicorbasicresourcesforresearchingit.Inoneassignment,eachstudent producesa2–3minutedigitalaudiopiece,usingtwoEdisoncylinderrecordings(selectedanddownloadedfromtheBelfer digitalcollection)toillustratesomeaspectofmusic/soundintheworldtoday.Thestudent’svoiceͲovernarrativeincludes bothresearchedinformationandoriginalthoughtsaboutthemusic/soundsthatmovefromforegroundtobackgroundin thedigitalsoundscape. Thefirstchallengeisengagingstudents’interestinthecylinders,becausetheyhavelittleconnectionwithrecorded contentissuedacenturyago.Onthecurrentwebsite,studentsmakediscoveriesusingabrowseablegenrelist,generated forthedigitalview.Inaparallelpaper,ourcatalogersdiscusshowtheyplantogivepatronsmeaningfulaccesstoBelfer recordingsusingnewkindsofsubjectaccesspoints,bothinthegeneralcatalogandinourfuturedigitalplatform. Forthemusiclibrarian,asecondchallengeisconnectingstudentswithlibraryresourcestoresearchthesehistoric recordings.Thelibrary’scurrentmusicresourcesguideusesamusicologicalapproachthatassumesmusicͲspecific knowledgeandisincompleteforotheraspectsofthesestudents’needs.Themusiclibrarianinsteadpresentstheresearch guidedevelopedforthisclass.ItintroducesnonͲmusicianstomusicͲspecificsourcessuchasdiscographiesandbasicmusic reference,andprovidesapathfindertoresourcesinareasoutsideofmusicology.Thispresentationdescribesthe informationapproachesexploredindevelopingthecourseresearchguideandidentifiesadditionaltypesofresourcesand collectionsneededtosupportthisclass,includinghistoricalnewssources,radioandmediacatalogs,recordedsoundand musicindustryhistories,andmaterialstohelpnonͲmusiciansengagewithmusic.

39  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   14.00–15.30 Room543 Musicinformationliteracy PresentedbytheIAMLCommissiononServiceandTraining Chair:JaneGottlieb(TheJuilliardSchool,NewYork)  KirstinDougan(MusicandPerformingArtsLibrarian,UniversityofIllinoisatUrbanaͲChampaign, Urbana,IL) Searchingformusicinthedigitalage Whatdoesitmeanforresearchersthatsomuchisavailableonline?Andthatsomuchstillisnot?Andwheredoesthe libraryfitinthisequation?Thereisnotaneasywaytoseetheentirepictureofstudentandfacultymediaconsumptionand determinewhereexactlythelibraryfitsintotheequation.Wedon’tknowifthelibraryisusedfor30%ofdiscoveryand 80%ofaccess,or10%discoveryand10%access,orsomeotherbalance.Researchers,includingstudents,useavarietyof onlinetoolsinordertofindandaccessmusicscoresandrecordings.SomeofthesetoolsarelibraryͲbased,likecatalogs, discoverylayers,andsubscriptionstreamingresources,andsomearenot(e.g.,YouTubeandSpotify).Buthowdostudents actuallyapproachthesesearches?Whatdetermineswhattoolstheyuseandinwhatorder—dotheystartinthelibrary catalog,getfrustratedandturntoYouTube,ordotheyjustgostraighttoYouTube?Howdotheysearchandwhat problemsdotheyencounter? Thispresentationwillsharetheresultsofanobservationalstudyinwhichmusicstudentsweretaskedwithsearchingfor musicscoresandrecordingsthattheycoulduseforaclassassignmentorstudiopurposes,andwerenotgivenany directiononwheretostart.Severalkeyfindingsaboutwhatdeterminestheirchoiceoftool(s)emergedfromthisstudy, namelywheretheyareatthetime,whattechnologytheyhaveaccessto,whattheyarelookingfor,andwhatthe eventuallyenduseoftheitemwillbe.Patternsalsoemergedinhowstudentschosetosearch. Thefindingswillhelplibrariansfocusinstructionalandmarketingeffortstobesthelppatrons.However,theywillalsohelp usconfigureexistingsearchtoolssuchascatalogsanddiscoverylayers,aswellasinformusofhowtobuildbettersearch toolstoservemusicsearchers’needs.Byobservingandanalyzingstudents’searchprocesses;wecanimplementfeatures thatwouldactuallybeusefultothembasedontheircurrentbehavior.Thefindingswillalsobeusefultomusicfaculty,as theymaynotbefullyawareofstudents’researchpatternsandtheirreasonsforchoosingthetoolstheydo.  BonnieElizabethFleming(OklahomaCityUniversity) Incorporatingdigitalprimaryresourcestoenhancemusicinformationliteracytraining Musicinformationliteracyinstructionhasthepotentialtobeentirelydifferentsinceseveralprimaryresourcesinourfield havebeendigitizedandmadeavailableforworldwideviewing.Statisticsshowthatstudentsinthisinformationdriven societyarebecomingincreasinglymoreaffectedbyvisualmaterials.Theyoftenfindconceptseasiertounderstandand retainifvisualstimulationofsomekindisincorporatedwithinthelesson.Studentreactionstosessionsonhowtoresearch musicspecificallydesignedaroundfindingandusingdigitizedprimaryresourcesradicallychangestheoverallrecalland retentionoftheinformationbeingpresented.Thispresentationdiscussesthevisualcognitionconnectionandthenoutlines strategiesforbuildinginformationliteracymodulesthatareenrichedbytheuseofsearchstrategiesthathighlighttheskills requiredtolocate,understandandstudydigitalprimaryresources.Itdemonstratestheresultsofafiveyearcasestudy focusedondeterminingwhethersystematicallyusingthesedigitalmaterialsreallydidaffectstudentrecallandretentionof musicinformationliteracyconcepts. CarolynDoi(Music&EducationLiaisonLibrarian,Education&MusicLibrary,Universityof Saskatchewan,Saskatoon) Deliveryofmusicresearchmethodsinstructionthroughaflippedclassroomlens:Enhancinglibrary instructioninadigitallearningenvironment Theflippedclassroomisateachingmethodologythatiswelldocumentedwithintheeducationresearchliterature,growing withintheacademicenvironment,andquicklymakingitswayintolibraryinstruction.It‘flips’thetraditionalclassroomby presentinglecturecontentinadvanceashomeworkinadigitalformat,whileusingfaceͲtoͲfaceclasstimetofocuson assessment,handsͲonͲactivitiesandclassdiscussion. Thispaperwillincludeasummaryoftheflippedclassroomresearchliteratureanditsvalueforapplicationtomusiclibrary instruction,anoverviewofthedevelopmentanddesignofanewresearchmethodscourseforundergraduatestudentsat theUniversityofSaskatchewan,andpresentationofresultsfromaninitialsurveyofstudentlearningandengagement. Findingsshowthattheflippedclassroomisahighlyadaptablemethodfordeliveringmusicresearchmethodscontent, whichtakesadvantageofeducationaltechnologyandonlinelearningtoenhancethestudent’slearningandengagement withintheclass. Thecourseatthecenterofthiscasestudypreparesundergraduatemusicstudentstofind,useandevalutateinformation resourcesinphysicalandonlineenvironments,andtopreparestudentstocompletearesearchͲbasedprogramnotes

40  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   writingassignmentaspartoftheiryearͲendrecitalrequirements.Thedesignoftheresearchmethodscoursereliedona collaborativeandconsultativeapproachwiththeDepartmentofMusicandtheUniversityCentreforTeaching Effectiveness.LearningobjectiveswereinformedbycurrentinformationliteracystandardincludingtheInformation LiteracyInstructionalObjectivesforUndergraduateMusicStudents(MusicLibraryAssociation)andtheInformation LiteracyCompetencyStandardsforHigherEducation(ACRL),withanodtotheDraftFrameworkforInformationLiteracy forHigherEducation(ACRL),currentlyindevelopment.Thecourseaimstomeetundergraduatestudentswherethey alreadyare,inacontinuallyevolvingdigitalenvironment,andtopositionthemtobetterunderstandtheevolvingpractices ofmusicresearchinthedigitalage. Attendeesatthissessionwilllearnabouttheprocessofimplementingamusicresearchmethodscoursewiththeflipped classroommethodology,anoverviewofrelevanteducationaltechnologiesincludingonlinevideo,quizzesandcourse managementsystems,andsomeofthelessonslearnedfromworkingintheblendedlearningenvironment.

14.00–15.30 NYPhilHullRoom Patrimonialrights:Privateandpublicmusicarchives PresentedbytheIMSStudyGrouponEarlyMusicandtheNewWorld Chair:EgbertoBermúdez  Forthepurposeofpublishingmusicholdingsofprivateandpublicarchives,patrimonialrightsremainunregulatedacross theSpanishͲandPortugueseͲspeakingAmericas.Thesessionproposestodiscussactualcasesanddraftproposalsto redressthesituation. TheissuesconcerningpatrimonialrightsonmusicfromthesixteenthtothenineteenthcenturiesthroughoutLatinAmerica presentdifferenttypesofproblems.Cathedralarchivesarethemainrepositoriesoftheserepertoiresandtheir accessibilitydependsmainlyonecclesiasticalauthoritiesandonthetypeofrelationshiptheymaintainwithlocal governments,ministries,andothercivilauthorities.ThesearchivesareprivateinColombia(includingthoseinmonasteries) andareregulatedbyaConcordatwiththeHolySee,whileinSucre(Bolivia)theyhavebeenincorporatedintotheNational Archiveandhavesincethenbecomepublicdocuments.InMojosͲChiquitos(EasternBolivia),musicdocumentspose differentproblems,giventhattheywereheldforcenturiesbylocalIndiancommunitiesandpresentlymostofthemhave beentakenoverbyprivatefoundations.Moreover,ecclesiasticalmusicarchivesconfiscatedaspartofliberalreformsin 19thͲcenturyMexicohavebeeneitherreturnedtotheiroriginalownersortransferredtolibrariesandhistoricalarchives. Differentsituationsthroughouttheregionwillbeexaminedinordertooutlinethepresentchallengesfacingdissemination ofcriticaleditionsandrecordingsofthisrepertoireinthedigitalera. Speakers: EgbertoBermúdez,chair(ProfessorofMusic,InstitutodeInvestigacionesEstéticas,FacultaddeArtes, UniversidadNacionaldeColombia,Bogotá) YaelBitránGoren(Director,CentroNacionaldeInvestigación,DocumentacióneInformaciónMusical/ CENIDIM,MexicoCity) ÁlvaroTorrente(ProfessorofMusicHistory,DepartmentofMusicology,UniversidadComplutensede Madrid;Director,InstitutoComplutensedeCienciasMusicales[ICCMU],Madrid,Spain)

14.00–15.30 BrunoWalterAuditorium Revisitingbibliographiccontrolofcanoniccomposers PresentedbytheIAML/IMSProgrammeCommittee Chair:BalázsMikusi(HeadoftheMusicDepartment,NationalSzéchényiLibrary,Budapest) KristinaFunkͲKunath(Head,BachͲArchivLeipzigLibrary) PräsentationderInternationalenOnlineBachͲBibliographie ZumJahresbeginn2014präsentiertedasBachͲArchivLeipzig—alszentraleForschungsstätte—eineumfassende wissenschaftlichfundierteneueFachdatenbankzumgesamtenBachͲSchrifttum. DieneueBachͲBibliographieerschließtnichtnurdieLiteraturzuJohannSebastianBach,sondernrichtetihrenFokus darüberhinausauchaufdiekomponierendenBachͲSöhneWilhelmFriedemann,CarlPhilippEmanuel,JohannChristoph FriedrichundJohannChristianBach.DamitistdieneueOnlineͲBachͲBibliographieeinSpiegelbildzumStandderaktuellen BachͲForschung. 

41  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   CliffEisen(ProfessorofMusic,King’sCollege,London) RethinkingMozart’slettersinthedigitalage Mozart’scorrespondenceisperhapsthemostsignificantandsubstantialsurvivingbodyoflettersbyany18thͲcentury composer,includingnotonlylettersbyMozarthimselfbutalso,andjustassignificantly,lettersbyhisfather,mostly writtenduringthe“GrandTour”of1763–1766andthethreetripstoItalybetweenlate1769and1773.Togetherwith contemporaneousdocuments,iconographyandmusicalsources,thelettersrepresentthebackboneoftraditionalMozart scholarship.“Traditional,”inthiscontext,generallymeansbiographical:thefactualdetailsofMozart’slife,whetherrelated tohistravelsorpublicappearances,thedatesofhiscompositionsorhisrelationshipswithhisfamilyorwithother musicians.But“traditional”alsomeansthewaysinwhichourknowledgeofMozartisorganized:asdiscreteblocksof information,asletters,documents,picturesorsourcesthat“exist”moreorlessindependentlyofeachother,thatdonot, atleastasweusedthemuntilnow,representaholisticviewofboththematerialitselfornecessarilygiverisetonewways ofthinkingaboutthemandtheirrelationship.AdigitallyͲconceivededitionoftheletters—orbetter,ofMozartsources generally—promisestobreakdownthesetraditionalbarriersandtooffernotonlynewinsightsbutalso,becauseofits holisticconceptualfoundation,opennewpathstoexploringthecomposer’slifeandworks.Twoexamplesmaybe representativeofthekindsofinsights,andkindsofquestions,thatmightbepossible(orraised)inadigitaleditionofthe letters. Myfirstexampleconcernstherelationshipbetweenthelettersandmusicalsourcesandtheextenttowhichtheynotonly intersectbutalsoraisequestions—andpossiblyleadtoinsights—concerningperiodperformancemoregenerally.In aletterof11June1781Mozartwrotetohisfatheraskingforcopiesofhisconcertosfortwokeyboards,K242andK365. ThecopiesarrivedinViennainOctoberandMozartperformedK365,withJosephaAuernhammer,athisAugartenconcert of26May1782.ThecommentaryinthestandardBauerͲDeutscheditionofMozart’slettersfailstomentionthesurvivalof thepartssentbyLeopoldtoVienna(nowinCSͲKRa):thesecanbeidentifiedbasedonthecopyists,watermarksand referencesintheletters.WhatismoststrikingaboutthissourceisthattheorchestralbasspartislabeledViolone,whichin context,andcomparedwithotherauthenticperformingpartsforMozart’sconcertossuggestsanorchestralscoringwith doublebassonlyandnovioloncellos.This,inturn,raisesthepossibilitythatMozart’sconcertoperformanceswithdouble bassonlymayhavebeencustomarynotonlyinSalzburgbutduringtheearlyViennayearsaswell.Potentialinsightssuch asthisarepossibleonlyifthelettersandmusicalsourcesareseenaspartofasinglecomplexofevidence—andbyfarthe simplestwaybothtopresentandtointerrogatethiscomplexisthroughacomprehensivedigitaleditionthatbreaksdown thebarriersofthetraditionalpigeonͲholingoftypesofsources. Mysecondexampleconcernsthewaysinwhichaholistic,digitallyͲbasedapproachtothesources—specificallylettersand documents—leadstoaninterrogationofunexpectedpossibilitiesforthetransmissionofmusicgenerally,or,more specificallyinMozart’scase,totheidentificationofarepertorythatbroadensourknowledgeoftheculturallandscapesto whichacomposerlikeMozartwasexposed.Notlongafterthefamily’sarrivalinLondon,Leopoldwrote(on13September 1764)tohisSalzburglandlordLorenzHagenaueraboutanumberofEnglishphraseshehadlearned.Nodoubtsomeof thesehelearnedthroughconversation.ButthisbegsthequestionhowLeopoldpreparedforhistriptoEngland,andthe factthathewouldneedatleastsomeEnglish,inthefirstinstance.Oneclueisagenerallyunknownsource,aFrenchͲ Englishgrammar(nowinAͲSub)purchasedbyLeopoldinLondonshortlyafterhisarrivalintheEnglishcapital.Thisseems toconfirmLeopold’scommentinhisletterof28May1764thathewas“onlyhalfresolvedtogotoEngland.”Ifhehad intendedtofromthestart,thenhewouldprobablyhaveboughtaGermanͲEnglishgrammar.Moreimportantly,though, thegrammarincludeseightsongs,oneinEnglish,oneinFrenchandEnglish,andtheremainderinFrenchonly.The repertoryrepresentedbythesesongsisfarfromwhatweimaginedMozartmighthaveencounteredeitherinSalzburgor duringhistravels:fiveoftheeightsongsapparentlyderivefromavolumeoflateͲ17thandearly18thͲcenturyFrenchsongs publishedatTheHaguein1711.Here,then,isevidenceofMozart’sencounternotonlywithanunexpectedrepertory, but—byextension—withanunexpectedaestheticmilieu.Andagain,itisthroughnotonlytheexecutionbutalsothe conceptionofaholisticsource—inthiscaseafullyannotated,electroniceditionoftheletters—thatsuchconnections,or suchrepertories,orsuchculturaltraditions,arelikelytobediscovered. Aboveall,then,adigitaleditionoftheMozartlettersservesnotonlytobringtogethertypesofsourcesusuallyconsidered tobediscrete,butalso,conceptually,encouragesandmakespossibleadeeperinterrogationofMozart’slifeandworksby breakingdowntraditionalbarriersamongtypesofhistoricalandmusicalsources.  PatriciaStroh(Curator,IraF.BrilliantCenterforBeethovenStudies,SanJoseStateUniversity,SanJose, California;Librarian,MusicandDance,SanJoseStateUniversity) Musicbibliographicalresearch,pastandpresent:ABeethovencasestudy Thispresentationoffersanexampleofhowapproachestomusicbibliographicalresearchhavebeenchangedbythe availabilityofonlineresources.Mypresentationrevisitsaresearchprojectcompletedatthedawnofthecomputerageand describestheapproachtoupdatingthatresearchutilizingdigitalresources. Ina1977issueofNotes,renownedBeethovenscholarWilliamS.Newmanpublished“AChronologicalChecklistof CollectedEditionsofBeethoven’sSoloPianoSonatasSinceHisOwnDay.”Newman’saimwastoidentify,brieflydescribe, andfixapproximatedatesforthecollectededitions.Totrackdownthescores,hescouredpublishers’catalogsand contactedmajornationallibrariesaswellasspecializedmusiclibrariesandarchives.Becausepublicationdatesarelacking

42  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   frommanyoftheseeditions—especiallythoseissuedbefore1900—Newmanbasedthechronologicalarrangementofthe checklistoninformationgleanedfromdealers’catalogs,advertisementsinperiodicals,andotherprintsources.The resultingchecklistincluded134publications,beginningwithSimrock’seditionspublishedin1798andendingwiththe SchirmercollectioneditedbyKolodinfrom1975.Althoughhedidacquiresomeeditions—nowpartoftheNewman collectionattheBeethovenCenteratSanJoseStateUniversity—forthemostpartNewmandidnotexaminefirsthand manyofthecollectededitionsonhislist.Asaresult,hewasunabletoverifyrelationshipsbetweeneditionsandprovided onlyafewdetailsontextualrevisionsandinterpretativeadditionsinthesescores. Newman’sconductedhisresearchnearlyfortyyearsago,beforetheageofonlinecatalogs,theWorldWideWeb,or Google.Takingfulladvantageoftheseonlineresources,IadoptedadifferentapproachtoupdateNewman’schecklist beginningin2012.ThispresentationwillcomparethesourcesandstrategiesusedbyNewmanandmyselfandsummarize additionalinformationIdiscoveredonpublicationhistories,editorialapproaches,andinterpretivedetailsintheseeditions. Also,IwillgiveabriefdemonstrationoftheBeethovenGPS:AGuidetothePianoSonataswebsitethatwillincludethe updatedandenhancedchecklist.

14.00–15.30 Room309 RépertoireInternationaldesSourcesMusicales(RISM) MusicDocumentationRoundTable Chairs:KlausKeil(RISMZentralredaktion,FrankfurtamMain) CherylMartin(WesternUniversity,London,ON),JenniferWard(RISMZentralredaktion,Frankfurtam Main) RISMonashoestring:HowsmallcountrygroupscancontributetoRISM SomeRISMgroupsreceivegovernmentorothersupporttoprovideaccesstoRISMresources,andareabletocommit significantfundingandstafftocreatingRISMrecords.Inothercountries,thissupportisnotavailableorthereisnoongoing financialsupport,andoftenoneortwopeoplelocateandaddresourcestoRISMforthatcountry. JenniferWard(RISMZentralredaktion)willdiscusssomeideasonhowthesegroupsmightcontributerecordstoRISM. CherylMartin(WesternUniversity,Canada)willtalkabouthowshefindsandaddsmaterialtototheRISMdatabase.There aremanyunknownresourcesinCanadianlibraries,archives,andmuseums;shewilldiscussaprojectplanforfindingand addingmaterial. WewillshowanexampleofhowMARCrecordscanbeselectedfromalibrarycatalogueandsenttoRISM.Nowthat materialfromanytimeperiodcanbeadded,wewillhavemanypostͲ1800sourcestocontribute.Therewillbetimefor discussionofvariousmethodstoaddrecordstotheRISMcatalogue.  EwaHauptmanͲFischer(MusicDepartment,UniversityofWarsawLibrary,Warsaw) MusicalgiftswithdedicationsinSilesianmusicalmanuscriptsofmonasteryprovenance ThewritingofthepresentpaperwasmadepossiblebythecataloguingintheRISMdatabaseofoveradozenmusical collectionsfromvariousmonasteriesinSilesia.ThemusicalitemsarepresentlykeptattheWarsawUniversityLibrary.The RISMdatabaseenablescomparativestudiestobemadeontheparticularsources.Also,entirecollectionsmaybeperused, somethingthatwouldbeimpossibleindirectcontactwithseveralthousandvolumes.Themanuscriptswithdedications andintheformofdonationscomefromthemonasteriesofCistercians,regularcanonsofSt.Augustine,Clarisses,and KnightsoftheCrosswiththeRedStar. Oneofthemostfrequentopportunitiesforthetransmissionofmusicalgiftswerenamedays,alwayshighlycelebratedin monasteriesinconnectionwiththeliturgicalcommemorationofpatrons.Allthemanuscriptsbearanappropriate inscription,usuallymentioningthefirstnameandfunction,aswellasthemonasteryofthenamedaycelebrant,and sometimesthefunctionandplaceofthepresenter’sactivity.Wealsoencountershort,oneͲsentenceinscriptionsof dedications.Thegraphicformofthesourcesalsovaries,fromtheornamental,writtenincolouredink,totheuntidy,with illegiblepenmanshipandsometimesanabbreviationofthededicatee’slastname. Thededicationsalsorevealanumberofrelationsanddependenciesbetweenthepresenterandthereceiver.Musicalgifts werereceivednotonlybymonasterysuperiors,butalsodirectorsofchapelensemblesandtheirregularmembers,i.e.the musicians.Thepresentersincludecomposers,choirregents,organists,membersofchapelensembles,andindividual musicians.Insecondaryliterature,themanuscriptpresentersaresometimestreatedasidenticalwiththenotated compositions’authors,somethingthattheRISMdatabasesometimesmakespossibletoverify.Thededicationscanbe avaluablesourceofbiographicaldataunknowntohistoriansandrelatedtotheinhabitantsofthemonasteries.Inthecase ofmanuscriptsfromthewomenregularcanonsofSt.AugustineinWrocųaw,dedicationsfromtheseventeenthand eighteenthcenturytransmitthenamesofprioresses,oftenwiththeyearoftheirfunction. Ontheleafsofthementionedmanuscripts,wealsofindexceptionallyinterestinginformationrelatedtothismonastery’s musicalpractice:thededicationsmentionparticularnuns,togetherwiththeirfunctioninthechapelensemble.The

43  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   surviving,dedicatedanddonatedmanuscriptswillbepresentedinawidersocialcontext.Thepracticeofofferingmusical printsandmanuscriptswascommoninvariouscircles.Itcouldhavebeenlinkedtothesearchforartisticpatrons,the activitiesofcomposers,andtheirresultantduties.Thedescribedpracticewasalsopresentintheprivatesphere.Inthe paper,Iwillattempttoanswerthequestion:Inwhatcontextdidthepracticeofmusicalgiftsexistinmonasteriesand convents?Afterananalysisofthesurvivingsources,theideasuggestsitselfthattheactualgiftdidnotconsistofthe musicalinscription,i.e.agivenmanuscript,butthemusicitcontained.Acelebratoryperformanceofthepiececarried moresignificancethantheoftenwellͲpreparedmanuscriptitself.  RoundTablediscussion TheremainingtimeinthissessionwillbereservedforquestionsabouttheRISMproject,ideas,oranythingelseyouwant todiscuss.Ifyouwish,topicscanbesuggestedinadvance:[email protected].Possibletopicsincluderesultsfromthe recentsurveythatRISMconductedaboutitsonlinecatalogandthenewmusiccatalogingsoftwareMuscat.

15.30–16.00 MorseHall Tea&coffee

15.30–16.30 PJSharpTheaterLobby PosterSession(I) Seedetailsonpages30–33.

16.00–17.30 PaulHall IAMLGeneralAssembly(I) Chair:BarbaraDobbsMackenzie(President,IAML,RILMInternationalCenter,TheGraduateCenter, TheCityUniversityofNewYork) The2ndsessionwilltakeplaceonFridayat13.45

16.00–17.30 WillsonTheater Lamusicologieetleshumanitésnumériques/Musicologyanddigitalhumanities PresentedbytheIMSProgrammeCommittee Chair:VincentBesson(Ingénieurd’étudesduCNRS,Centred’étudessupérieuresdelaRenaissance, UniversitéFrançoisRabelais,Tours,France) RichardFreedman(JohnC.WhiteheadProfessorofMusic,HaverfordCollege,Haverford,PA,USA) Closeanddistantreading:DataanalysismeetstheRenaissancechanson ThesixteenvolumesoffourͲvoiceChansonsnouvellespublishedinParisbyNicolasDuCheminbetween1549and1568 containsome380chansonsbycomposerslikeClémentJanequin,ClaudeGoudimel,EtienneDuTertreandtwodozenof theircontemporaries.YetthefullrichnessoftheDuCheminseriesremainslargelyunexploredbymusicologistsontwo counts:largeportionsofithaveneverappearedinmodernnotationorscore,andthefinalfivebooksoftheseriessurvive inanincompletestate(withtwooffouroriginalvoicepartsmissing).TheLostVoicesProject(http://digitalduchemin.org) exploresthemissingvoicesthroughthestylisticprofileofthecorpusasawhole.Atypologicalthesaurusofmusicaldevices providesacommonvocabularyforasearchabledatabaseofthousandsofanalyticobservationsaboutthecompletepieces. Theseinturnprovidethefoundationfordozensofreconstructionsofthemissingparts.Allofthismaterialispresentedin adynamicinterface(usingtheMusicEncodingInitiativestandardandotheropenͲsourcetools)thatpermitsuserstosort anddisplaytheresultsoftheirsearches,fromindividualanalyticobservationstoentirepieces(includingdynamic presentationofvariantreadings,emendations,andalternativereconstructions). Nowarmedwithadatabaseofover11,000suchobservationswecanimaginenewpossibilitiesofdistantaswellasclose readingsoftexts,surveyingstylisticpatternsinhundredsofencodedcompositionsatonce,orentertainingquestionsof styleandauthenticity.Wehavedeployedvariousalgorithms(suchassimilaritynetworksandotherroutinesfordata analysis)thatarrayourobservationsinwaysthatprovokenewquestionsandresearchopportunities,tracingconnections amongdozensofpiecesviasharedsmallͲscalerelationships.Puttingcloseanddistantmodesofreadingintoactive counterpointwitheachother,wesuggestsomenovelinsightsaboutevolvingmusicalpracticeintheDuCheminrepertory. Butwearealsocurioustodiscoverhowthesepatternsintersectwithothernarrativesandprojectionsfromsimilarstudies. (Allofourdata,andourtoolsforvisualizationandanalysis,remainopenforadaptationandexplorationbyotherscholars, usingcommonprotocolsandworkflows).

44  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)    MarcoGurrieri(Associatemember,Centred’étudessupérieuresdelaRenaissance,UniversitéFrançois Rabelais,Tours,France) TheGesualdoOnͲLineProject:NewtechnologiesandperspectivesononͲlinemusicediting TheGesualdoOnͲLineprojectoftheCentred’ÉtudesSupérieuresdelaRenaissanceinToursconsistsofanewonline collaborativeeditionofCarloGesualdo’smusicaloutput.Startingfromthefirstavailableandcompleteearlyeditionofhis compositions,theprojectpermitsustovisualiseinadedicatedinterfaceallthevariantsdocumentedinthesubsequent earlyeditions,thepossibleemendationsand,whereapplicable,thereconstructionsofincompleteworks.Concerningthe technologicalenvironment,theprojectdrawsonRichardFreedman’sandtheLostVoicesProjectteam’sexperience.Itis thereforebasedontheMEIprinciples,organisedthroughaspecificprotocolfordynamiceditions.Signalsofvariants, suggestionsofemendationsandproposalsofreconstructionsfromregisteredInternetuserswillbevalidatedbyascientific committee.ThefirstoutcomesoftheGesualdoOnͲlineprojecthavealreadyshownseveraladvantageswhencompared withtraditional,printedcriticaleditions:thevisualpresentationofvariantsandemendationsismorecomprehensibleand immediatethantextualdescriptioninacriticalapparatus;inthepresenceofauthorialvariants,thesimultaneous visualisationofthem(listedinchronologicalorder)permitsevaluationofallthedivergencesandchangesoccurredduring thecreativeprocess;bychoosingavariantinplaceofanother,acollaborativeeditioncaneasilybecome—andbeused as—ahistoricallydocumentededition,apracticaledition,oraninnovativeeducationaltool. DavidFiala(MaîtredeConferences,Centred’étudessupérieuresdelaRenaissance,UniversitéFrançois Rabelais,Tours,France) ProsopographyofRenaissancesingers:Unreasonableandirresistible Mostofthebestprofessionalsingersfromthe15thand16thcenturieswhopopulatedthechoirsofmajorEuropean churchesandprincelycourtsstemmedfromthesoͲcalledFrancoͲFlemisharea.TheycomprisedawellͲdefinedcommunity whosecoherenceandunityleftvariouswitnesses(mostfamouslythesoͲcalled«musicians’motets»andothersuch listingsofsingers’andcomposers’groups).Overthelastcenturies,numerousmusicologicalpatronagestudiesandother historicalworksdocumentedtheircomingsandgoingsalloverEuropeandeverynewarchivalinvestigationkeepsrevealing moreinformation.Someattemptsatcentralisingthesefascinatingdatahavebeenmadeovertherecentpast.Oneofthese isthe«ProsopographiedesChantresdelaRenaissance,»startedin2007andhostedattheCentred'ÉtudesSupérieures delaRenaissance(Tours,France),whosefirstversionwaspresentedatthe2009IMS/IAMLConferenceinAmsterdam.This initialstepcanbebestdescribedasamostlytextualonlinedictionaryofRenaissancesingers,withlittlestructureddatain relationaltables.Sincethen,alongreflectiononthebesttechnicalwaystobuildarichlystructuredprosopographical databasehastakenplace,inconnectiontoothersuchhistoricaldatabasesandcomputerscientists.Suchaprojectis acomplicatedenterpriseforitaimsatdealingwithasocialgroupwithblurredboundariesandatcontrollingalargevariety ofboth,documentarysourcesandbiographicalfacts.Mostofthisreflectionledtotheelaborationofasemanticmodel allowingtostructureindividualbiographiesintoacomputerͲmanageablestringof«biographicalfacts»or«events»or,as wecallthem,«assertions.»WhileoperationaltoolsoftheWebofdata(LinkedOpenData)arestilldeveloping,the expressionofthismodelasanontologywillneedfurtherwork.Inthemeantime,therealisationofamoretraditional relationaldatabaseforRenaissancesingersgroundedinthisconceptualmodelisonitsway.

16.00–17.30 Room543 Brazil PresentedbytheIMSProgrammeCommittee Chair:MarceloCamposHazan(AdjunctProfessorofLatinAmericanStudies,UniversityofSouth Carolina,Columbia,SC) BeatrizMagalhåesͲCastro(ProfessoraAssociadaIII,UniversityofBrasília;President,IAML/Brazil), LucianaGrings(CoordinatorofBibliographicServices,FundaçãoBibliotecaNacional,RiodeJaneiro, Brazil) Musicresearchandthedigitalage:AcasestudyforIAML/Brazil,or,the‘quis,quid,quando’of Brazilianarchives ThispaperdiscussesthehistoricalinsertionandcurrentstatusofIAMLͲBraziland“R”initiativesinBrazil,withinthe perspectiveofmusicresearchandinterconnectedmatterssuchasaccesstomusicarchives,cataloguing,bibliographical control,audiovisualrecords,amongotherissuesconcerningprofessionaltrainingandadvocacyactions.Withinthis context,resourcesandmeansmadeavailablethroughoutthedigitalerahavehadafullimpactonproceduresandlocal policiesespeciallyregarding“whoͲwhatͲwhenͲwhereͲwhyͲhow”deserveattentionandprofessionaltreatment.Invoking HermagorasofTemnos'sevenelementsofcircumstance—“quis,quid,quando,ubi,cur,quemadmodum,quibus adminiculis”the“quidproquo”ofBrazilianmusicologyhashistoricallychosenitsobjectsofstudywithoutconsidering structurallypermanentinformationscienceproceduresleavingmuchofthebiblioteconomicalandarchivalworkyettobe done,ordonethroughnonstandardizedmeansthatdonotfullydialoguewithinternationalstandards.

45  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Thepaperaimstodescribe,examine,anddiscusstheimpactofthedigitalageinBrazilianmusicologyandlibrarianship,as weexplore,beyondpasthorizons,theontologicalandepistemologicalbasisforscenarioplanning,furtheremphasizing decisionͲmakingastheoutcomeofinquiry(Walton2013)withinIAMLͲBrazil’sfuturestrategies.  AndréGuerraCotta(AssociateProfessor,DepartmentofArtsandCulturalStudies,Universidade FederalFluminenseinRiodasOstras,RiodeJaneiro,Brazil) Musicology,musiclibrarianship,andarchivologyinBrazil:Reflectionsondigitaltechnologiesand professionalboundaries Attheendofthelastcenturythesocalledinformationalrevolutionbroughtthestrongimpactofdigitaltechnologiesto Brazil,somehowlaterthantoEuropeandNorthAmerica.Ithasaffectedbasicallyallprofessionsandfieldsofknowledge, butlibrarianshipwasmaybethemostdeeplytransformedbythatrevolution,leadingtotheinterdisciplinaryapproachof InformationScience.Therehasbeenastrongdemonstrationofanopenattitudebylibrarianshipscholars,theirupdated perceptionofthatirreversibleprocess.ThefirstBrazilianpostͲgraduateprogramswerecreatedabouttwentyyearsago andinterdisciplinarydissertationsandthesesonmusicologicalsubjectsappearedsoonthereafterinthoseprograms.Since then,someofusworkedindifferentprojectsandsubjects,constructingpossibilitiesforinterͲmultiͲtransdisciplinary research,tryingtofollowthefastobsolescenceofsoftwareandhardware,andnotonlynewtechnologiesbutalsonew musicologiesarose.However,inBrazil,wearestillfightingtoconvinceourcolleaguesoftheimportanceofthe“positivist” workofcatalogingmusicalsources. WeseemtohavedonegoodworkonBrazilianmusicalarchivesandcollectionsinthelasttwentyyearsandthenumberof digitalresourcesavailableseemstoconfirmthatimpression.Butthetruthisthatthereismuchmoretodo:byfarwehave noideaabouttherealdimensionsofourmusicalheritage,thereisnoeffectivepolicyonthatsubjectyetandourefforts areirregular,uncoordinated,andpunctual.TherecentcreationoftheBrazilianbranchofIAMLseemstobeanew(and adequate)spaceforstrengtheningtheseefforts,butthereisstillanoldboundary:theclaimforanexclusiveauthorityfor professionalactivities,inthiscase,cataloging.AtthescientificmeetinginwhichIAML/Brazilwascreated,therewas acollectivediscussionofRISMͲBrazil´sregulations.Somecolleaguesassertedthat,accordingtoBrazilianlaw,catalogingis theexclusiveturfofprofessionallibrarians(sothiswordcouldnotbeusedinourobjectives).Asimilarbarrierseemsto havesurfaced,inBrazil,betweenmusicologyandarchivology.Thispoliticalsituationplacesatthecenterofthediscussion theneedforanopenapproach,suchasthatwhichsurfacedinInformationSciencetwentyyearsago.Now,the“open minded”approachseemstobeonthesideofmusicologistsandtheComputerSciencecommunity.Thisproposalintends todiscussthebroadscopeofproblemsandprinciplesinvolvedinourinternalstruggle.  RosanaLanzelotte(President,Musicabrasilis,RiodeJaneiro,Brazil) MusicaBrasilis:ThechallengeofmakingavailableadigitalcollectionofBrazilianmusicscores Brazilianmusicscoresaredifficulttofindandaccess.Amajorparthasneverbeeneditedorisoutofprint.Thegreat majorityofmusiceditorshasstoppedsheetmusicedition.Webavailabilityisacontemporarywaytobridgethegap betweenscoresandmusicians. Since2009,theMUSICABRASILISinitiative(www.musicabrasilis.org.br)hasmadeavailablemorethan1000scoresby200 Braziliancomposers,withseparatepartsforinstruments.Thewebsiteisaccessedbymorethan7000musiciansthroughout theworldinsearchofclassicalorpopularrepertoire. MUSICABRASILISscorescomefromdifferentsources.Somescoreshavebeeneditedfortheproject,e.g.allthe218piano worksbyErnestoNazareth(1863–1934),somearedonated,e.g.50worksbyJoséMaurícioNunesGarcia(1763–1830), otherscorescomefromeditorsthathaveceasedtheiractivity,e.g.25worksbyAlbertoNepomuceno(1864–1920). MUSICABRASILISalsoprovideslinkstoeditionsonotherwebsites,suchastheAcademiaBrasileiradeMúsica (www.abmusica.org.br)orSESCPartituras(www.sesc.com.br/SescPartituras/). ScoresmadeavailablebyMUSICABRASILISarepracticaleditions.Thewebsitedoesnotsupportcriticalorgeneticeditions sofar.However,metadataprovideinformationaboutsources. Tocopewithcopyrightprotectedrepertoire,MUSICABRASILIShasstartedsellingthroughoutAppleStore.Itisthefirst musiceditorsofartopublishonApple,wherecustomerscanfinddigitalversionsofVillaͲLobos,RadamésGnatalli,and VillaniͲCortesscores.SpecificmetadataisrequiredtouploaddigitalscoresonAppleStore,whereasnotadaptedtofinding musicresources. Amajorchallengeconcernsthewebsiteinformationarchitecture,dealingwithheterogeneoussources,differenteditorial practicesandoutputrequirements.Thepresentworksummarizesthemetadatamodeladoptedtodescribemusicscores madeavailablebyMUSICABRASILIS.ItalsodiscussesLinkedDatacompliance,afuturegoaloftheinitiative.

46  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   16.00–17.30 Room309 Howdidwegetoutofanalysisandhowdowegetback(d’àpresKerman):Issuesin20thͲcenturymusic research PresentedbytheIMSProgrammeCommittee Chair:ElliottAntokoletz ElliottAntokoletz(ProfessorofMusicology,UniversityofTexasatAustin) Evolutionoftheintervalcyclesin20thͲcenturymusic:FromStravinsky,BergandBartóktoPerle ConsistencywithinotherwisechangingmusicalparameterscountersthenotionofoutdatednessandpermitsthetheoreticͲ analyticaldisciplinetotranscenditsrelegationtohistory.Theconceptoftheintervalcycleappearstolieatthecoreofan evolutiontowardanewkindoftonalsystemandanewmeansofharmonicprogression.Anintervalcycleisaseriesbased onarecurrentinterval,thesequenceofwhichiscompletedbythereturnoftheinitialpitchͲclass.Thetotalcomplexof intervalcyclesconsistsofonecycleofminorseconds,twoofwholetones,threeofminorthirds,fourofmajorthirds,only oneofperfectfourths,andsixoftritones.WhilecertainbasicassumptionsoftheequalͲdivisionsystemhadbeenarrivedat aroundthesametimebyseveralpostͲtonalcomposers,twoextremepointsoforiginareseenintheultrachromaticismof GermanlateͲRomanticmusicandthepentatonicͲdiatonicmodalitiesoffolkmusic.Theintentioninthispaperistoidentify themainstagesofthisevolutiontowardanincreasinglysystematicsetofprinciplesintwentiethͲcenturymusic,inwhich cyclicͲintervalconstructionreplacesthetraditionalmajorandminorscalesasabackgroundsourceforderivingnewkinds ofharmonicandmelodicformations. InnineteenthͲcenturychromaticmusic,composersoftenemployedsymmetricalorcyclicͲintervalconstructionsasthebasis fortriadicrootprogression,e.g.,bywayoftheintervalsofthewholeͲtoneoroctatonicscalesaswellasminorͲormajorͲ thirdcycles.ThistendencyledinmanytwentiethͲcenturycompositionstopervasiveuseofcyclicͲintervalformationsasthe primarymeansofintegratingbothharmonicandmelodiclevels.CertaintypesofcyclicͲintervalcollectionswereexploited byvariouscomposers,includingtransformationsofthepentatonicandmodalscalesintowholeͲtone,octatonic,andother typesofsymmetrical,cyclicͲintervalcollectionsinthemusicofDebussy,Stravinsky,Bartók,andothers.Asearlyas1910, Stravinsky’sFirebirdballetappearstohavebeenthefirsttoemployanarrayofthecomplexofintervalcycles. Throughthejoiningoftwoconcepts—theintervalcycleandinversionalsymmetry—amorecomprehensiveandsystematic setofpitchrelationshipsemergedinwhatGeorgePerlehasreferredtoas"twelveͲtonetonality."Inthesameyearasthe Stravinskyballet,Bergappearstohavebeenthefirsttojointhesetwoconceptsasthebasisformodulatingfromoneaxis ofsymmetrytoanother.Bartókalsoemployedtheseprinciplesincertainearlyworks,butafter1928heexploitedthe possibilitiesofmodulationbasedoncyclicͲsymmetricalchordsmorefully.Theseprinciplesalsoemergedintheearlyatonal worksofWebern,becomingmorefullydevelopedlaterinvariedapproachestothetwelveͲtonecontinuumbyWebern, Berg,Dallapiccola,Perle,andothers. Perle'stheoreticalformulationshavecertainhistoricalconnectionswiththetwelveͲtonemusicoftheSecondViennese School.However,theyalsohavefundamentalconnectionswiththenonserialcompositionsofDebussy,Scriabin, Stravinsky,Bartók,andothers,inthatPerle'sspecialtwelveͲtoneset(basedontheintervalcycleandthestrictly symmetricalprojectionofasingleinterval)ispermittedtofunctiononadeeplevelinthesamewaythatthescaledoesin tonalmusic.  RobertHatten(ProfessorofMusicTheory,UniversityofTexasatAustin) Reconceivinganalysis Asaprofessionalmusictheorist,myperspectiveonanalysismaydifferfromthatofothersonthispanel.Thereisnolackof analysisinthejournalsdevotedtomusictheory,nordoesitappeartobeonthedecline.Buthowanalysisisconducted, andwhatitsgoalsmightbe,varywidely.InmypaperIargueforabroaderconceptionofanalysis,drivenbyadifferentset ofmotivations,withadifferentapproachtoevidence,andadifferentsetofgoals,thanwhenanalysiswasconceivedin strictlyformalistandstructuralistterms.Atthesametime,IdonotproposeanantiͲstructuralistapproach,butratherone thatreconceivesitsstructuralistgrounding.Myinterpretiveandabductiveapproachtoanalysisentails: 1.conductinganalysisintandemwithareconstructionofhistoricalstylecompetency,conceivedasembracingexpressive aswellasstructuralunderstandings; 2.reconstructingstylecompetencyintermsofbasicprinciples,regularitiesinsteadofrules,andvariablestrategiesby whichcomposersplaywithandagainstconventions; 3.hypothesizingexpressivemotivationsforformalstructures,includingexpressiveanddramatictrajectoriesas complementingformalgenres; 4.attendingtotheirreducibledepthofthesurface,includingsuchsyntheticcategoriesasgestures,topics,andtropes(and thepotentialforthematizinganymusicalentityorprocess) 5.whileneverthelessgroundinganalysisinmarkedoppositionsandsystematicrelationshipsamongstyletypesand processes;

47  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   6.drawingonevidencefromboth“inside”and“outside”thework,includingitsculturalandbiographicalcontexts, 7.withthegoalofpromotinghistoricalunderstandingofexpressivemeaning 8.throughvariousdegreesofengagementbyhypothesizedlisteners,viainferencesofvirtualmusicalagency,and embracingbothintersubjectiveandsubjectiveresponses. Obviously,nosingleanalyticalexercisecanpossiblysatisfyalloftheseconcerns,buttheycanneverthelessinformmore focusedstudies.Drawingfrommyownpublishedinterpretiveanalyses(oranalyticallygroundedinterpretations),Iwill illustratehowtheseguidingprinciplescanenrichourunderstandingofthewaysanalysiscancontributetomusical understanding.  PieterC.vandenToorn(ProfessorEmeritusofMusic,UniversityofCaliforniaatSantaBarbara) TheRiteofSpringbrieflyrevisited:ThoughtsonStravinsky’sstratifications,thepsychologyofmeter, andAfricanpolyrhythm FromthestandpointofWesternartmusicoftheeighteenth,nineteenth,andtwentiethcenturies,thepointofdeparture formanyscholarsislikelytohavebeenanaestheticoneignitedinturnbytheuniquequalitiesofindividualartworks. Someyearsago,BenjaminBoretz(1977)drewadistinctionwiththeempiricalsciencesonthisbasis.Inscience,heargued, theindividualisvaluedtotheextentthatitcanconfirmordisconfirmatheoryorhypothesis,while,inthestudyofmusic, theoppositeprevails.Comparisons,commonpractices,systems,andtheoriesofhistoricalandsocialcontextarepursued andvaluedfortheilluminationand“richnessofidentity”theyconferontheindividualcontext.“Thequalificationofthe individualisthedevolutionpointofallmusicalthought,”Boretzconcluded,“forwhosesakealonetheclassgeneralityis reified.”And“tolearntohearauniquethingasacategoricalthingisnetlossformusicalexperience.” Withtheforegoinginmind,thispaperwillexaminethetechniqueofstratificationinStravinsky’sTheRiteofSpring,aform consistingofthesuperimpositionofmelodicfragmentsandchordsthatrepeataccordingtodifferentcyclesorperiods. HarmonyisvirtuallynonͲexistentinthesestructures;theirattractionlieswiththeverticalalignmentofthereiterating fragments,aseachofthesefragmentsrelatestotheothersandtothemeter.(Thepsychologyofmetricalentrainmentisof specialrelevancehere,thelistener’s“natural”aswellasspontaneousabilitytointernalizeametricalbeat.)Acomparison willbemadetothepolyrhythmictexturesofAfricandrumming,inparticular,Gahu,awellͲknowndanceofthesouthern EweinWestAfrica.Madeupofsixlayersofdistinctrhythmicpatterns,thecyclic,repetitivefeaturesofthismusichave muchincommonwiththoseofTheRite’sstratifications.Thediscussionwilldrawonanumberofaestheticandanalytical commentaries,includingthoseofSteveReich(1973),DavidLocke(1987),andKofiAgawu(2003).

16.00–17.30 BrunoWalterAuditorium Opera PresentedbytheIMSProgrammeCommittee Chair:DonM.Randel(ChairmanoftheBoard,AmericanAcademyofArtsandSciences;fifthPresident, TheAndrewW.MellonFoundation) ThomasBetzwieser(Chair,InstitutfürMusikwissenschaft,GoetheͲUniversitätFrankfurt) Thechallengeofhybrideditions:Editorialtoolsandmethodsin“OPERA—Spektrumdeseuropäischen Musiktheaters” Thestandardsandmethodsforeditionsofoperaticworkshavechangedconsiderablywithinthelastthreedecades.Thisis particularlyduetothegrowingsignificancededicatedtothedramatictext(libretto),butalsotheperceptionof‘thework’ itself.Todaywearestillfarfromregardingtheatricalworksinthesamewayasothermusicalgenres.Operaticworksare ‘mobile’and‘unstable’,andconsequentlyeditionshavetoapproachthemasperformancetextsratherthan‘worktexts’, takingintoaccountthevariousstages/versionsoftheworkanditsperformances.Furthermore,thedigitalagehasopened upnewresourceswhilstalsodevelopingneweditorialmethodsandtools.However,onlyafewcriticaleditionshave acceptedthechallengeoftakingupthesemethods,oneofwhichis“OPERA–SpektrumdeseuropäischenMusiktheatersin Einzeleditionen”,establishedin2009.OPERAfocusesprimarilyoneditorialissues,assemblingitsworksinmodulesaround specificeditorialproblems,ratherthangroupingitsworksbycomposers,centuries,countriesetc. Followingabriefintroductiontotheproject,wheretheargumentsforenlargingthescopeofcriticalmusiceditionsto includegenressuchasmelodrama,operettaandballetalongsidetraditionaloperaticworkswillbepresented,thispaper willdiscussthemethodsandtoolsrelatedtoOPERA,demonstratingthewaysinwhicheditorialworkisimplementedwith “Edirom”software.Usingtheexampleoftwooperas,Salieri’sPrimalamusica(1786)andBlaise’sAnnetteetLubin(1762), inwhichtheissueofpreͲexisting,borrowedmusicisprominent,thewayinwhichawork’sgenesis,itssources,andthe differentstagesoftheperformancescanbedisplayedwillbedemonstrated,withparticularreferencetotheirvarious interconnections.SincetheequalityofamusiceditionandatexteditionisthecentralfeatureinOPERA,howatextedition canbeestablishedreferringtobothmusicalandlibrettosources,whichconsequentlydemandsamutualinterweavingof thecorrespondingannotationsinthecriticalreport,willbediscussed.

48  Tuesday,23June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Finally,thepaperwillalsoconsiderpracticalissues,suchaspermissionsandlegalrights,cooperationwithlibraries,and accesstothecompletededitionforendusersinlibrariesandinstitutions.Thispaperwill,therefore,enrichthediscussion ongeneralquestionsofonlinevs.hybrideditionsinregardtotheirusers.  AndrewNeumayer(StudentResearchAssistant,BrighamYoungUniversity,Provo,UT) Operaresearchinthevirtualreadingroom Thegrowthofprimarysourcesmadeavailablefreetothepubliconlinehasalteredthelandscapeofsourcesstudiesand openednewhorizonsforthefutureofcriticaleditions.Researchrelatedtooperahasbeengreatlyenhancedthroughthe evolutionofanexpandingvirtualreadingroomortheabilitytoaccessnumerousrelatedsourcesfromtheconvenienceofa personalcomputer.Thetimeconsumingandlaborioustaskoflocatingandaccessingsourcesinpersonisbeginningtoshift toamoreimmediateandconvenientprocess.TheinevitablefutureofscholarlyeditionsembracesamultiͲmedia,multiͲ level,andinteractivemodel.Thepotentialforgreatercollaborationamongresearchersisalsogrowinginimportancein thisnewdigitalcontext. Thispresentationwillbeginwithanoverviewofhowtechnologiesareimpactingcurrentoperaresearch.Itwillsummarize currenttrendsincriticaleditionsthatincorporateaccesstodigitalresources.Specificexamplesincludethe“Freischütz digital”project(http://www.freischuetzͲdigital.de/)andthenewBärenreiterhybrideditions.Followingthisbrief introduction,newresearchopportunitiesrelatedtoJeanͲBaptisteLullyandhiscontemporariespublishedbyBallardand themanuscriptsourcesforworksbyGiovanniPaisiellowillbeexaminedindetail.Thepresentationwilldocumentthe extentofdigitalresourcesofallkindsavailableforthesetwocomposersandsuggestmethodstobestunitethesematerials inanenvironmentthatfacilitatescollaborativeresearchamongpeerscholars.Thesurveyofresourceswillevaluatethe extentthatthesetwocomposersarerepresentedinawidevarietyofdigitalrepositoriesincludingtheInternetArchive, Gallica,InternetCulturale,andothers. SpecificattentionwillbegiventothenewandimprovingdigitalcapacitytoexaminevariantsinpublishedBallardeditions andcorrespondingmanuscriptsforthemajoroperasofLullyandhiscontemporaries.Inasimilarfashion,manuscript sourcesfortheoperasofPaisielloarebecomingincreasinglyaccessibleonline.Theadvancesandlimitationsofonline researchwithmanuscriptswillbeillustratedthroughtheseparticularresources.Thediscussionwillincludeidentificationof obstaclestolocateandutilizetheseresourcesinaunifiedinterfaceandoffersuggestionsonmeasuresthatlibraries, publishers,andscholarscanpursuetopromotecollaborationinthefuturedevelopmentofcriticaleditions.

19.30 PJSharpTheater Concert  

49  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   WEDNESDAY,24JUNE

7.30–9.00 Room543 Medici.tvBreakfast (byinvitationonly)

9.00–10.30 PJSharpTheater Plenarysession MusicResearchintheDigitalAge PresentedbytheOrganizingCommittee Chair:JimCassaro(UniversityofPittsburgh,Pittsburgh,PA) Theprocessofresearchhaschangeddrasticallyinthepastfewdecades.ManytraditionalpaperͲbasedresourceshave beensupersededbytherelentlessappearanceofelectronicanddigitalmaterials.Astheprocesschanges,scholarsand informationprofessionalsmustcollaboratetocreateandimplementresearchmethodologiesthatadoptthesenew resources,alwaysmaintainingafirmunderstandingofthebibliographicfoundationsofthefield. Theresearchprocesstoday,whileenhancedbymanyelectronictools,is,atthesametime,mademorecumbersomebythe limitationsofwhatlibrarycollectionscanandcannotprovide.Issueslikethepurchasingofstreamingaudioratherthanthe hardcopycompactdisc,theappearanceofpopularonlineaudiopurveyorslikeSpotify,andthenotionthatifsomethingis online,itisavailablefreeofchargeareachallengeforusall.Increasingcostsofelectronicdatabaseshaveputunduestress onlibrarybudgets,andkeepingupwiththeamountofdigitalcontenthasbecomealmostimpossible.Theproliferationof singleͲuserelectronicbooksalsostymiestheresearchprocess.Further,discoverytoolsinWeb2.0onlinepubliccatalogues presentchallengesinfindingmusicͲrelateddigitalcontent,hinderingourstudentsfrombeingabletoidentifythebest onlinetoolstosupportstudyandresearch.Digitalhumanitiesscholarshiphasrecentlytakencenterstageatmany academicinstitutions,oftenwithoutthevisionofwhatisneededandhowitcanbestbeprovided.Howcanweaddress theseissuesinarealisticandcollaborativemannertomeetcommonneedsandinterests? Thisplenarysessionfeaturesfive(5)presenterswhowilladdressthesetopicsandinterestsfromtheirparticularpointsof view,aswellasarespondentwhowilltiethesessiontogether.Thepresenterswillincludeamusiclibrarian,amusicologist, apurveyorofmusicresearchproductsfromthecommercialsector,astudent,andastaffmemberfromamusicresearch project.Responsetothesessionwillbeprovidedbyaneminentmusicscholar. Thegoalofthissessionistofurtherthedialoguebetweenscholarsandinformationprofessionalsandtocomeawaywith acommonunderstandingoftheissuesinvolvedandafirmagendaofhowwecanaccomplishourgoalsandmissionsas activemembersofthemusiccommunity. Speakers: LaurentPugin(RISMSwitzerland,Bern) DörteSchmidt(UniversitätderKünste,Berlin) MariaEdurneZuazu(TheGraduateCenter,TheCityUniversityofNewYork) MarkHerrick(EBSCOInformationServices,Ipswich,MA) VirginiaDanielson(NewYorkUniversityͲAbuDhabi,UnitedArabEmirates)

Respondent: PhilippeVendrix(Centred'étudessupérieuresdelaRenaissance,L'UniversitéFrançoisRabelais,Tours)

10.30–11.00 MorseHall Tea&coffee

11.00–12.30 PaulHall Smallinstitutions,too,canplaythedigitalgame PresentedbytheLibrariesinMusicTeachingInstitutionsBranchofIAML Chair:JohanEeckeloo(RoyalConservatoryBrussels,ErasmusUniversityCollege,Brussels)

50  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   KatharineHogg(Librarian,GeraldCokeHandelCollection,TheFoundlingMuseum,London) DavidandGoliath:Howtobeasmalllibraryinabigdigitalworld Thispaperconsidersthechallengesfacingsmalllibrariesinthedigitalage,especiallythoseoflimitedfinancialmeansor whicharepartoflargerorganisations,oftencharitableinstitutionswhosemainfocusisnotonteachingorresearch.Taking theGeraldCokeHandelCollectionattheFoundlingMuseumasanexample,Iwillconsiderthedifficultiesbothinaccessing digitalresourceswhichmaynotbeavailableotherthanthroughsubscriptionchargeswhicharewayinexcessofourannual budget,andintheneedtodigitiseourownuniqueandvaluablecollectionfordisseminationandresearch,aswellasfor preservation.Whilethemajorityofthemanuscriptcollectionisavailableonmicrofilm,andstillindemandfromscholarsin thatformat,theadvantageofthedigitalimagehasinevitablyledtomorerequestsfordigitisation.Thiscanprove problematicwhenalibraryoperatesonanannualbudgetwhichcouldeasilybeswallowedupbydigitisingafewvolumes. Variousoptionstoovercomethesedifficultieshavebeenconsideredandtried,andIwilloutlinethesolutionswehave foundtomeetthesechallenges,atleastinpart,andtheopportunitiespresentedbycooperationandcollaborationwith otherinstitutions,whichhaveprovedbeneficialbeyondtheinitialoutcomebeingsought.Apartnershipwithauniversity hasallowedaccesstoonlineresources,whilelibrarystaffprovideseminarteaching,usingourprimarysourcematerials,as thereciprocalpartofthearrangement.Opportunitiesforconservation,includingcreationofdigitalcopies,havebeen foundbyworkingwithstudentsonbookbindingandpaperconservationcourses,allowingthemtheopportunitytowork onhistoricitemsinneedofconservation,whilegivingthelibrarythebenefitoftheirworkandaneducationintheprocess andinthehistoryofeachhistoricbinding.Moretraditionalgrantshavecontributedtodigitisationoftheartworksinthe Collection,andopportunitiesforincomegenerationanddigitisationarealsotakenfromfilmcompaniesandcommercial onlinesalesofimages,whichsupportsthecostofdigitisingfurtheritemsforscholarlyresearch.  DeborahCampana(ConservatoryLibrarian,OberlinCollegeConservatoryofMusic,Oberlin,OH), CharlesMcGuire(ProfessorofMusicology,OberlinCollegeConservatoryofMusic,Oberlin,OH) Enrichingthemusicexperience:MakinglocallyͲdevelopeddigitalresourcesaccessible Notlongagolibrarianswouldassistusersbyprovidingmimeographedbibliographiesoftheirlibraries’holdingstailoredto researchtopics.Today,inadditiontomakingcommercial,subscriptionͲbasedonlineresourcesavailable,librariesaregiving musicusersmuchmore:accesstodigitalcollections,includingsoundandvideocollections,thathavebeencreatedlocally. Moreover,librariansarecurrentlyworkingwithfacultytodevelopdigitaltoolsthathavethepotentialtochangethe directionoftraditionalresearch.AtOberlinConservatoryLibraryevidenceofthisisaccessiblefromourlibrarywebpage. Asapublisherofdigitalresources,theConservatoryLibrarybeganofferingaccesstotheOberlinSongIndex,anindexto songanthologiesbeguninthe1970s.Morerecently,whatstartedasclassprojects,theRodericC.KnightMusical InstrumentCollectionandtheFrederickR.SelchCollectionofAmericanMusicHistory,evolvedintolibraryͲsupported digitalcollections.TwoadditionalspecialcollectionsprojectsprovideonlineaccesstotheConservatory’scollectionof autographsandthesoundarchiveofconservatoryconcerts. KeytothepresentationweproposeforthejointIAML/IMS2015programisadiscussionofworkinitiatedundergrants fromtheAndrewW.MellonFoundationtotheFiveCollegesofOhioforthedevelopmentofdigitalcollectionsanddigital humanitiesprojects.Theseprojectshadrootsinfacultyresearchandareintendedforincorporationintothecurriculum. DeborahCampana,OberlinCollegeConservatoryLibrarian,willprovidethebackgroundspecificallyonOberlin’sprojects, andCharlesMcGuire,ProfessorofMusicologyattheOberlinConservatoryofMusic,willpresentanoverviewofthe developmentandfunctionalityofhisgrantproject,theMusicalFestivalsDatabase(MFD).Thedatabaseindexesprograms, personnel,ensemblesandvenuesofmusicalfestivalsheldinGreatBritainbetween1695and1940;itservestodevelop students'informationliteracybyintroducingthemtoadvancedresearchmethods.  KristinaShanton(MusicLibrarian,IthacaCollege,Ithaca,NY) Hostingdigitalcollectionsusingebrary’sDASH!™:Aneasy,affordableoptionforsubscribinglibraries Inthefallof2012,theLibraryMusicCenteratIthacaCollege(IC)beganexploringtheuseofebrary’sDASH!™moduleas ameansofhostingthepublicdomainportionofourunderͲused,nonͲcirculatingsheetmusiccollection.Withno institutionalrepository,andabudgetunabletosupporthostedservices,DASH!™—freetosubscribersoftheebrary database—appearedtobeanoptionfordigitizingourcollectionatnoadditionalcost. WithDASH!™,wehavetheabilitytouploadPDFstothesearchableebraryplatform,andcreateeitheropenͲorclosedͲ accesscollections.Wehavenowdigitizedover250sheetmusictitles,availablethroughourebraryaccess,ourOPAC,and WorldCat.Withthesuccessofthesheetmusic,weexpandedouruseofthisproducttotackleanothersetofmaterialsthat seemedripefordigitizing:theICmasterstheses.Additionally,weuseDASH!™tohostacollectionofconcertprogramsfor ICSchoolofMusicensemblerecordings,solvinganongoingstorageproblemwehadbeennavigatingclumsilyforyears. IwilldiscusstheprocessofcreatingthesethreeopenͲaccesscollectionsonashoestringbudget,frominitialplanning, throughbumpsintheroad,toconcernsofpreservationandstorage.DASH!™hasprovideduswithafairlyeasysolutionfor hostingourdigitalcontentwithoutthecostofotherfeeͲbasedrepositories.Iexpectthiswillbeofinteresttothoseat institutionsthatalreadysubscribeorareconsideringsubscribingtoebrary.

51  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   11.00–12.30 WillsonTheater Onlineresearch,digitalarchives,anddatabases PresentedbytheInternationalCouncilforTraditionalMusic Chair:SalwaElͲShawanCasteloͲBranco(President,ICTM,UniversidadeNovadeLisboa) VirginiaDanielson(DirectoroftheLibrary,NewYorkUniversityAbuDhabi,UnitedArabEmirates) EthnomusicologyOnline Thefirstpresentationwilladdressthequestionofwhatkeyresourcesforethnomusicologicalresearchexistinthedigital world.Thepresentationincludesconsiderationofbasicresearchtoolsleadingtoactualprimarysourcesonline.Itidentifies someofthegapsinresourcesanddiscussesthedifficultieswithofferingprimarysourcesonlineforethnographicresearch.  XiaoMei(Professor,ShanghaiConservatoryofMusic) ThedatabaseconstructioninChina Inthe2001IMSconference,IgaveapresentationjointlywithProf.BellYung(UniversityofPittsburgh)aboutthe constructionofadigitaldatabaseforamusicalinstrumentscollection,thefirstinMainlandChina.Inthe2004ICTMworld conference,Ipresentedanupdatedversionofthismusicalinstrumentscollectiondatabase.Alsothatyear,the “DigitizationofRecordingsofTraditionalChineseMusic”projectdeclaredbytheMusicReseachInstitute,ChineseAcademy ofArtsgotthesupportoftheMinistryofCommunicationandInformationofUNESCOwhichIwasmainlyresponsiblefor. NowadaysmoreandmorerecordsandinformationinChinahavebeenrescuedanddigitalized.Soundarchivesarenotonly “objects”keptindatabases,butalsoawaythatwecanexploresound,andhumanhistorythroughthestudyof ethnomusicologyandotherdisciplines.ShanghaiConservatoryofmusicownsthreedigitaldatabaseswhichIbuiltthat include:ritualmusic,folksingingandmusicalinstruments.Inthispresentation,Iwillsharemyexperienceandthoughts concerningtheconstructionofdigitaldatabases.Mydiscussioncanbesummedupinthreelevels:1.Safeguarding; 2.Research,suchasarchivesusedinthestudyofhistory,cultureormusicmorphology;3.Application,likearchivesusedin exhibitions,concertsorartcreation.

11.00–12.30 Room543 Libraryservicesinthedigitalage(II) PresentedbytheIAML/IMSProgrammeCommittee Chair:StanisųawHrabia(InstituteofMusicology,JagiellonianUniversity,Kraków) SoniaWronkowska(PolishRISMCentre,TheNationalLibraryofPoland,Warsaw;PhDCandidateat AdamMickiewiczUniversityinPoznaŷ) MusicalsourcesintheNationalDigitalLibraryofPoland–Polona TheaimofthepaperistopresentlatestversionoftheNationalDigitalLibraryofPoland(Polona),toshowhowmusic sourcesarepresentedinthisportalandwhatpossibilitiesitbrings.Polonaisthebiggestandmostinnovativedigitallibrary inPolandand—asaprojectoftheNationalLibraryofPoland—isanarchivefornationalwrittenheritage.Italsocontains importantcollectionsofmusicmaterialsbytheprominentPolishcomposersaswellasothermonumentsfromthehistory ofPolishmusic. TheNationalDigitalLibraryofPolandexistssince2006.Itsoriginalpurposewastoshowthemostvaluablematerials preservedintheNationalLibraryofPolandandtoprotectitfromoverexposureintheoriginalform.Nowitgathersdigital versionsofthousandsofobjectsfromdifferentinstitutions,whichgivestheoverviewofPolishculturalheritage.Polonais describedasoneofthemostinnovativeanduserͲfriendlydigitallibraryintheworld.Theportalisequippedwithmany usefulelements,forexamplepinsandnotes,whichmakesitaperfecttoolforlibrarianworkorresearch,butalsofora privateuse.Thepolicyisveryopen—itemswhichbelongtothepublicdomaincanbedownloadedfreeofchargeinthe highestavailableresolution,andthereisnolimitationforusingit. Regardingmusicalsources,Polonahasapotentialtoplayanimportantroleformusicians,whilemanydigitisedmaterials areinreadyͲtoͲplayscores.Itisalsovaluableformusicologists,whilethedeepzoomtoolallowstodiscoverdetails otherwiseimpossibletoseebyaneye.PolonaisnotonlyrepositoryoftreasuresofPolishmusic,butalso—with exploitationofallpossibilitiesofthesystem—greatworkshopplatform.Easyaccesstomusicalsourcesmakethemmore attractiveformusiciansandresearchers,whatcanbeprovedbyrecentprojectsconcerningperformancesofmusicfrom thePolonaresources. WithintheNationalLibraryofPolandtheMusicDepartmentperformsparallelproceduresofdigitizingandcataloguingfor theRISMdatabase.BuildingconnectionbetweenthefullydetailedandeasysearchableRISMrecordsandhighqualityand freelyavailablescansinPolonaisasolutionbeneficialforeverykindofusers. 

52  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   AnnaNeal(Head,MusicLibrary,UniversityofMemphis,Memphis,TN),RachelElizabethScott(ILS Librarian,UniversityofMemphis,Memphis,TN) We’reallinthistogether:Cooperating,collaborating,andborrowingforbetterdigitalservices Inthecurrentatmosphereofdigitalinnovation,librariesandotherculturalinstitutionsfaceincreasedopportunities,and agreaterneed,forawarenessofeachother’sworkandwillingnesstoshareexperiencesandresources.Thispresentation willaddressanumberofdigitalinitiativesthatbenefitourinstitutionsindividuallybutalsopromoteprofitable collaborations. Accesstocollections,events,andserviceshasneverbeeneasiertofacilitate—ormoredifficulttofocus.Concomitantwith thetremendousgrowthintechnologicalpossibilitiesistheneedtoharnesscustomizableandsmartplatformstodisplay digitalobjectsininformationͲrichcontexts.Museumsandarchivesbeganbuildingsubstantialdigitalrepositoriesearlier thanlibrariesandperhapshaveaheadstartinhighlightingwhatisuniquelytheirsindigitalexhibitions;butinrecentyears, digitalrepositoriesinlibrarieshavemushroomed.Farfrombeingcompetitive,theseeffortsbothdefinetheuniquenessof theinstitutionsandprovidecomplementaryresources. Digitalaccesstoperformancesandlectureshasestablishedmanyinstitutionsasvenues.TheMetropolitanMuseumofArt andKunsthistorischesMuseumWienprovidesuchvideosontheirGooglePluspages,andtheDetroitSymphonyandothers streamliveconcerts.SimilarstreamingorarchivingforonͲdemanduseincreasestheviabilityofthe“libraryasspace.” Thedigitallandscapeaffordsampleopportunityforconnectingwithusersinaneducational,collaborative,andvisually engagingway.Culturalinstitutionshaveemployedmappingandaugmentedrealitytechnologiestoconnectservicestothe widerworld.GoetheInstitut’sGermanTracesNYCaddsmultimedialayerstoadigitalmapastheuserwalksaroundthe city.AtLondon’sScienceMuseum,apopulartelevisionhostappearsinCGIformtoleadasmartphonetour.The MetropolitanMuseumofArt’sHeilbrunnTimelineofArtHistoryandtheKennedyCenter’sExploretheArtsdisplay collectionsandprogramswhileengagingandeducating.MuchlibrarywebsiteinformationistextͲbased,butembedding audioͲvisualmediainguidesandfindingaidsstrengthensoutreachtovisualandaurallearners. Expandedopportunitiesforcollaborationareacharacteristicofdigitalsettings.Digitaltechnologiescanprovideaplatform onwhichlibrariesandarchivescansharecontentandmetadata.Digitalplatformscanalsofacilitatecooperative informationservices. Digitalinitiativesarenotwithoutchallenges;because“emerging”technologiesquicklybecometheexpected,baseͲline offerings,allpersonnelneedsufficienttrainingnotonlyinthetechnologyitself,butinitssuccessfulintegrationintolibrary andinformationservices.  MairͲHélèneSerra(PhilharmoniedeParis[formerlyCitédelamusique],Directriceeducationetpôle ressource,Paris),RodolpheBailly(PhilharmoniedeParis(formerlyCitédelamusique),Adjointàla direction,responsableressourcesetsystèmesd'information,Paris) ThenewPhilharmoniedeParisResourcesCenter ThenewPhilharmoniedeParis,openedinJanuary2015,isamajormusiccomplexcombiningarichofferofculturaland educationalevents.ThePhilharmoniedeParisencompassestheformerCitédelamusiqueandanewbuilding,from architectJeanNouvel.Thisbuildingincludesa2400seatsconcerthall,rehearsalrooms,exhibitionspaceandan educationalcenter.PartoftheEducationalandPôleresourceDepartment,theformerMédiathèquedelaCitédela musiquebecamethePôleRessourcesdelaPhilharmoniedeParis,facingnewchallengesinbothphysicalanddigitalspaces, insideandoutsidethePhilharmonie.ThisPaperwillpresentthestrategyandorganizationofthePhilharmonie’sResources Center,emphasizingitsongoingdigitalprojectssuchasthenewonlineaccesstolibrarycatalog,digitallibraryandMuseum Collections,itswebTVservice,andwebeditorforlisteningguides.

11.00–12.30 Room309 EastAsia PresentedbytheIAML/IMSProgrammeCommittee Chair:RyuichiHiguchi(ProfessorEmeritus,MeijiGakuinUniversity,Tokyo) PeiͲjungWu(Lecturer,NationalTaiwanNormalUniversity) AfutureofinformationinTaiwan:Thechallengeofintegratingresourcesonacademicmusic ThispresentationwillprovideaconciseoverviewofthevaluableresourcesonacademicmusicinTaiwan.Attentionwill focusontheenhancedresearchopportunitiesenabledbythegrowingdigitalpresenceofresourcesinRILM.IntheSpring of2014,aprojectaimedatmanagingacademicmusicresourcesinTaiwanwasundertakenbyNationalTaiwanNormal University.Statisticalresearchoncurrentmusicpublications,buildingupapooloftalentedcandidatesfordoctoral degrees,andenhancingtheprocessofinputtingarticlesonacademicmusicintotheRILMdatabaseareapartofthis program.

53  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   MusicResearch,firstpublishedin1992,standsasthefirstacademicmusicperiodicalinTaiwanandwaspublishedunder theguidanceofProfessorXuChangHui.However,mostoftheacademicpapersrelatedtomusicinTaiwanarenotdigitized andfewofthemreachnonͲChinesecountries,unlesstheyhavebeenpresentedataninternationalconferenceoraccepted forpublicationinaperiodical. Inthe1970s,ProfessorKuoChangͲYangestablishedtheRILMNationalCommitteeofTaiwanandbeganpromoting TaiwanesemusicpublicationstoRILM.TheRILMͲTaiwanCommitteehasnotbeenactivesinceProfessorKuopassedaway in2011,thereasonwhyRILMreceivednoinputfromTaiwaninthreeyears.InMay,2014,theNationalCommitteeof RILMͲTaiwanwasreorganized.ThenewcommitteecollaborateswithNationalTaiwanNormalUniversity’sMusic Departmentonmanagingacademicmusicresources.Tocarryoutthisproject,ageneralsurveyofacademicpublicationsin Taiwanwasundertaken.Inordertoimprovetheinternationallyvisibilityofacademicpapers,theprojectsoughtthe cooperationofmajormusicperiodicalsinTaiwanandstartedtoinputalargenumberofabstractsandbibliographic informationintoRILMdatabase.SomeofthedifficultiesinvolvedindealingwithtraditionalChinesemusicwillbe discussed.  YanDiYang(Professor,ShanghaiConservatoryofMusic,Shanghai,China),ChunZenHuang(Associate Professor,MusicDepartment,NationalTaiwanNormalUniversity,Taipei,Taiwan) CollaborativeprojectonChinesemusicresources:Collectingcomposers’manuscripts,preservation, andresearch TheCollaborativeProjectonChineseMusicResourceswasjointlylaunchedin2011bytheLibraryoftheShanghai ConservatoryofMusicandtheDigitalArchiveCenterforMusicattheNationalTaiwanNormalUniversity.Thepurposeisto combinethepreciousmusicliteratureoftheChineseSpeakingWorldandestablishasharednetworkofdigitalresources. TheShanghaiConservatoryofMusicinheritedthemanuscriptsofprofessorssincetheinstitutionwasestablishedin1927, andstartedtocollectthemanuscriptsofmainlandyoungcomposerssincethebeginningof1982.Ittookshapeinthepast 20years.ThelaunchingofTheCollectingProjectonChineseComposers’MusicManuscriptsin2009furtherspedupthe processofcollecting,builtonpreviouswork.Currently,morethan500manuscriptsbyChinesecomposers,nearly30.000 pages,havebeencollected.TheDigitalArchiveCenterforMusicatNTNUwasfoundedin2004.Overtheyears,inaddition tosavingmorethan100.000preciousmusicarchivesinTaiwan,italsosetupamechanismtoconformwithinternational standardsformusicliterature(includingpapermaterials,audioandvideo,musicalinstruments)andpreservationconcepts andmethods.Undertheclosecooperationoftheteamestablishedbythetwoparties,ithasachievedanumberofresults, includingguidelinesforpaperͲbasedmusicarchiveprocessingandpreservation,andthejointlyorganizedInternational TouringExhibitionofHUANGTzu’sRareManuscriptsin2014. AlthoughthecollectionofmanuscriptsbyChinesecomposershasgraduallydrawntheattentionofotherrepositories,the currentworkislackingacompletesetofnorms,i.e.establishingthefilecatalogueandstandardizingthedigitalformat.In addition,ithasnotyetestablishedcooperationwithinternationalmusicresourcesplatforms,suchasRISM. Thepurposeofthisessayistodiscussthecurrentchallengesfacedbytheproject,aswellasstrategiesandmethodsto solvethem.

11.00–12.30 BrunoWalterAuditorium Webarchives:Collectingvirtualresources PresentedbytheIAML/IMSProgrammeCommittee Chair:CarolynDow(LincolnCityLibraries,Nebraska) KentUnderwood(MusicLibrarianandHeadoftheAveryFisherCenterforMusicandMedia,NewYork UniversityLibraries) BuildingmusicscorescollectionsintheworldofwebͲbased,selfͲpublishingcomposers Composersoftodayareincreasinglyconductingtheircareersoutsidethetraditionalregimeofcommercialpublishing companiesanddistributors,optinginsteadtoselfͲpublishandtomaketheirscoresavailabledirectlyfromtheirown websites.TheconventionalacquisitionsmodelforscoresusedbymostmusiclibrariesintheU.S.todayisnotwellͲ connectedtotheseselfͲpublishingcomposers,withtheresultthatourcollectionsaremissingoutonalargeamountof significantcontemporarymusicalwork.Lookingtowardsthefuture,wemustadaptandgrowalongwithtoday’scontent producerstofulfillourlongͲtermcollectivemissionasresearchlibrariestodocumentandpreservethemusicofourtime forposterity.Thepresentationwillconsistsofthreeparts:First,astatisticaldemonstrationoftheproblem,basedon reportedscoresholdingsinWorldCatandmajorresearchͲlibrarycatalogscomparedtoscoretitlesbeingofferedon composers’ownwebsites,augmentedbyinterviewswithcomposersandpublisherstoprovidecontextandperspective. Second,adescriptionofanalternativeacquisitionsmodel(nottoreplacetheoldonebuttocomplementit)thatis congruentwiththerealitiesoftoday’smusicmarketplace.Third,anexaminationthestrengths,weaknesses,andpossible alternativestothePDF,today’soverwhelminglypreferredformatforthedigitaldeliveryofprintedscores.

54  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   BarbaraLenk(LeiterinderBibliothek,HochschulefürMusikNürnberg) WebarchivierungmusikwissenschaftlicherInternetressourcen WebinhaltezeichnensichdurcheinestarkeDynamikausundsindoftkurzlebig.GleichzeitigspielenWebsitesinvielen DisziplineneineimmergrößereRollealswissenschaftlicheQuellen.MitHilfederWebarchivierungkönnenWebsites langzeitarchiviertwerdenunddamitdauerhaftzitierfähigbleiben.AnvielenBibliothekenwerdendaherProjektezur Webarchivierungdurchgeführt.BeispielhaftdafürstehtdasBibliothekarischeArchivierungsͲundBereitstellungsͲSystem (BABS)amMünchenerDigitalisierungszentrum.DortwerdenunteranderenmusikwissenschaftlicheWebsitesimRahmen derVirtuellenFachbibliothekMusikwissenschaftarchiviert(siehehttp://www.babsͲ muenchen.de/index.html?c=workflows_web&l=de). ImRahmeneinesProjektesdesberufsbegleitendenMasterstudiengangesBibliotheksͲundInformationsmanagementan derHochschulederMedienStuttgartwurdenMusikwissenschaftlerinnenundMusikwissenschaftlerimdeutschsprachigen Rauminterviewt,umderenBedürfnisseinBezugaufdieWebarchivierunginderMusikwissenschaftzuermitteln.Dabei kamheraus,dasseseinenBedarfzurArchivierungvonmusikwissenschaftlichenWebsitesgibt.Gleichzeitigmusssichdie WebsitealswissenschaftlicheQuelleinderMusikwissenschaftweiteretablieren. DieserVortraggibteinenÜberblickzurMethodederWebarchivierung.DabeiwirdaufZielsetzungen,technischeund rechtlicheFrageneingegangen.EswirdbeispielhafteinWebarchivvorgestellt.IneinemzweitenTeilwirddie WebarchivierungimBereichderMusikwissenschaftthematisiert.DabeiwirddieWebarchivierungimRahmender VirtuellenFachbibliothekMusikwissenschaftvorgestellt.WeiterhinwerdendieErgebnissedesProjekteszur WebarchivierunginderMusikwissenschaftdargelegt.  LauraStokes(PerformingArtsLibrarian,OrwigMusicLibrary,BrownUniversity,Providence,RI),Anna Perricci(WebArchivingProjectLibrarianandCCWAProjectCoordinator,ColumbiaUniversityLibraries, NewYork,NY) ContemporaryComposersWebArchive(CCWA):Progressincollaborativelycollectingcomposers’ websites TheContemporaryComposersWebArchive(CCWA)isamultiͲyearpilotprojectdesignedtocaptureandarchivethe websitesoftwentiethandtwentyͲfirstcenturycomposers.CCWAiscollaborativelycuratedbythemusiclibrariansat Brown,Columbia,Cornell,Dartmouth,Duke,Harvard,JohnsHopkins,Princeton,andYaleuniversities,MIT,andthe universitiesofChicagoandPennsylvania(collectivelyknownastheBorrowDirectMusicLibrariansGroup),andoperates undertheauspicesofColumbiaUniversityLibrariesandInformationServiceswithsupportfromtheAndrewW.Mellon Foundation. TheoverarchinggoalofCCWAistopreservecopiesofpresentandfuturemanifestationsofthewebsitesofnotable contemporarycomposersinasecuredigitalarchivetoguaranteethecontinuingavailabilityoftheseimportantbut ephemeraldocumentsforresearchersandscholarsseekingtostudythecareersoftwentiethͲandtwentyͲfirstͲcentury composers. Inthispaper,acontributingcuratortoCCWA,LauraStokes(BrownUniversity),andtheprojectcoordinatorforCCWA, AnnaPerricci(ColumbiaUniversity),willdiscusstheprocessofconstructingCCWAandhowitcontinuestogrow.Wewill describetheprocessofwebarchiving,includinganoverviewofthemultiͲfacetedapproachesbeingtakentoensurethe preservationofcomposers’websitestoday.ThewebarchivingteambasedatColumbiaUniversityisresponsiblefor coordinatingnominations,communicatingwithsiteownerstogetpermissiontocollecttheirwebsites,thenentering, trackingandharvestingwebsites,followedbytesting,catalogingandoutreach. CCWAisbothagrowingresourceandanexperimentinleveragingexistingconsortialrelationships(viaBorrowDirect)to collaborativelycollectandpreservedigitalresources.ColumbiaUniversityLibraries’webarchivingprogram(activesince 2008)hasexaminedthelegalandsocialimplicationsofcollectingwebsitesandhascreatedhelpfulprecedentsforforming CCWA’spolicies(e.g.askingpermissiontoharvestwebsites).Nowenteringthesecondyearofitspilot,CCWAincludes semiͲannualcapturesofdozensofcomposers’websites.Thewebarchivesaretestedforquality,andallarchivedwebsites aregivenaMARCrecordcreatedbyaskilledmusiccatalogertofacilitateaccessthroughdiscoveryviaWorldCatand institutionalOPACs. Whileuseofthewebiswidespread,discussionsofitslongevityandpreservationarenot.Weseektobringtheimportance ofwebarchivingtolight,aswellastosharelessonslearnedaswehavepursuedinnovativesolutionstoemergingproblems astheytakeshapeinthecontextofCCWA.

55  Wednesday,24June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   11.00–12.30 Classroom527 IAMLWorkingGroupontheAccesstoMusicArchivesProject Workingmeeting(closed) Chairs:JonBagüés(ERESBIL–BasqueArchivesofMusic,Errenteria),KlaasJaapvanderMeiden (Resonant,Leuven)

11.00–12.30 Classroom529 WorkingmeetingonIMSLP (closed) Chair:JürgenDiet(BavarianStateLibrary,Munich)

12.30–14.00  Lunch

14.00–18.00 Excursions

18.00Ͳ20.00 Reception:ColumbiaUniversityLibraries (advancedregistrationrequired;ticketholdersonly)

19.00–23.00 Room340 BigBandrehearsal 

56  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   THURSDAY,25JUNE

9.00–10.30 BrunoWalterAuditorium MusicArchivesbetweenBelgiumandAmerica PresentedbytheArchivesandMusicDocumentationCentresBranchofIAML Chair:MarieCornaz(BibliothèqueroyaledeBelgique,Brussels) RayIwazumi(Teachingassistant,TheJuilliardSchool,NewYork) ResourcesinNewYorkandBelgiumrelatedtoEugèneYsaÿe ThispaperpresentsaperspectivelinkingthecollectionsofmaterialsrelatedtoEugèneYsaÿe(1858–1931)thatarehoused amongtheRoyalLibraryofBelgiuminBrussels,theLiègeRoyalConservatoryinLiège,andTheJuilliardSchoolinNewYork. Highqualitydigitizationofarchivesandresourcestodayallowsforpreviouslyunimaginablelevelsofeaseandaccessin musicresearch.Someresourcesareevenmadepubliclyavailable,inwhole,viatheInternet,throughtrustworthyand curatedvehiclessuchasTheJuilliardManuscriptCollection,whichprovidesflexibleandfreeaccesstoalargenumberof thepreciousmanuscriptshousedatTheJuilliardSchool. AmongtheresourcesinthePeterJaySharpSpecialCollectionsatTheJuilliardSchool,someofwhicharefeaturedwithin TheJuilliardManuscriptCollectionwebsite,areseveralimportantmanuscriptsbyEugèneYsaÿe.ThegreatBelgianviolinist, whowasextraordinarilyinfluentialasaviolinistattheturnofthe20thcentury,hasalegacythatcontinuestoreverberate particularlystronglythroughhisviolincompositions.Infact,TheJuilliardSchoolhouseswhatisprobablythelargest numberofrarematerialsrelatedtoYsaÿeoutsideofBelgium.LouisPersinger(1887–1966),whostudiedwithYsaÿe,and wentontobecomealeadingAmericanpedagogue,taughtatTheJuilliardSchoolfrom1930to1966.Hiscollectionforms thecoreoftheYsaÿematerialsatJuilliard,centeringonseveralmanuscriptsthatarepartofthefamousSixSonatasfor soloviolin,Op.27. Nomattertheadvancementsindigitizationandaccess,however,forminganoverviewoftheseYsaÿematerials,especially whenresourcesarespreadoutacrosslibrariesandacrosscountries,benefitsfromexpertiseandguidance.Oneneedsto know,forexample,thatthemanuscripttitled“DeuxièmeSonatePourleViolonSeulparEugèneYsaÿe”attheRoyalLibrary ofBelgium,isactuallyasketchoftheFourthSonata.Likewise,inthecaseofYsaÿe,therearecorollarymaterialssuchashis students’markedͲuppublishedscores,whichoftendonotenjoyasmuchattention.However,forsomeresearchers,such materialscanbeextremelyimportant,andthediscussionwillcoverthoseresourcesaswell,highlightingsomeconnections tothemoreprominentmanuscriptresources. Forpracticalreasons,thescopewillbelimitedtotheresourcesinNewYorkandBelgium,thoughitisknownthatother notableresourcesexist,suchasattheLibraryofCongress(e.g.Ysaÿe’sviolinandpianotranscriptionofChopin’sBalladein Gminor)andamongmaterialsthatbelongedtothelateJosefGingold,who,alsoapupilofYsaÿe,taughtformanyyearsat IndianaUniversity(e.g.hispossessionofYsaÿe’spencilmanuscriptofasecondviolinpartforExtase,Op.21).  OliviaWahnondeOliveira(Librarian,RoyalConservatoryofBrussels,Brussels) AmericanmusicinthecollectionofBelgianviolinistLaurentHalleux(1897–1964),attheRoyal ConservatoryofBrussels LaurentHalleux(1897–1964)isaBelgianviolinistwhobeganhiscareerasSecondviolinoftheProArteQuartetfrom1911 to1943. TheProArteQuartetwasfoundedin1911–1912byfourBelgianmusiciansgraduatedfromtheRoyalConservatoryof Brussels.TheProArteQuartetrapidlybecameoneofthemostsuccessfulformationsofitstimespecializedinthe contemporaryrepertoire.ItplayednotablyseveralworldpremieresinBelgium.DuringtheSecondWorldWar,theQuartet emigratedtotheUnitedStatesandbecametheProArteQuartetofMadison,whichcelebrateditscentennialanniversary in2011–2012. LaurentHalleuxthusmovedtotheUnitedStatesandcontinuedtoplaywiththeProArteQuartetuntil1943.Afterwards, hetaughtattheMillsCollegeofOakland,gaveprivatelessonsandalsoworkedforcinemastudiosinLosAngeles,while continuingtotourwithvariousquartets.HereturnedtoBelgiumin1961anddiedthreeyearslater. TheRoyalConservatoryofBrusselspreservesasetofscoresthatbelongedtohim.TheCollectionincludesapproximately 200scoresincludingthoseoftherepertoireoftheProArteQuartetaswellassomepersonalscores.Insomecases,only theSecondviolinpartispreserved. Thiscollectionpreserveseditions,includingeditionsofautographmanuscripts,aswellasmanuscriptscontaining autographsofvariouscomposers.ThecollectiongathersseveralscoresofAmericancomposerswhichtestifyofthelink betweentheBelgianviolinistandAmericanmusic.Thus,wecannotablyfindeditionsoforiginalmanuscriptsofG.M. Chadwick,H.Cowell,W.Josten,H.MorrisandC.S.Skilton,aswellassomemanuscripts,oftenautographs,ofN. Berezowsky,A.Copland,Ch.Cushing,J.Fitelberg,R.Harris,W.Piston,V.RietiandD.SSmith.

57  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   ThemostexceptionalautographmanuscriptpreservedintheCollectionHalleuxisundoubtedlythesecondviolinpartof Stravinsky’sConcertinoforstringquartet(1920),performedbytheProArteQuartetonmanyoccasions.

9.00–10.30 Room543 BigDataanalysis PresentedbytheIAML/IMSProgrammeCommittee Chair:IchiroFujinaga(AssociateProfessorandChairoftheMusicTechnologyArea,SchulichSchoolof Music,McGillUniversity,Montréal,Canada) MaristellaJohannaFeustle(MusicSpecialCollectionsLibrarian,UniversityofNorthTexas,Denton,TX) LexiconofJazzinvective:Hurlinginsultsacrossacenturywith“BigData” ThelargeͲscaledigitizationofhistoricalnewspapersandpublicrecordshasmadepossibleresearchwhichwouldhave previouslyrequiredprohibitiveamountsoftimeandtravel.SecondͲhandsummationsofstandardhistoricalnarratives mustnecessarilyleavesomedetailsout,andtriagepersonsandeventsintocategoriesofimportant,moderatelyimportant, andnotimportantenoughtomeritinclusion.Hindsightmayonlybe“20/20”ifonehasaclearpictureofthepast,andthe availabilityofmonumentalamountsofdayͲtoͲdayreportingandadvertisingbypassestheimperfectlensofhistory.Atthe sametimeasabroaderhistorybecomesavailable,thediscoverabilitywhichOpticalCharacterRecognitionmakespossible canuncoveruntoldnumbersoflongͲforgottenstories. Thepossibilitiesforresearchareimmense,andofferanapplicationof“BigData”—thatis,theemergenceofmassive aggregationsofdataalongwiththemeanstoexamineandcuratetheminnewways—inthehumanities.Oneparticularly promisingareaisthatofthereceptionhistoryofartistsandmusicians.Whilemuchoftheinformationproducedafter1922 liesbeyondtheeventhorizonofcopyright,thereremainsawealthofmaterialbeforeitwhichmaybefreelydigitized. Fortunately,thecutoffdateof1922leavestheearliestyearsofjazzinthepublicdomain—invective,hysteria,racism,and all. ThefewchoiceexamplesofjazzcriticisminNicolasSlonimsky'sLexiconofMusicalInvectiveleavethereaderwantingmore specimensofcriticalattacksonthatgenreofAmericanmusicwhichwasneversupposedtoamounttoanything,butrudely insistedonamountingtoagreatdeal.Thispresentationwilldemonstratetheuseofhistoricalnewspaperstotrackthe adventandreceptionofjazzinAmericanpopularculture,aswellasitsfrequentabsencefromcoverageinmany mainstreamnewspaperswhichcateredtoawhiteaudience,whileidentifyingavenuesforfurtherresearchandcalling attentiontotheneedforgreaterinclusionofminoritypublicationsinnewspaperdigitizationefforts.  RobinPreiss(PhDMusicologyCandidateandAdjunctLibrarian,NewYorkUniversity,NewYork) Digitalhumanitiesgoesmusical:Acasestudyoftextmining Acrossallrealmsofscholarship,therapidlygrowingavailabilityandprevalenceofdigitallyencodedtextspresentsboth newopportunitiesandnewchallengesforlibrariansandscholars.Computersenableustostore,count,compare,sort,and analyzedigitaltexts,thustoprobethemmoredeeplyandvastlythaneverbeforepossible.Textmining,amethodfor extractingstatisticalinformationfromlargebodiesoftexts,hasbeenadoptedbyliteraryandscientificdisciplinesbutnot asmuchbymusicscholars.Supportingtheoftencontestednotionthatempiricalmethodologiesareapplicableand relevanttoartsͲrelatedresearch,thispaperwillexplorethequestion,WhatcanyouactuallygleanfromcomputerͲ generatedlistsofthemostfrequentwordsinacorpus?Analyzingwordfrequencyofauthors,genres,periods,texts,or groupsoftextscanrevealhowconceptsandtheirexpressionevolveovertime,andthedegreetowhichgender,sexual orientation,race,nationality,andageofauthorsmaybereflectedinthelanguageoftheirtexts.Thispaperwillfirstexplore theexcitingpotentialoftextminingtoanalyzewritingonmusic,fromauthorstylisticsandattributiontomusiccriticism andreception.Second,itwillfocusonaparticularapplicationoftextmining:aprojectofmyowntosurveyandinvestigate booksaboutmusicappreciationpublishedfrom1840–1960.Thisprojectwillserveasacasestudydemonstratingthe methodologicalstepsforperformingcomputerͲassistedtextualanalysis,fromformulatingaresearchquestiontoobtaining digitaltexts,choosingwhatsoftwaretoimplement,performingstatisticalanalysis,interpretingtheresults,generatingdata mapsandothervisualizations,andpresentingresearchfindings.





58  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   9.00–10.30 Room309 Accessinghistorythroughdigitization PresentedbytheIAML/IMSProgrammeCommittee Chair:DinkoFabris(IMSPresident) SibylleEmerit(Médiatricescientifique,Institutfrançaisd’archéologieorientale,Cairo,Egypt) Patrimoinemusicalantiqueàl’èrenumérique:unatoutmajeurpourlarecherchededemain Afindefaciliterlagestionetl’exploitationdel’ensembledessourcesrelativesàlamusiquedel’Égypteancienne,l’Institut françaisd’archéologieorientaleadéveloppé,depuis2008,unebasededonnéesdocumentaire,nomméeMeddea (Musiquesetdansesdel’Antiquité),quipourraitêtreétendu,dansl’avenir,àd’autresculturesmusicalesdel’Antiquitéet devenirunoutilderéférencedansledomaine. Lepatrimoinedel’Égypte,delaMésopotamie,delaGrèceetdel’Empireromainconcernantlamusiqueestexceptionnel, tantparlaquantitéqueparlaqualitédesvestigesconservés.Larichessedessourcestextuelles,iconographiqueset archéologiquesoffremême,malgréleurancienneté,unterrainderechercheprivilégié,parrapportàd’autrespériodesde l’histoire,plusrécentes,quin’ontpaslaisséautantdetémoignages.Lesmusiquesdel’Antiquitérestentpourtantun domainederecherchepériphériquedelamusicologie.Lefaitquelesinstrumentsdemusiquesoientconservésdansdes départementsd’archéologieàtraverslemondedonnepeudevisibilitéàunedocumentationinestimablequiresteen margedesgrandsprojetsinternationauxtelsqueleMIMO(MusicalInstrumentMuseumsOnline). Cettecommunicationapourobjectifdemontrerenquoilamiseenplaced’unebasededonnéessurlesmusiquesde l’Antiquitéestunatoutmajeurpourlarecherchededemainquecesoitpourmeneràbiendesétudescomparativesentre lesculturesmusicalesdel’Antiquité,soulignerleursspécificitésouencoremettreenlumièrelesfiliationspossiblesentre elles. Elleseral’occasiondeprésenterlagenèseetlesdéfisrencontréslorsdel’élaborationdecettebasededonnéesàl’IFAO, destinée,àterme,àêtreaccessiblesurinternet.Cetteinterventionpermettraégalementd’aborderlesperspectives futuresdecetoutilinformatiqueévolutif,quecesoitpourlarechercheindividuelleoucollective,notammentàtraversles différentspartenariatsdoresetdéjàmisenplace,ainsiquelesdiversesattentesscientifiques.Atraverslacréationd’un socledocumentairecommun,ils’agitnonseulementdedévelopperdestravauxtransdisciplinaires,maisaussidedonner accèsauplusgrandnombreaupatrimoinearchéologiquesonoredelaMéditerranéeancienne.  AlexandrosCharkiolakis(Director,ErolÜçerMusicLibrary,IstanbulTechnicalUniversity[MIAM], Turkey;formerlyresidentmusicologistatthe“LilianVoudouri”MusicLibrary,Athens) ReframingandreshapingGreekmusichistory Digitizationprojectsacrossculturalsectorshaverevealedandprovidedopportunityforresearcherstoshapeandrefocus theirworkaroundnewperspectives.Thismeantthatmanynewresourceshavebeenmadeavailable,sourcesthatwere notevenwithinthescopeofresearchers.Thishasbeenalsovalidformusicologists.Throughnewresourcesmadeavailable notonlylocallybutglobally,musicologistshavegainedaccesstopreviouslyunknownarchivalrepositoriesregardlessof geographictheirdistance.Theimpactofthesepracticesalsohashadanimmediateeffectonourunderstandingofmusic historyinitstotality.Thisisevenmorepalpablewhensomeoneisworkingwithsubjectsthataredeemedperipheraltothe soͲcalledmainstreamofestablishedscholarship.Therefore,inthispaper,Iwouldliketofocusonhowtheunderstandingof Greekmusichistoryhasbeenaffectedandreshapedduetotheongoingrevelationandwideaccesstovariousresources thathavebeenmadeavailableinrecentyears.

LanaNeal(Independentscholar,UniversityofTexasatAustin) Digitalmethodsinmusicarchaeology Thispaperaddressestheuseofdigitalmethodsinmusicarchaeology.Bothnewlyemergingmethodsandasyet unexploiteddigitalpotentialitieswillbeconsidered.Oneofthemostsignificantmethodsinmusicarchaeologyinvolvesthe useofcomputermodelsofarchaeologicalsitesandtheiracousticalproperties.Suchmodelshavebeencreatedin conjunctionwiththeEuropeanMusicArchaeologyProjectunderthedirectionofRupertTill.AdigitalmodelofStonehenge andarecreationofthesoundscapetherehasbeencreatedandisavailableonthewebsiteoftheE.M.A.P.Additional physicalandacousticalmodelsofselectedarchaeologicalsitesarebeingcreatedtoaccompanytheE.M.A.P.touring exhibitionthatwillvisiteightEuropeancountriesbetweenMay2015andNovember2016.Thesedigitalmodelscarrythe potentialofenhancingourunderstandingofhowacousticalpropertieswereexploitedandhowthesiteswereutilized, allowingforreconstructionsofsoundscapesofthepast,whichotherwisewouldbelosttous. DatabasesofmusicalartifactsalsocanexpandresearchonAntiquity.Scholarsstudyingsuchartifactsarerequiredtovisit museumsinwhichtheyarehousedandtheartifactsarenotgenerallyavailabletothepublic.Thecreationofdatabases thatsystematicallycataloguethemwouldallowaccesstotheseremains.Photographsanddescriptionsoftheartifacts wouldbeatthecoreofthesedatabases,whichmaybeexpandedwithbibliographicinformationandsoundsamplesplayed

59  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   onreconstructionsoftheartifacts.Databasesorganizedbychronologicalperiodand/orgeographicalareawould comprehensivelycataloguethemusicalartifactsthatcurrentlyaredispersedinmuseumcollectionsofmanycountries.

9.00–10.30,11.00–12.30 PaulHall Copyrightinachangingdigitallandscape(IandII) PresentedbytheIMSProgrammeCommittee Chair:EleanorSelfridgeͲField(CoͲChair,IMSStudyGrouponDigitalMusicology;ConsultingProfessorof Music,SymbolicSystems,StanfordUniversity,Stanford,California) [sessiondetailsathttp://ccdl.ccarh.org/] ThetechnologyͲdrivenexplosionofmethodsforcreating,storing,searching,andsharingmusiccontinuestocreateanaura ofuncertaintyforscholarsandlibrarians.Whatusedtobeclearisnowoftenmurky.Imponderablequestionsappearmuch fasterthanthelawsofanycountryevolve.Extrinsicconsiderations—whenandhowapieceofmusicmaybeused—remain largelyfixedbutalsoeasilyverified.Althoughnotalwayseasilyenforced,thelawisclearonthetraditionalsequenceof events:create,publish,perform,andrecord.Everystepinthissequencenowmaybedigital,whichmeansthatthereisno longeranecessarystartingorendingpoint,noristherenecessarilyaninstantiationoftheworkin“fixedform”(ahallowed requirementforcopyrightprotectionintheUS).Somedifferencesinthedurationofcopyrightfromcountrytocountry occurandremainthesubjectofvigorousdebate.Withinmanymusicenclaves,anincreasingnumberofnewworks,and newwaysofcomposing,falloutsidetheboundariesofprotection.Intrinsicfactors—themes,melodies,voicingand orchestration—issuingfromthemusicitselfcanbeexpectedtoplayanincreasingroleindiscussionsofmusicas intellectualpropertyasourabilitytocreate,control,alter,andsearchdigitalmusicalcontentimproves.Willtheroleof arbitraryanalogiesinlegaljudgmentsdecline?Judgesandadvocatesmaybeuncomfortabletalkingaboutmusicperse.Itis fartoosoontosaywhetherdigitaltoolstoevaluatemusicalsimilarityelectronicallywillbetrustedsufficiently. Meanwhile,thedayͲtoͲdayfabricofdecisionͲmakingrequiredoflibrariansandscholarslaunchingprojectsisconstantly batteredbyrecurrentquestionsconcerningaccessandfairuse,particularlytomusicalartsofthepastcentury—recordings ingeneral,filmscores(bothrecordedandimprovised),backgroundmusic,andmuchelse,byambiguitiesoffairuse, uncertaintiesconcerningperformingrights,andmanygreyareasresultingfromamultiplicityofnewmediacontexts.Yet agrowingacknowledgmentoftheimportanceofintellectualͲpropertyquestionshaspromptedanumberofrecentstudies onhistoricalmodelsofcopyrightprotectionwithmusicologyandadjacentdisciplines. Thispanelexaminesaselectionoftheseissueswiththeintentofviewingthemindiversemusicalandhistoricalcontexts. Thelargerissuesofimprovedinternationalunderstandingsofmusiccopyrightremainsoneofcentralconcern,butherethe IMScanhappilyrelyontheextensiveworkofIAML’scopyrightcommitteetokeepuscurrent. Speakers: DerekMiller(AssistantProfessorofEnglish,HarvardUniversity) EricHarbeson(Librarian,CollegeofMusic,UniversityofColoradoatBoulder;Chair,MusicLibrary Association’slegislativecommittee) NicholasTsui(AttorneywithAlston&BirdLLP)  RobertClarida(Attorney,formerTrustee,CopyrightSocietyoftheUSA;PartneratReitler,Kailasand Rosenblatt,LLC,NewYorkCity,NewYork) RichardChesser(HeadofMusic,BritishLibrary,London;Chair,RISMUKTrust;formerChair,IAML copyrightcommittee) Respondent: FedericaRiva(MusicLibrarian,ConservatorioStatalediMusica“LuigiCherubini,”Florence,Italy); formerChair,IAMLcopyrightcommittee;Head,IAML/Italy)



60  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   9.00–10.30 WillsonTheater RépertoireInternationaldesSourcesMusicales(RISM) Chair:KlausKeil(RISMZentralredaktion,FrankfurtamMain)  KlausKeil(RISMZentralredaktion,FrankfurtamMain) Newsandinformation SarahAdams(HarvardUniversity,Cambridge,MA) RISMandthefutureofsourcestudiesintheU.S. ThisreportwillreviewRISMͲrelatedworkunderwayintheU.S.aswellasconsiderfutureplans.TheU.S.RISMOfficeis currentlyfocusedoncompletionoftheSeriesA/IIpreͲ1800musicmanuscriptsinventory,aswellasupdatingholdings informationforpreͲ1800printededitionsmadepossiblebytheonlineavailabilityoftheSeriesA/Idatabase.Atthesame time,coordinationwiththeLibraryofCongresswillenableonlineaccesstoprimarysourcespreviouslydescribedforRISM withthedigitizationofboththeAlbertSchatzCollectionoflibretti,aswellastreatisesincludedinSeriesB/VI.While materialswithinthetraditionalscopeofRISMremainatthecoreofRISMworkintheU.S.,futureeffortstodocument primarysourcesmusttakeintoaccounttheresearchneedsandinterestsofU.S.scholars.AtrendinAmericanmusicology towardstwentiethͲcenturyaswellasAmericanmusicstudies—ashiftreflectedintheannualmeetingprogramsofthe AmericanMusicologicalSociety—suggestareasforfutureattention.  MartinaRebmann(StaatsbibliothekzuBerlin,PreußischerKulturbesitz,Berlin) AuthorandwatermarkresearchonmusichandwritingattheStaatsbibliothekzuBerlin:TheKoFIM BerlinProject(MusicResearchandInformationCompetenceCentre):ScholarlyResearchandCatalog Enrichment ThecoreoftheautographmusiccollectionattheStaatsbibliothek,theautographdocumentsfromthe17thtothe19th century,iscataloguedaccordingtoscholarlystandardsintheRISM/KallistodatabaseandreadytosearchintheRISMOPAC (http://opac.rism.info/).TheKoFIMprojecttriestofindoutnewtechniquesindigitaldocumentationofauthors' handwritingandwatermarks(fordetailedinformationsseehttp://staatsbibliothekͲberlin.de/dieͲ staatsbibliothek/abteilungen/musik/projekte/dfgͲprojektͲkofimͲberlin/#c93398).Thesemethodsarebeingdeveloped basedonalargerportionofthecollectionforthefirsttime.Relationshipstoothercollectionscanbeobserved,whichcan enrichtheinvestigationofprovenance.Inaddition,thewatermarksarefedintothewatermarkinformationsystem(WZIS) oftheBadenͲWuerttembergStateArchives,withwhomthisprojectworksclosely. WiththeKoFIMproject,themusicdepartmentoftheStaatsbibliothekzuBerlinisdevelopingnewwaysofinͲdepth catalogingtoenrichtheRISMOPACasaleadingdocumentationtoolwithadditionalvisualinformationaboutauthorsand watermarks. Forthisreasonanewtechniqueisbeingused,thermography,whichallowsthewatermarkstobeshowninhistoricalpaper inaverynonͲintrusiveway,thusrespectingthevaluablemanuscripts. Fortheresearchofauthors'handwritinginmusicmanuscripts,newapproachesindigitalizationareused.Altogether,the projectwillcontributetoalastingimprovementintheresearchsurroundingsforsourceͲorientedmusicology.  KristinaRichts(MusikwissenschaftlichesSeminarderUniversitätPaderbornundderHochschulefür MusikDetmold,Germany),PeterStadler(MusikwissenschaftlichesSeminarderUniversitätPaderborn undderHochschulefürMusikDetmold,Germany) RISMLinkedOpenDataattheinterfacebetweenlibrariesandresearchprojects.Afirstattemptof definingworkflows TheprovisionofRISMlinkedopendataoffersnewopportunitiesforRISMdatareplicationwithinmusicologicalresearch projects.ThispresentationaddressesthereuseandhandlingofRISMlinkedopendatawithintheDFGͲfundedproject “DevelopmentofamodelforextensivecontextualindexingofmusicholdingsbasedonMEIandTEI,”whichdealswiththe holdingsoftheDetmoldcourttheatreinthe19thcentury.Sincetheprojecthastostartfromscratch,wehavetoinitially createanMEIdocumentforeverymusicalsourceobtainedbytheLippischeLandesbibliothekDetmold. ThankstotheexistingRISMrecords(theholdingshadbeenrecordedcompletelybyRISMinthe1980s)whicharenow fortunatelyprovidedaslinkedopendata,wecouldsetupasemiͲautomatedworkflowforconvertingandcleaningupthese recordsfromMARCXMLtoMEIwiththehelpofastylesheetdevelopedbyPerryRolandandLaurentPugin. Inthecourseoftheproject,theMEIfileswillbemadepubliclyavailableonlineandaccessibleviatheuniqueRISMID.This way,theinformationgatheredbytheDetmoldcourttheatreprojectcanbeeasilygrabbedbyotherwebservicesandmay beusedforcatalogenrichmentorpushedbacktotheRISMdatasets.Moregenerally,weenvisionRISMIDsfacilitatingthe linkingofmusicalsourcesinthesamewayastheVIAFdoesforpersonalnames.

61  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   ArminBrinzing(InternationaleStiftungMozarteum,Salzburg) PuttingMozartAutographsOnline:ThoughtsaboutthecollaborationbetweenalibraryandRISM Everylibrarywithhistoricalholdings,especiallymusicmanuscripts,isconfrontedwiththequestionofhowtocatalogand presentthesevaluableitemsinthebestpossibleway. Inatimewhenlibrariesarebecominglessandlessaplacewherebooksormusicarereadonpaper,itbecomesmoreand moreimportantforthemtooffertheirpatronsthebestaccesspossibletotheoriginals.Thisdoesnotonlymeandigital imagesbutalsoincludesathoroughdescriptionoftheseuniquematerials.Here,researchlibrariescandemonstratetheir abilitiesnotonlytopresent,butalsotoexplainwhattheyhaveandofferdirectaccesstoresearchbasedonthesesources. Likeotherlibraries,thelibraryoftheSalzburgMozarteumFoundationhadtomakeadecisionabouthowtocatalogand presentitsuniqueholdings,whichincludeautographmanuscriptsbyW.A.Mozartandthemusiccollectionsofhistwo sons,inadditiontoothermanuscriptsandhistoricalprintededitions.Beingalsopartofaresearchinstitutedevotedto Mozart,thisBibliothecaMozartianahascertainexpectationsregardingcollaboratingwithaninternationalprojectsuchas RISM. Becausemanylibrariesareconfrontedwithsuchdecisions,itseemsoverduetohaveabroaderdiscussionaboutcertain topics:WhatareRISM’sgoalsforthefutureandhowisitgoingtoachievethem?Howshoulditimproveitsabilitiesfor collaborationwithlibrariesregardingauthorityfiles,exchangeswithlibrarycatalogsandsoon?Howwillitorganizeits workinthefutureandhowwilllibrariesandresearchersbeinvolvedinthisprocess?WhatwillthefuturebeofRISMand thedatawhichitcollectedafterfundinginGermanyends?Howcancollaborators(libraries,researchersandsoon)besure thattheywillhavefullaccesstotheirdatainthefutureandthattheRISMcatalogingsystemwillbekeptupͲtoͲdatesothat datacanalsobeeditedandexpandedinthefuture? OnlyifthesequestionsarediscussedwithinthecommunityoflibrariansandmusicologistscanwemakesurethatRISMwill remainanessentialresourceformusicresearchandmusiclibrarianship. ThispaperwillillustratethesequestionswithpracticalexamplesfromtheBibliothecaMozartianaandotherlibraries.

9.00–10.30 Classroom527 FontesArtisMusicae Workingmeeting(closed) Chair:MaureenBuja(FontesArtisMusicae)

9.00–10.30 Classroom529 RépertoireInternationald’IconographieMusicale(RIdIM) Businessmeeting(closed) Chair:AntonioBaldassarre(President,AssociationRIdIM/HochschuleLuzern–Musik,Luzern)

9.00–10.30 Room340 PublicLibrariesBranchofIAML Workingmeeting(open) Chair:CarolynDow(LincolnCityLibraries,Nebraska)

10.30–12.30,15.30–16.30 PJSharpTheaterLobby PosterSession(II) ColinColeman(VaughanWilliamsLettersProject,London) VaughanWilliamsLettersProject TheVaughanWilliamsCharitableTrustissupportingaprojecttomakeavailableonlineallthelettersofthecomposer,with thepossibilityofextendingthedigitalresourcetoincludeimages,soundandsecondarymaterialsinthefuture.The databaseisbasedattheBritishLibraryandhasbeendevelopedspecificallyfortheprojectusingDrupal.Thepostersession isdesignedtopromotetheresourceandtoinvitecolleagueswhomayhave,orknowof,lettersnotincludedinthe databasetoalerttheprojectstaffsothattheletterscanbeadded. 

62  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   JarodOgier(Circulation&MediaServicesSupervisor,TheOhioStateUniversity,Columbus,OH), MichaelDuffyIV(AssociateProfessor,UniversityLibrariesPerformingArtsLibrarian,WesternMichigan University,Kalamazoo,MI) AssociationRIdIM:Atthedigitalcrossroadsofmusicandart TheonlinedatabaseoftheRépertoireInternationald’IconographieMusicale(RIdIM)isavitalpartofthecurrentdigital researchlandscape.WebͲbased,platformͲindependent,andfreetoaccessatdb.ridim.org,thisdatabaseofmusicinvisual artcontinuestogrow,currentlyofferingover2,500records,manyofwhichprovideimagefilesorlinkstoimageson museumwebsites.RIdIMfacilitatesanintersectionofthevisualandperformingarts,withinterdisciplinaryconnections acrossfieldssuchasarthistory,organology,historicalmusicology,andethnomusicology. Inrecentyears,thedatabasehasbenefittedfromseveralsoftwareenhancements,aswellasasteadyflowofnewly catalogedrecords.Forcatalogers,thedatabaseusescurrentstandardsformetadata,including: •Unicodetextencoding •Repeatablefieldsforenteringunlimitednumbersofartists,titles,instruments,etc. •Controlled,centrallyeditedlistsofartistandmusiciannames,museumnames,artmediaterms,andgeographicplaces •Arichcontrolledvocabularyformusicalinstruments,basedonthemultilingualthesaurusdevelopedbytheMusical InstrumentMuseumsOnline(MIMO) •FreeͲtextfieldsforenteringdescriptions,informationonrelatedartworks,bibliographicreferencesandvarioustypesof notes Thepurposeofthispostersessionistwofold.First,weaimtodemonstratetheefficacyoftheRIdIMdatabasetothe researcherswhomaymakethemostproductiveuseofitinthecomingyears.Forinstance,arthistoriansmaywishto discovermusicalscholarshiponartworksdepictingmusicalsubjects.Similarly,musicscholarsmaywishtoexplore referencestomusicalworksorinstrumentsinworksofart.LibrariansmayalsousetheRIdIMdatabasetoacquaint themselveswithintersectionsbetweenmusicandthevisualarts,withpotentialusesincataloging,collectiondevelopment, reference,andinformationliteracyinstruction. Second,weseektoexpandourbaseofcatalogersbyrecruitingindividualswhomaybeinterestedinassistingthe developmentoftheprojectbycatalogingworkswithwhichtheyarefamiliar,ormostdirectlyconnected.RIdIMaimsto includeartworksofalltypesandtimeperiodsinthedatabase,sothepossibilitiesforparticipationarevast.RIdIM catalogersreceivelogininformationandastylemanualtoassistthemincreatingrecordsaccordingtoRIdIMstandards. Additionally,RIdIMEditorialCenterstaffwillprovidecatalogerswithtrainingandsupport.  BinHan(AssociateProfessor,ShanghaiConservatoryofMusic,Shanghai),TzuChiaTseng(Researcher, DigitalArchiveCenterforMusic,NationalTaiwanNormalUniversity,Taipei) ProjectoftouringexhibitionofHUANGTzu’sRareManuscriptsCommemoratingthe110th AnniversaryofHisBirth HUANGTzu(1904–1938)graduatedfromYaleMusicSchoolin1929.HeisthefirstChinesewhowontheBachelorofMusic. AfterhereturnedtohishometownofShanghai,heservedasaprofessorfortenyearsinNationalConservatoryofMusic (thefirstmusicinstitutioninChina),untildiedattheageof34.HebroughtthecoursesofHarmonic,Counterpointand PolyphonyfirsttimetoChina,andestablishtheCompositionmajor. Hiswork,InMemoriam,isChina’sfirstorchestralmusic.SongofEverlastingRegretisChina’sfirstoratorio.ScenesofCity LifeFantasia,composedbyhim,isChina’sfirstfilmscore.Thesemanuscriptsarecompletelypreservedinthelibraryof ShanghaiConservatoryofMusic. In2014,it’sHUANGTzu's110yearanniversaryofhisbirth.Forthegratitudeofhisoutstandingcontributiontothe developmentofmodernmusicofChina,theLibraryofShanghaiConservatoryofMusicandDigitalArchiveCenterforMusic ofNationalTaiwanNormalUniversityjointlyplannedProjectofTouringExhibitionofHUANGTzu’sRareManuscripts Commemoratingthe110thAnniversaryofHisBirth.FromShanghai,Beijing,NewHaven,HongKongtoTaipei,itreͲ presentsthepreciouscomposermanuscriptsof1920stothemusicworldoftheMainland,Taiwan,HongKongand overseas. InthiscrossͲstraitcooperation,ShanghaiConservatoryofMusicteamisresponsibleforinthepreservation,repair,and digitalizeofthemanuscripts.NTNUteamisresponsibleforexhibitionplanning,designandexternalrelationsmatters.It formedthebenigninteractionfromthemanuscriptspreservation,study,totheinternationalpromotionanduse.This posterisgoingtopresentthisprocess.Thisisalsothefirstachievementtodisplaytheresearchanddevelopmentof Chineseregionsmusicmanuscriptstotheinternationalmusicworld. 

63  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   YunFan(RépertoireInternationaldeLittératureMusicale,NewYork),GlennHenshaw(Laguardia CommunityCollege,NewYork) AcomparativestudyoftheethnomusicologicalresearchinEnglishandChinesescholarship,analyzing theindexingdataoftheRILMAbstractsofMusicLiterature Forthisproject,wecollectedtheindexingdataofethnomusicologyarticlespublishedbetween2002and2012inEnglish andChineselanguages.WeuseddatafromRILM,theworld’smostcomprehensivebibliographyofmusicliterature,to conducttwotypesofanalysis:(1)frequencyanalysisofheadwords(thehighesttierforindexingterms),and(2)social networkanalysisofarticlesbasedonsharedindexingterms.Theheadwordfrequencyanalysisindicatesdifferences betweentheEnglishandChinesescholarshipintermsofresearchtopicsandmethodology.Thisanalysismayalsobeused topinpointinadequaciesoftheindexingsystem.ThesocialnetworkanalysisprovidesinsightintoEnglishandChinese scholarshipintermsofhowcloselyarticlesarerelatedtootherarticles.Withvisualizationtools,wewereabletosee,on alargescale,howscholars’worksareconnected.Thisanalysisinspiresevenmorequestionstobeanswered.Forexample, whyisitthat,althoughthenumberofheadwordsforChinesearticlesismuchlessthanthatforEnglisharticles,thetwo networksareequallyrobust?  AristeidisBazmadelis(SchoolofMusicStudieslibrary,AristotleUniversityofThessaloniki,Thessaloniki), SofiaTsopani(SchoolofMusicStudiesLibrary,AristotleUniversityofThessaloniki,Thessaloniki) FreeonlineaccesstomusicmanuscriptsofByzantinechant:Ameansofdocumentingandpromoting Thispresentationwillintroducethe20thcenturybyzantinemusiccollectionoftheLibraryoftheSchoolofMusicalStudies oftheAristotleUniversityofThessaloniki.andprimarilytheuniquecollectionofthe20thcenturybyzantinemusic manuscripts.ItwillfocusonthecollectionofmusicmanuscriptsoftheMagisterDomesticusoftheEcumenicalPatriarcate FrNikolaosMavropoulos.ThemanuscriptsofByzantine,postͲByzantineand“modern”ecclesiasticalchantareof fundamentalimportanceformanyfieldsofstudy.Inthispaper,weadvocatefordigitalarchivingofthemanuscriptsofFr N.Mavropoulosandthepotentialuseofwebtechnologyin“evangelization”.FreeaccesstousableͲqualityimagesof easternorthodoxmanuscriptsviathewebwouldpromotescholarlystudy.Suchstudymayleadtoadeeperunderstanding ofthesongandpracticesofpastgenerationsandthiscanstrengthenthelinksthatconnectthemoderntotheancient churchmusictraditions.Webresourcesacttoraisepublicawareness,appreciation,andrespectfortradition.  JeanWald(MusicSpecialistandResearchLibrarian,duPontͲBallLibrary,StetsonUniversity,DeLand,FL) PianistsSpeak!MusiciansinConversationwithRobertDumm,1959–2006 Thecollectionofmorethan450interviewsplussomeancillarymaterial(transcriptions,notes,books,workshopposters, compositions,articles,lettersandphotographs)wasgiventoStetsonUniversitybetween2007and2009.Mr.Dumm (1928–2012)hadalongcareerinmusic,includingperforming,teachingprivately(anearlyproponentofclasspiano), servingasDeanoftheBostonConservatory(1958–1968),andonthefacultyatCatholicUniversitywhereheestablished aprograminpianopedagogy.FormanyyearshewrotereviewsofrecordingsandconcertsfortheChristianScience Monitorandarticlesonpianoteachingforseveralmagazines,includingClavier,wherehealsoservedasaconsultingeditor. ApproximatelyaquarteroftheinterviewsweretranscribedbyMr.Dummandsomewerepublished.TheCollection includesinterviewswithnotablemusicianssuchasVanCliburn,RudolphFirkusny,GaryGraffman,RuthLaredo,andNadia Boulanger,aswellasotherscloselyassociatedwithwellͲknownmusicians,suchasanauntofVladimirHorowitzanda greatͲgreatͲgranddaughterofFranzLiszt.TheLibraryatStetsonUniversitycatalogedthecollectionoftapes,makingthe presenceoftheseinterviewsknowntoscholars.Themusicspecialistlibrarianisintheprocessofdigitizingthecassettes andtranscribingsomeoftheinterviews.AnarchivallistofalltheitemsinthecollectionisbeingpreparedfortheSpecial CollectionsoftheduPontͲBallLibraryatStetsonUniversity.  KatherineRodda(LibraryTechnician,LibraryofCongress,Washington,DC),PeterAlyea(Digital ConversionSpecialist,LibraryofCongress,Washington,DC),EricBreitung(Chemist,LibraryofCongress, Washington,DC) Assessingtheaudibleeffectsofbakingonmagnetictape Formanylibrariesandarchiveswithmagnetictapecollections,“stickyshed”—thatis,binderdeteriorationresultinginloss ofmagneticmaterial—isanongoingpreservationissue.Thecurrentmethodfortemporarilyreversingthisproblemisto physicallybakethemagnetictapeatalowtemperatureforanextendedperiodoftime.Someclaimthatthisprocess adverselyaffectsthesignalitself.Thisprojectaimstoanalyzeboth“sticky”(thatis,thosewithdeterioratedbinders)and nonͲstickymagnetictapetoestablishifthereisanysignificantchangeinthesignalsonthosetapesafterbaking. Toassessthepotentialdamageincurredbybaking,standardaudioequipmentsinewavetesttonesrangingbetween32Hz and20kHzaswellasmultitones(inISO1/3rdoctaves)werepreͲrecordedondegraded(sticky)andnonͲdegraded(nonͲ sticky)tapes.Eachtapewasanalyzedthroughtwodifferentaudioanalyzers:Prism’sdScopeAnalyzer(version1.45d)and Rohde&Schwarz'sUPDAudioAnalyzer.ThePrismmeasuredthemultitoneandrangeoftones(32Hz–20kHz)forlevel,

64  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   phaseandotherstandardmeasurements.TheUPDmeasuredwow&flutter,andalsoaselectionoftonesforlevel.These measurementswerecalculatedforeachtapeandcomparedbeforeandafterbakingforarangeofbakingperiods(one roundat8hoursandoneroundwithalongerbakingtime).Thisprojectusedbothnewandvintagetape,includinghigherͲ endstudioͲqualityandconsumerͲgradetapes. Thisresearchaimstoscientificallyproveordisprovethenotionthatbakingmagnetictapeadverselyaffectsthesignalon thetape.Thisposterwillshowourprocedure,andanysignificantoutcomesthatcouldbeofinteresttotheaudiovisual preservationcommunity,includingmusicallibrarians,archivists,andresearchers.  JonathanGreenberg(MetadataCoordinator/ProjectDevelopmentCoordinator,RILM,NewYork) Musichistoryinthepresent:PublishingamusicencyclopediaontheWebwithTEI TocreateanonlineversionofDieMusikinGeschichteundGegenwart,RILMdecidedtomarkuptheentiretextofthe29Ͳ volumesecondeditionusinganXMLschemafromtheTextEncodingInitiative(TEI)andmakeitavailabletoauthorsand editorsforrevisionandfurthermarkup.Thisrequired(1)convertingthetextfromlegacyformats,andaddingsemantic markuptotheconvertedtext;(2)buildingawebͲbasededitorialtoolthatallowedauthorsaccesstoedittextandsemantic markupdirectly;and(3)creatingawebͲbasedXMLeditorthatwouldbeintuitiveenoughforauthorsandeditorstouse. TEIismodular,soacustomsubsetoftheTEIschemaneededtobecreatedforthisproject.Thissubsetneededtobelarge enoughtoclearlydistinguishfeaturesofacomplextextsuchasMGG;italsoneededtobesimpleenoughsoastolimitthe choicesofauthorsandeditors.FortheXMLeditor,RILMlicensedFontoXML,aNetherlandsͲbasedapplicationthatis focusedonmakingXMLeditingaccessibletononͲexpertusers.Thesoftwarehasaclean,intuitiveinterface,andishighly customizable,allowingustotailorthetooltothespecificneedsofMGGauthors.Boththemarkupandeditorialplatform neededstrikeabalancebetweentheflexibilityofTEIandtheabilitiesoftheauthorsandeditorsofthepublication. Apublicationsplatformwillmakeuseoftherichmarkupcreatedinthisprocessforsearch,display,andlinking.  StevenGerber(MusicandTheaterLibrarian,GeorgeMasonUniversity,Fairfax,Virginia) Discoverabilityofforgottenrepertoire:LiederbyCarlGottliebReissigerinanAmericanWoman’s BoundMusicCollection OwnerͲboundvolumesof19thͲcenturyvocalmusiccollectedbytalentedamateursareahiddentreasureofimportant,outͲ ofͲprintrepertoire.Whileindividualitemsofsheetmusicinlibraryholdingshaveoftenbeencataloguedorindexedin onlineconsortia,thecontentsofboundvolumesinarchivesandspecialcollectionsarenotoftenthoroughlydescribedat theitemlevel. ExaminationoftheboundsheetmusicofinfluentialAmericanwriterandreformerJuliaWardHowe(1819–1909)reveals herhighlevelofinterestintheLiederofDresdencomposerandconductorCarlGottliebReissiger(1798–1859).Severalsets comprisingatotalof50ofReissiger’ssongsappearinhercollection,greatlyoutnumberingLiederandartsongbyothers. MostarenotheldbyUSAWorldCatlibraries,nordigitizedinIMSLPorotheronlinevenues.Thisbodyofworkprovides awindowintothemusicalstyleofthisprominentGermanmusician,andoffersmaterialforseveralrecitalͲlength performancesorrecordingsofhisresurrectedrepertoire.ContentsofsimilarcollectorͲboundmusicalvolumes,wherever theyexist,shouldbemademorediscoverabletoscholarsandperformers.  HyunKyungChae,EunͲhaKim,K.J.Lee(EwhaMusicResearchInstitute,Seoul) Creatinginnovativemusicculturecontentsthroughcollaborationandindividualization UponcompletingthefirstdatabaseprojectonmodernEastAsianmusicinNovember2014,theEMRI(EwhaMusic ResearchInstitute)receivedanother3ͲyearresearchgrantfundedbytheNationalResearchFoundationofKoreain December2014.Theprojecttitledaboveisthefirstattemptinthefieldofmusictocreateindividualizedmusicculture contentsthroughcollaborationbetweentheusersandcontentprovidersintheoftͲcalled3.0semanticwebsystem.We willshowinnovativemethodstoprovideindividualizedmusicculturecontentstowebusersandeventuallyrevitalizethe fieldofmusiceducation,composition,andperformanceofEastAsianmusicinthenewdigitalera.

10.30–11.00 MorseHall Tea&coffee





65  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   11.00–12.30 WillsonTheater Becomingdigital:Publiclibrariestowardsinevitablechanges PresentedbythePublicLibrariesBranchofIAML Chair:CarolynDow(LincolnCityLibraries,Nebraska) MichaelSchugardt(Educatorformusicandmedia,BuecherhallenHamburg,CentralLibrary, DepartmentforMusic&Dance,Hamburg) NewchallengesforpublicmusiclibrariesintheDigitalAge Astheuseofdigitaltechnologyrapidlytransformsthelivesofchildren,teenagersandadults,publicmusiclibrariesface newchallengesincommunicatingtheircollectionandprovidinganupͲtoͲdatecustomerservice. Therearethreeareasthatneedtobedealtwith: 1.Educatingcustomerstofindinformationonline Thechanginghabitsandmethodsinlookingforinformationisafocalpointonwhichlibrariesmustconcentrate.Even thoughmanycustomerspossessandusedigitaltechnology,veryoftentheysimplydon’tknowabouttherightusageof keywordsanddigitalpathwaystofindexactlywhattheyneed.Providinganeducationinthisareaincollaborationwith publicpartnerssuchasschools,communitycollegesoradulteducationcentersshouldbeamajorroleforanypublic library. 2.Expandingandmergingtheexistingphysicalcollectionwithonlineresources Practicingmusiciansofallagesareoftenstunnedwhentheyarebeingshownthewiderangeoffreeandlegalsheetmusic thatcanbeeasilyobtainedonline.Thishappenswheneithersomethingveryrareisbeingaskedfororifsimplyallrelated mediaisalreadylent.This,togetherwiththerapidlygrowingnumberofappsformusicaleducationandresearchisanother areaonwhichlibrarieshavethechancetoexpandandsustaintheircredibility.Anextensionistheimplementationof onlinemusicresourcessuchasSpotify,GooglePlayMusic,Napsterandothers.Thiscanbeagreatadditiontoexisting collectionsandbeespeciallyhelpfulforcustomerswithalowincome. 3.OfferingofMakerspacesandworkshopstoattractnewcustomergroups Inordertoavoidmusiclibrariestomaybebecomeobsoleteoneday,theyshouldactivelydevelopprogramssuchasMaker spacesandworkshoponabroadvarietyoftopics,makingthemanintegralandindispensablepartoftheircommunity. Overallchangesinsociety,workinghoursforparentsandschoolinghoursforthechildrenandteenscallforadifferentrole oflibraries.Makerspacesputtheirparticipantsinthespotlight—accompaniedwithunobtrusiveguidance,eithermodern topicssuchasMaKeyMaKeyorevenclassicalonessuchasdramaanddanceclassesandguitarplayingworkshopsoffer meaningfulactivitiesforpeopleofanyageandenablethemtodeveloptheirinterestsandgrowpersonally.  GuyHankel(ReferenceLibrarian,MadisonPublicLibrary,Madison,WI) SettingtheStageforalocalmusiccollection:TheYaharaMusicLibrary Advancesinmusictechnologyhavegeneratednewopportunitiesforpubliclibrariestocelebrateandpromotetheirlocal musiccultures.Bybuildinganonlinecollectionoflocalmusicandmakingitavailablefordownloadandstreaming,libraries cansupportlocalmusicianswhileofferinganewservice. TheMadison(WI)PublicLibrarypartneredwithalocalmusictechstartuptocreateonesuchproject:TheYaharaMusic Library(yaharamusic.org).TheYaharaMusicLibraryisanonlinecollectionofmusiccreatedbylocalͲareaartiststhatlibrary cardholderscanstreamordownloadforfree.ThemusicislicensedfromthemusiciansandisDRMͲfree.Theprojectisone ofjustahandfulofsimilarcollectionscurrentlyavailablefrompubliclibrariesintheUnitedStates,butdiffersindepthof content,formatsandplatform.TheYaharaMusicLibraryfeaturesaneasytouseinterface,andoffersmultipleformats (MP3,FLAC,AACandALAC).UserscanlearnmoreaboutthemusiciansfeaturedbyvisitingcustomͲcreatedartistpages, whichofferbiographies,videos,reviews,linkstotheirwebsitesandsocialmedia.Amobileappisintheworks,andthe projectwillexpandtoincludenonͲaudiomaterial,suchasphotos,interviews,storiesandoldshowflyersinordertocreate anhistoricalarchiveoflocalmusichistory.Theplatformisopensource,andotherinstitutionscancreatetheirown iterationsoftheproject. ThispresentationwillprovideanoverviewoftheYaharaMusicLibrary,withanemphasisonthechallenges,rewards, planning,technologicalissuesandcommunityoutreachinvolvedinlaunchinganonlinelocalmusiccollection.  AnnaPriscillaWinling(Musiclibrarian,MédiathèqueAndréMalraux,Strasbourg) Goingdigital:Somepracticalexamplesaboutmusicoutreachandcurationinthepubliclibrary Whatdowedobeyondclassic(whateverthatmeans)servicesweofferatAndréMalrauxlibrary? Besidesgivingaccesstothemoreof30,000cd's,booksandmusicmagazinesofthecirculationcollectionwithintheMusic &Cinemasection,(withaspecialfocusonthelocalscene),wedevelopedoverthecouplelastyearssomedigitalmusic orientedcontentand,forour14/15culturalseason,launchedadigitalorchestraproject.

66  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Thispaperwillsimplypresentthewebradioswe'reprogramming,thereviewswepostonouronlinecatalog,thelocal sceneorientedFacebookpagecuratedbythemusiclibrarians,thewebcastswe'reproducingandtheresults.Isitworth theeffort?Howdothelibrariansfeelaboutdiversifyanddeveloptheusualskills?Whatresourcesdoweneed?Whichone aregetting?Isthepublicreallyinterestedinallthosedigitalefforts? Finally(andhopefully),thepaperwillpresentthe“Orchestronique”journey. Orchestroniqueisadigitalorchestraproject,opentoeveryoneabovefifteenyearsold,musicianornot,ateasewith smartphoneand/ortabletsandlookingfortwelvemembersreadytorehearseduring11saturdaysbetweenfebruaryand june2015,andproducethemselvesinafinalconcert,usingtabletsandappsasinstruments. Thisprojectiscurrentlyinitspublicityphaseandhasn'tstartedatthemomentofthispapersubmission. OrchestroniquewouldjustendontheeveoftheIAML/IMSconference,sothereportofitsuccessorfailurewillbefresh.

11.00–12.30 Room543 CentralEuropeanmusic:Digitalaspectofaresearchproject PresentedbytheIAML/IMSProgrammeCommittee Chair:AndreaLindmayrͲBrandl(Professor,UniversitätSalzburg,Austria) MartinCzernin(Musikwissenschaftler,LandesmuseumBurgenland,Eisenstadt);tobereadbyAndrea LindmayrͲBrandl DieVerwendungdigitalerProgrammeindenburgenländischenBibliothekenundArchiven DasheutigeGebietdesBurgenlandeskamerstvorfast100JahrenzuÖsterreich,gehörtevorherzuUngarnundbildeteine kulturelleSchnittstellezwischenmehrerenTraditionen,diesichauchaufdasSchaffenverschiedenerKomponisten ausgewirkthat.HeuteisteseinLand,daszwarwedereineeigeneMusikhochschulenocheinwichtigeresKlosterarchiv(wie zumBeispielinGöttweig,Melk,St.Florian,Stams, )aufweisenkann,trotzdemabereinigebedeutendeMusikbibliotheken undMusikarchivebesitzt.MandenkedabeinurandieMusiksammlungenderLandesbibliothek,desLandesmuseums,des JosephͲHaydnͲKonservatoriums,desSchlossesEsterházy,derBurgForchtenstein,derHaydnͲPrivatstiftunginEisenstadt, desInternationalCenterforWindMusicResearchinOberschützen,sowiedieMusikarchivedesEisenstädterDomesund andererkirchlicherInstitutionenunddieNotenarchivederverschiedenenVereine.InvielendieserInstitutionenwerden seitJahrenelektronischeProgrammezurErfassungundBearbeitungdesmusikalischenkulturellenErbesdesLandes eingesetzt,mancheInstitutionenverzichtendaraufbisheute. VergleichtmandieseSituationmitanderenösterreichischenBundesländern,sobefindensichdiebedeutenden österreichischenSammlungenbekanntermaßenaußerhalbdesBurgenlandes,woauchdiekonsequentedigitaleErfassung derMusikquellenbisherbereitsmehrimVordergrunddesInteressesstand.TrotzdemistimöstlichstenBundesland ÖsterreichsabereinsteigendesInteresseamErhaltundderErfoschungdeskulturellenErbeszubeobachten.DieWege, wiediesesErbedokumentiertwirdundwelcheunterschiedlichenkommerziellenbzw.selbstgebautenProgrammehierzum Einsatzkommen,sollenindiesemReferaterstmalswissenschaftlichdargestelltwerden.Dabeigehtesnichtumeinereine AufzählungdereinzelnenProgramme,sondernunteranderemumdieFrage,obzueinemspäterenZeitpunktdie DatenbankenderverschiedenenInstitutionenmiteinanderverknüpftundsomitleichterverwendetwerdenkönnen. EinzweiterSchwerpunktdesReferatesliegtaufdererfolgreichenVerwendunginternationalerDatenbankenund ProgrammezurBearbeitungundErforschungdeskulturellenErbesdesBundeslandes.HiersolleinÜberblickdarüber gegebenwerden,welchedigitalenMedienwoundinwelcherFormzumEinsatzkommenunddieFragediskutiertwerden, welcheneuenChancensichdurchdengezieltenEinsatzvonbishernichtverwendetendigitalenMedienfürdasLand ergebenkönnenundwiediesesBundeslandstärkeralsbisherindieinternationalenProjekteintegriertwerdenkann.  AlinaMČdry(AssociateProfessor,InstitutfürMusikwissenschaftderAdamͲMickiewiczͲUniversitätin Poznaŷ,MusikinstrumentenͲMuseuminPoznaŷ) DasProjekt„KulturerbeausdemNachlassvonaufgelöstenKlösternaufdemGebietderErsten PolnischenRepublikundSchlesiensim18.und19.Jahrhundert:Geschichte,Bedeutung, Inventarisierung” DasProjekt„KulturerbeausdemNachlassvonaufgelöstenKlösternaufdemGebietderErstenPolnischenRepublikund Schlesiensim18.und19.Jahrhundert:Geschichte,Bedeutung,Inventarisierung”wirdvon2012bis2016imRahmeneines ProgrammsdespolnischenMinisteriumsfürWissenschaftundHochschulwesenrealisiert.SeinZielistdieumfassende, interdisziplinäreundallgemeinzugänglicheBearbeitungundInventarisierungdesKulturerbesausdemNachlassvon aufgelöstenKlöstern,eineswichtigenTeilsdesgeistigenundmateriellennationalenErbes. EsistderersteVersuchinEuropa,dieverstreutenSammlungenvonübertausendKlösternzuidentifizierenundzu dokumentieren.DieRecherchenumfassendasganzeGebietvonPolensowieeinigeNachbarländerundbeziehensichauf verschiedenartigeObjekte:Archivalien,alteDrucke,Bücher,musikalischeHandschriften,Instrumente,liturgischeund alltäglicheGegenstände,Gebäude,archäologischeundnaturbezogeneRelikteundandere,diebisjetztkaumoder

67  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   überhauptnichtuntersuchtwurden.DasgrundlegendeZieldesProjektsistdieErstellungeinesinteraktivenWissensportals (eͲPlattform).DiesesPortalbestehtausmehrerenmiteinanderthematischverbundenenDatenbanken,darunterdie DatenbankenvonMusikalienundInstrumenten.Diesermöglichtes,eineinheitlichesundfunktionstüchtigesInventardes KulturerbesausdemklösterlichenNachlasszuerstellen. AndiesemProjektarbeitenForscherausmehrerenLändernundWissenschaftsbereichen:Historiker,Kunsthistoriker, Musikwissenschaftler,Philologen,Theologen,Buchwissenschaftler,Archivare,Informatiker,Architektenundandere.Die ZusammenarbeitumfasstaucheineReihevonwissenschaftlichenInstitutionenundSammlungen,z.B.Archive,Museen, Bibliotheken.EinwichtigerAspektderRealisierungdiesesProjektsistdieZusammenarbeitmitRISM. DieErgebnissewerdenaufzahlreichenwissenschaftlichenKonferenzenpräsentiert,ineinerSerievonwissenschaftlichen VeröffentlichungeningedruckterFormundonlineherausgegeben,u.a.inderZeitschrift„HereditasMonasteriorum”. MusikalischeHandschriftenundDruckesowieMusikinstrumentestelleneinenwesentlichenTeildieserbreitangelegten ForschungenundderentstehendeneͲPlattformdar.DasZielmeinesVortragswirdesvorallemsein,dieeͲPlattform vorzustellenunddenPlatz,deninihrdiemitdemmusikalischenNachlassderKlösterverbundenenAngelegenheiten einnehmen,zubeschreiben.  SusanM.Filler(Chicago,Illinois) MethodologiesinthestudyofmusicologicalresearchdocumentingthemusicoftheHungarianJews TheuseofdigitalmusicologyforresearchintothehistoryofmusicinEasternEuropeisarecentphenomenoninfluencing historicalandcomparativemusicology.Thesubjectmatterisofinteresttobothcomposersandmusicologists.Basedon researchintotheeffectofnationalismonthemusicoftheHungarianJews,Iwillconsiderthemeritsincomplementary methodologies. 1)ResearchintothemusicofHungary,developedduringtheageofnationalisminthenineteenthcentury,wasexploited bysuchprofessionalsasFerencLisztandMarkRozsavolgyi,whowereperformersandcomposersratherthanscholars.The subsequentworkofBartókandKodály,whowereexperiencedintheuseofrecordingequipmentinethnomusicological research,achievedprogressaffectingtheirownnationalistmusic;butitdidnotincludeJewishmusic,incontrastwiththeir workonMagyar,Romanian,Czech,Roma,andotherEasternEuropeancommunities.DocumentationofJewishmusicin HungarydidnotgaintractionuntilWorldWarI. 2)DocumentationoftheworkofHungarianJewishcomposersandmusicologistsisbestfoundintheNationalSzechenyi Library,facilitatedbydigitallistingofholdings.However,thereisnohistoricalcontextforthesematerials,aseriouslacuna impedingresearchsinceWorldWarII. 3)OrganizedstudyofstyleinthemusicoftheHungarianJewsisrare.Disseminationofthismusicinbooks,scoresor recordings(includingYouTubeandotherdigitalprograms)isinfrequent.Genreswhichhavenotbeendocumentedon paperorincomputerprograms(e.g.klezmerandotherformsoffolkmusic)aredifficulttocontextualize.Comparisonof musicintheRomaandJewishcommunitiesproposedbyLisztillustratestheriskofspeculativeanalysis,raisingcontroversy amongmusicologistsincludingAbrahamIdelsohn. 4)Datafromdisparatehistoricalanddigitalsourcesshouldonlybeconsideredasabasisforindividualscholarlyopinions whichsupportanalysisdependentonestablishedmethodology,notdigitalcrutches. 5)ThethinlinebetweencomposersandmusicologistsinthestudyofHungarianmusicisaviablebasisforthestudyofthis neglectedsubject.BartókandKodályillustratedthemeritsoffieldresearchtotheirJewishstudents.

11.00–12.30 Room309 TwentiethͲcenturycomposers PresentedbytheIAML/IMSProgrammeCommittee Chair:PieterC.vandenToorn(UniversityofCaliforniaatSantaBarbara) RutaStaneviciuteͲKelmickiene(Professor,LithuanianAcademyofMusicandTheatre;ResearchFellow, InstituteofMusicology,UniversityofKlaipéda,Lithuania) Tacklingmusicalarchivesinthedigitalage:Amusicologist’sperspectiveontheInternationalSociety forContemporaryMusic(ISCM) Theideaoftheglobalhistoryofmusic,whichhasgainedrecentcurrency,encouragescriticalreassessmentofestablished narratives,concentratingmoreparticularlyontheEuropeanhistoryofmusic.TheapproachcharacteristicofpostͲ eurocentrichistoricalthought,aimingtodescribehistorythroughmanydifferentvoices,alsomightbeappliedtothe criticalanalysisofEuropeanmusichistory.Developingdigitizationofmusicalarchivesseemsverybeneficialforprospective applicationsofsuchapproachandattemptstoescapenationalisolation.Onesuchtransnationalthemegroup,towhich scholarsfromdifferentcountriescurrentlydirecttheirattentionfordiversereasons,coversthehistoryoftheInternational SocietyforContemporaryMusic.Foundedin1922,itwasthefirstinternationalassociationdedicatedtothepromotionand disseminationofnewmusic,whichevolvedintoaglobalforumforculturalexchangebeforetheSecondWorldWar.

68  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Certainly,thescarcityofresearchonprimarysourcesrelatedtothesociety’sactivitiesandtheabundanceofstereotyped opinions,attitudes,andinaccuracies,whichpersistinscholarlycirculation,maybedue,atleastinpart,tothefactthatit wasnotuntil1969thatthesocietystartedcollectingandpreservingdocumentationofitspastactivities.Allofthisledto someglaringgapsintheofficialhistoryoftheISCM,whichmaybeprimarilyassociatedwiththesupremacyofacanonic EuropeanavantͲgardethat,bymarginalizingnationalsectionsandalternativediscoursesoncontemporarymusic,deprived themoftheirauthenticvoiceandplaceinthewrittenhistoryoftheSociety. ThisreportsummarizestheexperiencegainedfromreconstructingmarginalizedepisodesinthehistoryoftheISCMand fromaddingnewdata,whichhavebeencollectedinlibrariesofeightEuropeancountries,musicmuseums,andmedia archives.EffortstoreconstructtheinterͲwarhistoryoftheLithuaniansectionoftheISCManditsconnectionswithsimilar sectionsinneighbouringcountriesrevealedverydiverseculturalstrategies,whichinturnaffectedaccessibility,visibility, anddiffusionofunpublishedarchivalresources.Whatistheeffectofculturalstrategiesthatregulatetheworkofthe musicalarchivesontheexpansionandcriticalreassessmentofexistingnarrativesoncontemporarymusic?Towhatextent digitizationstimulates,ormaybeobstructstheparadigmofa“manyͲvoicedhistory”?Isthereaconnectionbetweenthe ArchivalRevolutionandthenewwaveofcomparativityinmusicology?Thediscussionoftheseandotherissueswillbe illustratedwithcasestudies.  CyrilleDelhaye(Membre,CentreIannisXenakis,UniversitédeRouen,France) Del’inventaireàlamiseenlignedesarchivesduCentreIannisXenakis:Quandlescontraintessont desatoutsstructurantspourlaconduitedeprojet LeCentreIannisXenakisseplacedanslacontinuitédesAteliersUPIC,l’associationfondéeen1985parIannisXenakiset MauriceFleuret,pourpromouvoirlamachined’aideàlacompositionparledessin,inventéeen1977parIannisXenakiset nomméeUPIC(UnitéPolyagogiqueInformatiqueduCEMAMu).Depuisdécembre2010,l’UniversitédeRouenaccueillele CentreIannisXenakis(CIX)ensesmurs.SouslesauspicesduGRHIS(GroupedeRecherched’HIStoire),leCIXaplacéses archivesdanslesrayonsdelaBibliothèqueuniversitaire(SCDdeLettresetSciencesHumaines)etbranchésesmachines UPICdansleslocauxdelaMaisondel’Université(PôledeCulturescientifique).Cetimportantfondsd’archivesdenature hétérogène(composédemanuscrits,calques,partitions,bandesmagnétiques,disquescompactsgravés,DAT,cartouches informatiques,monographies,travauxuniversitaires,revues,coupuresdepresse )couvreplusde25ansderechercheet decréation,parXenakisluiͲmêmecertes,maiségalementparenviron130autrescompositeurs(FrançoisͲBernardMâche, LucFerrari,LaMonteYoung,AlainBancquart,JulioEstrada,GerardPape,JeanͲClaudeRisset,AphexTwin,Karlheinz Stockhausen,HoracioVaggione,RogerReynolds,DavidRevill,CurtisRoads,DanielTeruggi,BrigitteRobindoréettant d’autres). Or,commedéjàsoulignéenjuin2011lorsdusymposiumart::archive::architecture,Mediaartbase.deorganiséparleZKM (Karlsruhe,Allemagne),l’hétérogénéitédesquarantemètreslinéairesdecettecollectionsoulèved’importantes problématiquesbibliothéconomiques:confrontéàdessupportsmultimédiasnonpérennes(disquescompactsgravés, disquettes,cartouchesQIC),l’étapedel’inventaireetduconditionnementdesarchivesprécédaitcelle,cruciale,dela numérisationàdesfinsdeconservationdesdonnées.Aujourd’hui,outredesouleverdesproblématiquesliéesauxdroits d’auteurs(rédactiond’uncontratproposéauxayantsdroit,liantdroitfrançaisetlicencesCreativeCommons),la valorisationdecesarchivesnumériséesparleurmiseenlignesurleweb,aégalementconfrontélesmembresduCentre IannisXenakisauchoixd’unCMSpérenneetdontlesjeuxdemétadonnéespermettraientlaplusgrandeinteropérabilité aveclesnormesinternationalesdemoissonnage(vialeprotocoleOAIͲPMH).Enoutre,l’étapeducatalogagerécemment débutéeafaitémergerd’autresproblématiques(choixd’unvocabulairecontrôlé,descriptionnormaliséedes métadonnées)quisymbolisentlespremièrespierresd’unepolitiquedocumentaireencoursd’élaboration. C’estdanscetteoptiquequ’aprèsavoirmentionnéquelquesrepèreshistoriquesautourdel’UPICdeIannisXenakis,les spécificitésbibliothéconomiquesdesarchivesduCIXserontdiscutées.  TatianaBaranovaMonighetti(Independentresearcher;FormerAssociateProfessor,MusicTheory, MoscowConservatoire) Stravinsky’slibrary:Areflectionontheartistandtheman(Thecomposer’scollectionofbooksand scoresatthePaulSacherStiftung) ThosewhoknewStravinskywellrememberhimasaninsatiablereader.Photographsdepicthimreading—ontrainsand planes,duringconcertintermissions,andlounginginhotels.Hegatheredbooksandmusicscoresduringhisentirelife,and thevolumeofhiscollectionastounds:hisHollywoodlibraryincludedapproximately10thousandexemplars.Theimportant partofthiscollection(includingbooksandmusicinscribedtoand/orautographedandannotatedbyIgorStravinsky)was soldbyRobertCrafttothePaulSacherStiftungin1990,and,sincethisdate,hasbecomeavailabletoresearchers.Inmy paperIwouldliketodiscussthedifficultiesthatarisefromsystematizingandcataloguingStravinsky'spersonallibraryas wellastodemonstratesomeoftheresultsofmyresearchatthePaulSacherStiftungsince2009. Apersonallibrarycanbeakeytoacomposer'sworldiftheresearchmethodisbasedonthelinkbetweenmusical librarianshipandmusicology.Manyofthecopies(booksandmusicscores)inStravinsky'slibraryhavededications, inscriptions,andmarginalia.Wecanalsofindnewspaperstuckedawayinoldbooks,invitationspressedbetweenpages,

69  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   andcountlessothermaterialtracesthatofferinformationaboutthecomposer'biographyandhisworldview,helpingto resolvedilemmasaboutdates,authorship,orcompositionalintentions.Eachitemhasitsownhistoryandhastobe researchedinthecontextofthecomposer'sbiographyandwork,usinginformationfromcorrespondence,memoirs,and secondaryliterature.Anelectronicdatabaseofapersonallibraryhastobeorganizedaccordingtomanyparametersand specialcriteria,andthereinbasedoncomplexandmultiͲfacetedresearch. ThispaperwilltakeintoconsiderationselectedmaterialsfromStravinsky'slibrarywhichprovidenewinformationon Stravinsky'sworldviewandhiscompositionaltechnique.Somegeneralizationsbasedonthestudyofthesematerialswillbe providedinthefollowingareas: ͲStravinskyandRussianculture; Ͳthecomposer'spoliticalandreligiousviews; ͲStravinskyanddodecaphony;and ͲearlymusicinStravinsky'scollectionofbooksandmusicscores.

11.00–12.30 PaulHall Copyrightinachangingdigitallandscape(II) PresentedbytheIMSProgrammeCommittee Chair:EleanorSelfridgeͲField Seedetailsonpage60.

11.00–12.30 NYPhilHullRoom RépertoireInternationald’IconographieMusicale(RIdIM) Chair:AntonioBaldassarre(President,AssociationRIdIM/HochschuleLuzern–Musik,Luzern) SeanFerguson(MusicandDanceLibraryOhioStateUniversity,Columbus,OH) RIdIMDatabase:Latestimprovements AntonioBaldassarre(President,AssociationRIdIM/HochschuleLuzern–Musik,Luzern) AssociationRIdIM’sopenaccessinitiative„LinkingandUnitingKnowledgeofMusic,Dance,and Theatre/OperainVisualCulture“

11.00–12.30 Classroom527 IAMLPublicationsCommittee Workingmeeting(closed) Chairs:JosephHafner(McGillUniversity,Montréal)

11.00–12.30 Classroom529 RépertoireInternationaldeLittératureMusicale(RILM)  BusinessmeetingforNationalCommitteeMembersonly Chair:ZdravkoBlažekoviđ(ExecutiveEditor,RILM,TheGraduateCenter,TheCityUniversityofNew York),withRichardBrown(ApplicationsDeveloper,RILM,TheGraduateCenter,TheCityUniversityof NewYork)

11.00–12.30 Classroom504 IAMLWorkingGrouponAccesstoPerformanceEphemera Reportingandplanningsession Chair:PaulBanks(London,UK)

70  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   12.30–14.00 Lunch

14.00–15.30 WillsonTheater Presentingmusicinthelibrary:Innovativeapproachesandsolutions PresentedbytheIAMLProgrammeCommittee Chair:StefanEngl(ÖsterreichischeNationalbibliothek,Wien) CharlesRoush(WilliamandGayleCookMusicLibrary,IndianaUniversity,Bloomington,IN) TheBiblethroughmusic:Anonlineexhibitofmusicalscores Thispresentationfocusesontherationaleandmethodsusedtocreateanonlineexhibitofitemsfromthemusiclibrary andtherarebooksandspecialcollectionslibraryatIndianaUniversity.Itanalyzeswhatisnecessarytocreateasuccessful onlineexhibit,fromcopyrightconcernstotechnicalmattersofcodingandformatting.Also,itdemonstratesthevalueof onlineexhibitsandpossibilitiesavailablethroughthem,aswellaspracticalapproachestoeasilycreatethem. Myexhibitshowcasesmusicderivedfrombiblicalnarrativesandthemes,inanefforttoshowexamplesofhowtheBible hasbeeninterpretedandexperiencedbycomposersandlistenersovertheyears.Tokeeptheprojectfocusedwhilestill representativeofbiblicallyͲbasedmusicasawhole,Ihaveselectedamanageablenumberofworksfromthelibrariesthat showkeymomentsoftheBible’snarrativeandmessage(sectionsincludePentateuch,Psalms,Prophecy,Gospels,and Revelation),samplingfromavarietyofcomposers,periods,andstyles(fromHandelandBachtoPendereckiandReich). Creatinganonlineratherthanphysicalexhibitforthisprojectprovidesseveralbenefitsforbothlibrariesandusers.First, thepotentialforincreasingexposureisappealing,bothtoraiseawarenessforlibrariesandspecificholdingsingeneral,and toeducateandinfluenceawidercirclethanthosewhoareabletophysicallyvisittheselibraries.Second,technological innovationhasmadeitpossibletoenhancethetraditionalexhibitexperience.Myexhibitwillattempttoprovideaudio clipsalongsidedigitizedimagesofscores,givingviewersanimmersiveandrichexperience.Inthatsamevein,theonline formatallowsforvariousreadingsoftheexhibitviasorting.Forexample,onecanorientthedisplaytoaBiblical chronology,fromGenesistoRevelation,orordertheworksfromtheearliestcomposedtothemostrecent.Both trajectorieswouldemphasizedifferentthemes,offeringlayersofinterpretationfromthesamegroupofitems.Such possibilityhasalwaysexistedwithexhibits,butphysicallimitationshavehindereditsimmediateapplication.Finally, technologyoffersbeneficialcooperativepossibilities.Theselibrariesareidealcandidatesforcooperationonthisexhibit,as therarebookslibraryownsanumberofearlyeditionsofmusicscores.Thisprojectwouldbemuchweakerwithouteither library’sinvolvement,andtheonlineformatallowsforeaseofcollaboration.  LisaRaePhilpott(MusicReference,Collections,&InstructionalLibrarian,WesternUniversity,London, Canada) TheLouisAchilleDelaquerrièreAlbum:UsingFlickrasanaidtocollaborativeresearch LouisAchilleDelaquerrière(1856–1937)wasatenorattheOpéraͲComique,Paris.HisvocalteachersincludedLouisede Miramont(whomhemarried)andJeanͲBaptisteFaure.HisstagecareerbeganattheOpéraͲComiqueinLeChalet(1881); hecreatedseveralroles,includingthatof“Pierre”inMessager’sMadameChrysanthème(1893).Delaquerrière’s pedagogicalcareerspannedsometwentyͲfiveyears;hisstudentswererecruitedbytheParisOpéraandOpéraͲComique, andincluded:LucienneBréval,PaulFranz,PaulVisconti,JeanneCampredon,JacquesIsnardon,GermaineLubin,aswellas hisownsonJoséDelaquerrière. Overthecourseofhislife,Delaquerrièreassembledanalbumofmemorabilia,thecontentsofwhichincludemusic manuscripts(Fabre,Liszt,Lefebvre,A.Thomas),correspondencefromcomposers(Auber,Chabrier,Charpentier,Ravel) performers(EmmaCalvé),literaryfigures(deMaupassant,JeanRictus),painters(CharlesLéandre,GiuseppedeNittis), sculptorsandstudents(PaulFranz),aswellasmusicprogrammes,artsketches,menus,stamps,postcards,photographs andnewspaperclippings—withmanyitemsdatingfromtheFirstWorldWar. Thealbumfirstcametomyattentionin2002,whenconsumer(asendͲuser)digitalphotographywasinitsinfancy:cameras wereexpensive,andthecapacityofmemorycardswasminuscule.Despitethesetechnologicalchallenges,thecontentsof theAlbumwerephotographedintheirentirety,theimagescollated,classifiedandindexed(forthepurposeofbeing burnedontoaCDͲROM).In2005,thealbumwasdonatedtotheUniversityofWesternOntariobyDelaquerrière's granddaughter,LilianeDelaquerrièreRichardson,MD,withtheexpectationthatitwouldbemadereadilyavailableto researchersandscholars.However,theabsenceofaninstitutionaldigitizationplanandthelackofanappropriateand affordabletechnologywithwhichtomakethealbumavailableonlinedelayedthisgoal.FastforwardtoAugust2014,when thealbumwasuploadedtoWestern'sinstitutionalFlickraccountwiththeaccompanyingindexmadeavailablethroughthe institutionalrepository.Thisadhocsolutionrepresentsanimportantstepforwardthataddressesdonordemandswhile accommodatingWesternLibraries'emergingdigitalcapacities.Usingacombinationoffreeandinstitutionalplatformshas helpedthecontentsofthealbumreachscholarsaroundtheworld,particularlyinFranceandQuebec,andspurredon WesternLibraries'effortstodevelopadigitizationstrategicplan.

71  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   HoumanBehzadi(MusicCollectionDevelopmentLibrarian,UniversityofToronto),SuzanneMeyers Sawa(InterimHeadLibrarian,MusicLibrary,UniversityofToronto) VoyagewiththeLadyoftheGoldenBow:FutureoftheUniversityofTorontoMusicLibrary’sarchives ThearchivalcollectionsoftheUniversityofTorontoMusicLibraryareveritabletestimoniestotherichmusicallifeof Torontointhetwentiethcentury.Countlessmanuscripts,correspondences,concertprogrammes,photographs,and recordingshavemadethearchivesahistoricaltreasuretrovedocumentingthecontributionsofCanadianmusiciansand musicscholarstothenationalandinternationalmusicscenes.AshiningpearlofthearchivesistheKathleenParlow collection.KathleenParlow(1890–1963)wasoneofthemostprominentandcelebratedCanadianviolinistsintheearlyand midͲtwentiethcentury.Possessingaformidabletechnique,ParlowwasacceptedtotheclassofLeopoldAuerattheSt. Petersburgconservatoryattheageofsixteen,findingherselfinthecompanyofprodigiessuchasMischaElmanandEfrem Zimbalist.HerearlyprofessionalsuccesstookhertoprestigiousconcertvenuesinNorthAmerica,Europe,andAsiawhere sheplayedunderthebatonofGustavMahler,ThomasBeecham,andBrunoWalteramongothers.Parlowwasalso adedicatedchambermusicianandteacherwhotransmittedthepedagogicalphilosophyofAuertohercolleaguesand students. WehavechosentheKathleenParlowcollectionasanidealcandidateforthefirstDigitalHumanities(DH)projectatthe MusicLibrary.Theprojectwillnotonlysurfacethecollectioninadigitalenvironmentaccessibletoresearcherfromallover world,butalsocreateaplatformforotherDHprojectsconcerningtheMusicLibrary’sarchives.Throughtheemployment oftoolssuchasIslandoraandOmeka,weareaimingtocreateadigitalenvironmentwherethetraditionalprocessof posinghumanisticquestionscouldberedefined. AfterabriefintroductiontotheKathleenParlowcollection,wewillprovideanoverviewofitsmultitudeofformatsand discussthechallengestheyprovideintermofdigitalorganizationandcreationofstandardauthorities.Wewillfurther describethehighlycollaborativenatureofthisDHprojectandthenewpossibilitiesitwillprovideforfurtherresearchand examinationofthecollection.

14.00–15.30 NYPhilHullRoom RépertoireInternationaldelaPresseMusicale(RIPM) RIPM:RetrospectiveIndextoMusicPeriodicals Chair:H.RobertCohen(RIPM,FounderandDirector,Baltimore) Reports: BenjaminKnysak(ManagingAssociateDirector,RIPMInternationalCenter,Baltimore) RecentPublicationsandActivities NicolettaBetta(AssistantEditor,RIPM,Torino) CurrentJournalIndexingProjects  Papers: LukeHoward(AssociateProfessor,BrighamYoungUniversity,Provo) RIPMasaPrincipalSourcein19thͲCenturyReceptionStudies:ACaseStudyofHandel’sMessiah Receptionhistoriesrelyheavilyonthecumulativerecordofbothcriticalandpopularaudienceresponsestotheworkover time.Thoseresponsesaretypicallymorecomprehensiveforcontemporaryreception,wherethedataavailablethrough theinternetisalmostunlimited.Butthesheervolumeofthatdatapresentschallengestothereceptionhistorianwho mightberequiredtomanageseveraltensofthousandsofpublishedcriticalreviewsofrecentperformancesand recordings,nottomentionindividualaudienceresponsesloggedonFacebookorTwitter.Digitalresourceshave,inthecase ofcontemporaryreceptionhistory,provided“toomuchofagoodthing,”andcanoverwhelmthescholarwithaglutof undifferentiatedinformation. Forthereceptionhistoriesofmusicinearlierperiods,thepublishedcriticalrecordisofcoursemuchmorelimited.And individualaudienceresponsestomusicbeforetheadventoftheinternetarevirtuallyunavailabletothescholartoday. UsingtheRIPMarchive,musicologistsinvolvedin19thͲandearly20thͲcenturyreceptionstudieshaveanadvantage.When dealingwithcanonicrepertoryinthewesternartͲmusictradition,thebreadthandcomprehensivenessofthearchivecan providethereceptionscholarwithamanageablenumberofdatapoints,findingaproductivebalancebetweensurfeitand scarcity. ThecaseofHandel’sMessiahinthe19thcenturyillustratesthebenefitsofusingRIPMasaprimarysourceforreception studies.HandelstudieshavegravitatedtowardboththeoriginalmidͲ18thͲcenturysourcesforMessiahandtherevivalof baroqueperformancepracticesduringthelate20thcentury.Handelscholarshave,forthemostpart,glossedoverthe numerousMessiahperformancesduringthe19thcenturyasan“aberration,”a“grotesquedistortion”ofHandel’soriginal intent,andasuniformly“brown”intimbre.Andyetthesereportshavealmostalwaysbeenmadewithoutreferenceto

72  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   actualcriticalrecordofthoseperformances.Mystudyof19thͲcenturyreviewsofHandel’sMessiah,usingtheRIPMarchive asaprincipaldatasource,challengestheprevailingattitudestowardsthispopularoratorio,andforcesacomprehensive reassessmentofthework,itshistory,andreputationtoday. RichardKitson(SeniorEditor,RIPMInternationalCenter,Baltimore) TheMetropolitanOperaandItalianͲAmericansinNewYorkDuringtheFirstWorldWar H.RobertCohen(FounderandDirector,RIPMInternationalCenter,Baltimore) FromFiddlers,Pianistsand“FiddleͲlee,dee”toWomenComposers,CaricaturesandCaruso:Musical IconographyinMusicalAmericato1923

14.00–15.30 PaulHall Digitizingculture PresentedbytheIAML/IMSProgrammeCommittee Chair:VirginiaDanielson(DirectoroftheLibrary,NewYorkUniversityAbuDhabi,UnitedArabEmirates) FemiAdedeji(ProfessorandHead,DepartmentofMusic,ObafemiAwolowoUniversity,IleͲIfe,Osun State,Nigeria) DigitizingindigenousAfricanmusic:Issuesofconcern Digitization,aproductofcomputertechnology,hasenhancedthetransformationandadvancementofEuroͲAmerican musicresearchinnosmallmeasure.Italsohasbridgedthewidegapthatexistedbetweentheartsandscience/technology. However,thisisyettotakefulleffectinindigenousAfricanmusicduetocertainconstraints.Theobjectiveofthispaperis toexaminethepeculiarcharacterofindigenousAfricanmusicfromaYorubapointofview:anexplorativeinquiryinto challengesandpeculiarissuestobeconsideredinordertotransformindigenousAfricanmusicscholarshipthrough digitization.Relyingonculturalhistory,bibliographyandinternetsources,thepaperishingedonthetransformativetheory advancedbytheauthorin2006.Itisobservedthatseveralintrinsicandculturalelementsmaybedifficulttodigitizewhile profferingpossibleroadmapstoalignwithglobalinterculturality.Thepaperconcludesthatnecessarymeasuresneedbe putinplacefordigitalmusicologytopositivelybenefitindigenousAfricanmusic.  TejaswineeKelkar(InternationalInstituteofInformationTechnology,Hyderabad,India),Venkatesh Choppella(AssociateProfessor,InternationalInstituteofInformationTechnology,Hyderabad,India) Virtuallabsforlearning,curating,andresearchinHindustaniclassicalmusic WearebuildingTheVirtualLabforHindustaniMusic(HCM),awebͲbasedapplicationtoprovideanybodywhoisinterested inNorthIndianclassicalmusic,abroadandcomprehensiveresourcecontainingliveexperimentstotestandhonetheir abilities;repositoriestorefertoandobtainmaterialfrom;andallthisinawaythatenhancesamultiͲmodalweb experienceacrossmanydomainswithinmusic.Althoughtherehavebeensomeattemptstocuratemusicalmaterialonthe webinHCM,thesefallshortinsomeways.Weproposesomenewmethodstobringupasingleresourcethatincludes experimentationandlearning,repositories,andsemanticlinking. MethodsofstudyingHCMhavechangedfromtheGurukulasystem,asetupwherestudentslivedandstudiedwiththeir teachers,anduniversities,towebͲbasedinstructionandvoiceͲcallinglessons.Thismarkedshiftalsomeansthatoffline learningofeartrainingmethodscannotbetaughtinthesamemanneranymoreandteachershavetorelyonstudents’ naturalabilitieswithmusicalinstrumentsforeartraining.Consequentlyitcantakequitelongtogetagoodgraspon musicianship.WeproposepractiseͲbasedmethodstohelpmusicianshiptrainingguidedandeasy.Thiswouldbethefirst timetechnologyisusedintheteachingofmusicianshipforHCMasWesterneartrainingmethodsdirectlydonotapplyto HCM. TherepositorysectionofthisresourcedirectlycorrespondstoacrowdͲaggregationofmusicalmaterial.Sincethisformof musicispredominantlyperformativeandnotnotationͲbased,repositoriesforthismusicmostlyexistintheformofaudio andvideoclipsandperformances.Theseresourcesdonotdirectlycatertoeducationforeithermusiciansorpeoplewho wouldliketolearntoappreciatemusic.Weproposeanddescribeanontologyofmusicalmaterialwhichwillserveas aguidetonavigationanddiscoveryofnewmusicalmaterial. Wehopetoaddressseveralcomputationandcognitionquestionsthroughthislab.Theuserbaseofthelabwillserveas abaselineforexperimentationanddataanalysistohelpunderstandandconductresearchaboutspecificmusicalabilities ingeneralpopulationandsoon.Throughtheformalontologyproject,wealsohopetotakeastepforwardinthedirection ofmusiccreationandgenerationofHCM,facilitatingmusicresearchthroughtheuseoftechnology.Wewilldemonstrate aworkingversionofthislabalongwithsomeuserstudiesdemonstratingtheexperimentsandtheireffectiveness. 

73  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   MeebaeLee(AssistantProfessor,ChonbukNationalUniversity,Jeonju,SouthKorea) EntangledmodernitiesinthecultureofKoreanmusicpublishing:Challengestoestablishing acontemporaryKoreanartmusicarchive Westernhistoricalmusicologyhastraditionallytreatedmusicalsourcematerial—manuscripts,autographscores,writings, earlyeditions—asanessentialcomponentofscholarlyinvestigation.However,scoresandothermusicͲrelatedmaterial fromcontemporaryKoreancomposers,absentanycentripetalarchivinginstitution,tendtoaccumulateonlyonan individualbasis.Recently,SouthKoreangovernmentalinstitutionshavebeguntopromoteandfundindividualsseekingto establishacomprehensivearchiveforcontemporaryKoreanmusic;nonetheless,manychallengesremainduetothe complexnatureofmusicdocumentationandpublishingcultureinSouthKorea. Inthispaper,IsuggestthatthissituationderivesfromthecomplexhistoryofthereceptionofWesternmusicinKorea. IfirstinvestigatehowthepublishingandarchivalcultureofSouthKoreaingeneraldiffersfromthatofWesterncountries. Further,whileemphasizingthesignificanceofthepreservationofmusicalsourcematerialsinKorea,asamusicologist IcriticallyreflectontheparametersdefiningmusicalsourcesofartmusicinWesternculturewhichdonotquiteapplyto Koreanmusicarchivalculture.Ialsoexplorewhichalternativeconceptsofmusicshouldbeconsideredtoencouragethe assessmentandcollectionofscatteredsourcematerial.BythuspositioningKorea’ssituationasanexampleof‘entangled modernities’inthemusicfieldofanonͲWesterncountry,IattempttomediatetheregionalsituationofKorea’smusic publishingandarchivalcultureto‘global’discussionofmusicdocumentation(seeGöranTherborn,“Entangled Modernities,”EuropeanJournalofSocialTheory6(3):293–305).

14.00–15.30 Room309 LasrevistasdedivulgaciónmusicalylamigraciónitalianaenSudamérica:Rutasdeinformación yestrategiasdedifusióndigital PresentedbyIMSStudyGrouponItaloͲIberoͲAmericanRelations(RIIA) Chair:MelaniePlesch(SeniorLecturer,UniversityofMelbourne,Australia) MaritaFornaro(Coordinadora,DepartamentodeMusicología,EscuelaUniversitariadeMúsica;and CentrodeInvestigaciónenArtesMusicalesyEscénicas,UniversidaddelaRepública,Montevideo, Uruguay) LaprensamusicaldeMontevideoafinesdelsigloXIX Lapresentaciónanalizarádospublicacionesmusicales:MontevideoMusical,promovidoporlosmúsicositalianos Sambucetti,fundadoresdelInstitutoVerdi;yLaGacetaMusical,delaqueLeónRibeiro,DirectordelConservatorio“La Lira,”eraredactor.Lasnoticiassobrepresenciasextranjeras,lainclusióndemúsicoseuropeosyunveladoenfrentamiento entrelasdosinstitucionespermitenunacercamientoalavidamusicaldelaépoca.  DiósnioMachadoNeto(LivreDocente,DepartamentodeMúsica,FaculdadedeFilosofia,Ciências eLetrasdeRibeirãoPreto,UniversidadedeSãoPaulo,Brazil) Laóperaitalianaenla‘prensaenana’definesdelsigloXIXylaGazetaMusicaldeRiodeJaneiro AfinesdelsigloXIXlanuevaburguesíapromovíaelgustoeuropeo,mientrasqueotroscírculosnocompartíanestecriterio. Ambosgruposanimaronlaslíneasculturalesdediferentesperiódicos.Entrelosquerespetabanlosmodelostransatlánticos seencuentranAtesoura;AArte,RevistaNacionaldeSciencias,ArteseLetras;ylaRevistaSantosIlustrado.Encambio, OMosquito;OCabrião;ySemanaIlustradarechazabanestaadmiraciónsatíricamente.Elperiodismodeestaépocade transicióncontribuyóaconstruirunaimagencivilizadoradelamúsica.Porejemplo,laGazetaMusicaldeRiodeJaneiro (1891–1892),unperiódicocariocapositivista,criticabaalasociedadlocal,queconsiderabapocodedicadaalasartes, acogiendoporotrapartepolémicasentremúsicaeruditaypopular,oentrearteyentretenimiento.Adoptandomodelos franceses,laGazetaMusicaldeRiodeJaneirodebatióestrategiaseducativasenelcampodelamúsicacultayayudó agestarlaideade“músicabrasileña.”





74  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   14.00–15.30 BrunoWalterAuditorium Soundsources PresentedbytheIAML/IMSProgrammeCommittee Chair:KenMoore(FrederickP.RoseCuratorinCharge,DepartmentofMusicalInstruments,The MetropolitanMuseumofArt,NewYork) ZdravkoBlažekoviđ(ExecutiveEditor,RILM;Director,ResearchCenterforMusicIconography,The GraduateCenter,TheCityUniversityofNewYork) TheorganologicalworkofFranjoKsaverKuhacandhis1882classificationofsoundsources AmongHornbostel’sandSachs’s19thͲcenturypredecessorsinworkingontheorganologyandclassificationofinstruments belongstheCroatianmusichistorian,folklorist,andorganologistFranjoKsaverKuhaþ(1834–1911),whoseworkon instrumentsSachsrepeatedlycited.BasedonhisfieldworkamongtheSouthSlavscarriedoutfrom1857to1870,aswellas hisowncollectionoftraditionalinstruments,Kuhaþwrotea370Ͳpagesystematicsurveyofinstruments,Prilogzapovijest glasbejužnoslovjenske:KulturnoͲhistorijskastudija(AcontributiontothemusichistoryoftheSouthSlavs:Culturaland historicalstudy;1877–82).Herehedevelopedhisownclassificationofsoundsourcesbasedontheprinciplesofsound production:1:chordophones(a.bowed;b.plucked;c.hammered);2:aerophones(a.endͲblownflutes;b.sideͲblown flutes;c.singleanddoublereeds;d.hornsandtrumpets;e.instrumentswithabagorbellows);3:(freeͲ)reedinstruments; 4:membranophones;5:idiophones;and6:bells. Guidedbytheviewthatallsoundsourcesareanintegralpartoftraditionalmusiccultureandsocialcontext,thestarting pointinKuhaþ’sdefinitionofinstrumentswastheirsocialfunction.Thisapproachledhimtoincludeinhissurveyalarge numberofthesimplestidiophones(rattlesandjingles)andaerophones(whistles).Hisinvestigationofinstrumentswasthe broadestpossible,and,besidesdescriptionsoftheirtechnicalcharacteristics,tuning,performancepractice,andrepertoire (providingtranscriptionsoftunes),itincludedadescriptionoftheirsocialrole,relatedCroatian/Germanterminology,and referencestotheinstrumentintraditionalliteratureandproverbs.Hisresearchwasbasedoncomparativemethodology borrowedfromethnologyandlinguistics,makinghimoneofthefoundersofcomparativeorganology.  CarolienHulshof(Researcher,MusicalInstrumentMuseum[MIM],Brussels,Belgium) Theformalizedfiddle TheFormalizedFiddleisaresearchprojectintheMusicalInstrumentsMuseuminBrussels,whichcollectsandcompares digitaldataonfiddlesfrommuseumsworldwide.Theinformationonfiddlesisgatheredinonedigitaldepotinamuseum collectionmanagementsystem(MuseumPlus).Atpresent,2453fiddlesfrom36differentmuseumshavebeengatheredin thedatabaseofTheFormalizedFiddle,and142fiddletypeshavebeenidentifiedanddescribed. Theinformationenteredintothedatabaseincludesfiddlename,authors,dates,dimensions,materials,geographical referencesandobjecthistory.Foreachfiddleoneormorephotographshavebeenincluded(ifavailable).Furthermore, classificationtagscanbeinserted.Theseareparameterswhichrefertoparticularandsignificantcharacteristicsofthe instruments,suchasbridgetype,soundholeshape,necklength,soundboardshape,decorationandnumberofstrings. ThesetagsallowforlinkingthefiddlesoutsidethelimitingtreestructureoftheHornbostelͲSachsclassificationsystem. Withspecificsearchcommandsanddatafiltering,revealingrelationsbetweeninstrumentscanbeexamined.Forexample, itispossibletosearchforallfiddleswithsympatheticstringsandtostudythegeographicdistributionandhistorical evolutionwithinthecorpusofinstrumentswiththischaracteristic. Gatheringdataonfiddlesfromdifferentmuseumsinonedigitaldepotnotonlymakesforalargebodyofreference,the combinationofspecificresearchcommandsandliteraturereviewalsoleadstonewinsightswithintheresearchofthe history,migrationanddevelopmentoffiddlesworldwide.Furthermore,itallowsformoreprecisedefinitionofdifferent typesoffiddlesandtheidentificationofnewfiddletypeswhichhavenotyetbeendescribed.Thisleadstotheexpansionof museumthesauri,largerdigitalplatformssuchasMIMO,MusicalInstrumentMuseumsOnline(http://www.mimoͲ international.com),andmusiclexicography,suchasGroveDictionaryofMusicalInstruments. Moreover,theroleofadigitaldatabaseinmusicresearchcanbestudiedbycriticallyexploringboththeadvantagesand thelimitationsofdescribingobjectsinapredefineddatabasestructureaccordingtosubjectiveparameters.Totestand evaluatethequalityofthedatabaseasanewkindof“fieldwork,”andtoexplorethepossibilitiesofthenewmethodology formusicologicalresearch,casestudiesarebeingcarriedout.  JuttaLambrecht(Archivleiterin,WestdeutscherRundfunkKöln[WDR]) Theroleofbroadcastarchivesformusicologyandmusichistoryafter1945 Untilrecently,musicologyhaseitherignoredoratleasttakenverylittlenoticeofbroadcastarchives.Thisisdespitethe publicbroadcastershavingplayedasignificantroleinthereconstructionofmusicallifeinGermanyaftertheendofWorld WarII.Inthesocalled“zerohour”orchestras,choirsandbandswereestablishedunderthesupervisionoftheAlliesinthe individualzonesofoccupation.Jazzmusic,forbiddenundertheNazis,hadtobeestablishedinGermanyaswellasthe

75  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   “new”(contemporary)music.Apartfromtheelectronicstudios,itwasmainlythenumerousbroadcastingensembles, symphonyorchestrasandchoruseswiththeircommitmenttonewmusic,andwithnumerouscommissionsthatprovided aforumformanyimportantcomposers.Forexample,twofestivals:theDonaueschingerMusiktage,stilltodaythemost importantforumforNewMusicinGermanywithaglobalreach,andtheWittenerTagefürNeueKammermusikhaveinthe meantimepremieredmorethanonethousandworks. Broadcasters’ownconcertseriessuchasDasNeueWerk(NDRHamburg),MusikderZeit(WDRCologne)andmusicaviva (BRMunich)completethepicture.Thus,broadcastinghistorycreatesmusichistoryandthankstothebroadcastarchives weareinthefortunatepositionofhavingarchivalsourcesinalltheirdiversityavailabletodescribethismusicalculture. Oneexampleisthe“VerzeichnisdermusikalischenWerkevonBerndAloisZimmermann(1918–1970)undihrerQuellen” whichwaspublishedinthepastyearaftermorethantwentyyearsofarchivalresearch. DieRollederRundfunkarchivefürdieMusikgeschichtsschreibungnach1945 BisvorkurzemhatdieMusikwissenschaftkeineodernursehrwenigNotizvondenArchivenderRundfunkanstalten genommen.DabeispieltennachdemEndedesZweitenWeltkriegesgeradedieöffentlichͲrechtlichenRundfunkanstalten eineentscheidendeRollebeimWiederaufbaudesMusiklebensinDeutschland.Inder„StundeNull“wurdeninden einzelnenBesatzungszonenunterAufsichtderAlliertenOrchester,Chöre,Bands(wieder)gegründet.Dieim NationalsozialismusverboteneJazzmusikmussteinDeutschlandebensowiederetabliertwerdenwiedie„Neue“Musik. NebendenelektronischenStudiossindesvorallemdiezahlreichendenRundfunkanstaltenangegliedertenKlangkörper, SinfonieorchesterundChöre,diemitihremEngagementfürNeueMusiksowiezahllosenKompositionsaufträgenvielen bedeutendenKomponisteneinForumbieten.AlsBeispielseiendieDonaueschingerMusiktageoderdieWittenerTagefür neueKammermusikgenannt,indermittlerweilebisheuteüber1.000Werkeuraufgeführtwurden,zumBeispielvonHans WernerHenze,WolfgangFortner,BerndAloisZimmermann,GyörgyLigeti,KrzysztofPenderecki,KarlheinzStockhausen, LucianoBerio,OlivierMessiaen,WolfgangRihmundHelmutLachenmann. NebendenlegendärenDonaueschingerMusiktagen,dasbisheutewichtigsteForumfürNeueMusikinDeutschlandmit weltweiterAusstrahlung,werdenauchandereFestivals,wieetwadieWittenerTagefürneueKammermusikvon Rundfunkanstaltenunterstützt.RundfunkeigeneKonzertreihenwieDasNeueWerk(NDRHamburg),MusikderZeit(WDR Köln)undmusicaviva(BRMünchen)rundendasBildab.DamitschreibtderRundfunkMusikgeschichteundwirsinddank derRundfunkarchiveinderglücklichenLage,zurBeschreibungdieserMusikkulturarchivalischeQuelleninihrerganzen VielfaltzurVerfügungzuhaben. EinBeispieldafüristz.B.dasimJahr2014erschieneneVerzeichnisderWerkeBerndAloisZimmermanns(1918–1970). ZimmermannschriebeineVielzahlvonWerkenfürdenRundfunk,derVerfasserdesWerkverzeichnissessahsichinder glücklichenSituation,aufeineVielfaltunterschiedlicherQuellenzurückgreifenzukönnen:Briefwechsel,Honorarverträge, Abrechnungen,NotenautographeundOriginalͲAufführungsmaterial,Photos,Originaltöne,Livemitschnitte, StudioaufnahmenundFernsehaufnahmen.ModerneDatenbankͲundSpeichersystemeermöglichenteilweise,dieQuellen direktamRechnerarbeitsplatzanzusehenoderanzuhören. DerVortragzeigtexemplarischaneinigenKomponistenausderganzenBandbreitederMusik(ErnsteMusik, Unterhaltungsmusik,Jazz,Hörspielmusik),welcheSchätzedieRundfunkarchivebergen,diesiegernealsPartnerfür MusikwissenschaftundMusikforschungzurVerfügungstellen.

14.00–15.30 Room340 IAMLForumofCommissionsandProfessionalBranches Workingmeeting(closed) Chair:StanisųawHrabia(ViceͲPresident,IAML,JagiellonianUniversity,Kraków)

15.30–16.00 MorseHall Tea&coffee

15.30–16.30 PJSharpTheaterLobby PosterSession(II) Seedetailsonpages62–65.



76  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   16.00–17.30 WillsonTheater MakingresourcesonͲline:Technologyandsoftware PresentedbytheIAML/IMSProgrammeCommittee Chair:ArdalPowell(RILM,TheGraduateCenter,TheCityUniversityofNewYork) JoachimGanseman(ITandresearchcoordinator,RoyalConservatoryofBrussels,ErasmusUniversity College,Brussels) Refactoringalibrary’slegacycatalog:Acasestudy ItisgenerallydeemedsafepracticetonotchangeaworkingITsystem,butatsomepoint,drivenbynewadvancesin computing,anupgradecannotbeavoidedanymore.ThispapertellsthestoryofacustomͲconfigured,nonͲMARCcatalog fromtheearly1990s.WellͲtailoredtoservetheneedsofamusiclibrary,itprovedsolidandhadbeeninusewithout changeseversince,amassingalmost70,000manuallyenteredrecordsbytheendof2014.WithfullMSͲDOSsupport disappearingfromrecentOSes,iturgentlyneededtobeportedtoamodernwebͲaccessibleOPAC.Thisconfronteduswith severalchallenges:findingarobustwaytoconvertrecordswithoutlosinginformation,dealingwithcorruptorerroneous dataenteredinseverallanguages,decidingonthefunctionalityofanewcatalogandlendinglibrarymanagementsystem, etc.Allwhilenotlosingsightoftheroadahead:wewanttobeabletolinkthecatalogtosizeablerepositoriesofdigitized scoresandaudiorecordingsthathavebeencollectedovertheyears—albeitcurrentlyonlyinternallyavailableforcopyright reasons—suchthatiteffectivelyfulfillsabridgefunctionbetweenscoresandperformances.Wepresentseveralofthe challengesweencounteredduringthedatabaserefactoringprocessandthesolutionsweeventuallyadopted,paying specialattentiontothespecificrequirementsofamusicresearchlibrary.Thisisausefulcasestudyforanyonewhoever needstoreintegratealegacydigitalcatalogintoamodernlibrarysystem.  DominikŠedivý(Lecturer,ParisͲLodronͲUniversityofSalzburg) Possibilitiesofmusicologicalpublishinginthedigitalworld:TheexampleofMusicologicaAustriacaͲ JournalforAustrianMusicStudies Manyonlinejournalstodaystillsimulatepapersheet(e.g.byprovidingtheircontentsonPDFonly).Basedontheideathat thedigitalworldopensthescopefornewapproaches,wewouldliketodiscusssomeofwhichwearecurrentlyexploring withMusicologicaAustriacaͲJournalforAustrianMusicStudies(MusAu).MusAuistheofficialpeerͲreviewedjournalof theAustrianMusicologicalSociety.WithagenerousfundingfromtheAustrianScienceFund,MusAuwillgoonlinein2015 asanEnglishͲlanguageopenͲaccessjournal.WearehappytohavesucceededinattractingtopͲclassexpertsofAustrian Musicfromleadinguniversities,(including,amongothers,KarolBerger,NicholasCook,CliffEisen,WalterFrisch,Paul Hawkshaw,StevenE.Saunders,ElaineSismanandReinhardStrohm.Wewouldliketodiscussfiveexcitingpossibilitiesthe digitalpublishing: Unlimiteddata:Sinceinternetinthe21stcenturyisalmostwithoutconstraintsregardingboththetypeandtheamountof data,authorsareinvitedtoattachanyrelatedmaterial,suchasadownloadabledatabasefile,acomposer’scatalogueof worksorevenafullscoreofadiscussedcomposition,possiblyaccompaniedbyalegalMP3Ͳrecordingandfacsimilesofthe originalmanuscript.Aconsequenceofthispossibleincreaseofdataisthegrowingdemandforaconcisepreparationof articlecontentswhichcontrastswiththelackoflimitsintermsofarticlelengthandtheamountoffurtherattachments. Linking:Articleswillincreasinglyprovidelinks.Aconsequenceoflinkingisachangeinscientificreferencing.Howcanwe makegooduseoflinksinajournaltobeutilisedmostefficiently? Flexibilityofcontents:Digitalcontentscanatanytimebemodified.Duetoourworkwithprintpublications,weareso muchaccustomedtothesteadinessofcontentsthatwemightnotwanttoseedigitalpapersbeingmodifiedaswell,aswe failtonoticetheadvantages.Ifweturnaroundtheproblem,wemayalsoseeanumberofopportunitiescomingwiththe flexibilityofdigitalcontents. ScienceͲinͲprogress:Aninnovativemarkingandcommentfunctionnotonlyencouragesinteraction.Itcanalsovisualisethe furtherprogressofknowledgerelatedtoanarticle. NonͲlinearityofthought:Apapersheetforcesustowriteandthinkinaunilateralandlinearway.Thedigitalenvironment allowsustoregardchancesofnonͲlinearityinscientificwork.WhatcannonͲlinearityinscientificworkmeanandhowcan itbeusedreasonably?  WernerJ.Wolff(NotengrafikBerlin,CEO) corpusmonodicum–anonlinelongͲtermresearchprojectasdigitaledition Corpusmonodicum(CM),alongͲtermeditorialprojectfinancedbytheAkademiederWissenschaftenundderLiteratur, MainzandhostedattheInstitutfürMusikforschung,UniversitätWürzburgiseditingmedievalmonophonicrepertories— bothsacredandsecular—thatformthehistoricalfoundationofEuropeanmusic,buthavethusfarbeenunderͲrepresented inmusicologicalscholarship.

77  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Theprojectisscheduledtorunfor16yearsandtopublish25printedvolumesfromhundredsofmanuscriptsources. Fromtheveryfirstbeginningitwasdesignedasatruedigitaledition,whichfeaturesatechniquewhereauniqueand coherentdatasetservesforboththeonlineastheprintedrepresentation.Itisforthefirsttimethatthisapproachcould havebeenrealizedandappliedtoawiderworkingresearchenvironment. SincenoavailablesoftwarecouldcopewiththeproblemsinanadequateandreasonablewayanewserverͲbasedmusic notationsoftwareprogrammewasdevelopedandtailoredtothespecificneedsofthescholars.Theopensource application“mono:di”isrunninginawebͲbrowserusingthequasiͲstandardMEIformusicencoding.Ontheonehand mono:diservesasanotationtooltoassistCM'seditorsintranscribingneumesandeditingmedievalchant—whileatthe sametimetheapplicationalsoallowsfordigitaltransmissionoftheeditors'workinordertoproducetheanalogueprint publicationsmeetingthehighestgraphicalstandards. Thiscriticalendeavourwasmadepossiblethroughclosecollaborationoftheacademicmusicdepartmentandtheprivate corporationNotengrafikBerlinthatisresponsiblefortheambitiousgraphicconceptasforthetechnicaldevelopmentalike. Thepaperwillenlightenbrieflysomeoftheunderlyingtechniquebutmainlyfocusonthejoinedforcesofpublicand privateinstitutions.Musicologicalconsiderationsaboutthisveryspecialfieldofresearchwillbekepttoaminimum.Asan outlookthenextdevelopmentphasewillconsidertoincludedataretrievalandadvancedsearchroutines. http://www.musikwissenschaft.uniͲwuerzburg.de/forschung/corpus_monodicum https://monodi.corpusͲmonodicum.de www.notengrafik.com

16.00–17.30 Room543 Publishingmusic PresentedbytheIAML/IMSProgrammeCommittee Chair:RupertRidgewell(BritishLibrary,London) JosephDarby(ProfessorofMusic,Chair,MusicDepartment,KeeneStateCollege,Keene,NH) PublishingmusicbysubscriptionineighteenthͲcenturyBritain:Anexerciseindigital(andnonͲdigital) musicology IneighteenthͲcenturyBritain,composersand‘publishers’usedthesubscriptionmethodofsellingmusictofinance productioncosts,improvesales,alleviatefinancialrisk,andprovideareliablesystemofdistribution.Thesubscription methodgenerallyinvolvedabuyer’spaymentorpromiseofpaymentinadvanceofpublication;inreturn,thesubscriber wasrewardedwithadiscountontheretailpriceandher/hisnameinscribedinthework’sfirsteditiononalistof subscribers. Thisprojectassessestheeffectivenessofthesubscriptionmethodinthemusictradebycombiningonlineresearch (proprietarydatabasesandpublicdomainsites)withlibraryandarchivalresearchinBritainandtheU.S.toproduce asubstantialdatabaseofinformationrelatedtoca.450workspublishedbysubscriptionineighteenthͲcenturyBritain.The databaseandacompanioncatalogwillbepostedonlineandmadeavailabletoconferencedelegates. ThesourcesofthisstudyincludefirstͲeditionmusicbooks,subscriptionlists,newspaperadvertisements,andmusic catalogsoftheperiod,resultinginacomprehensivesurveyoffactorsthatshapedthefinancialsuccessofindividual subscriptionpublications,includingpricing,genreandaudience,timeandlocale,termsandconditionsofthesubscription, marketingstrategy,theparticipationofwomeninallaspectsofthemusicsubscriptionbusiness,andthe‘quality’of composersandothersdirectlyinvolvedinproducinganddisseminatingmusicbooks.Otherissuesunderconsideration: “droppingtheanchor”andthecreationofvalueinmusicpublishing,estimatingproductioncosts,andestimatingthevalue oftheBritishpoundintheeighteenthcenturycomparedtoitsvaluepresently. Althoughpublishingmusicbysubscriptionaccountedforafractionoftotalmusicsales,thedataresultingfromthisstudy areusefulforstudyingtheeconomicsanddemographicsofmusicpublishingineighteenthͲcenturyBritain.  NancyA.Mace(ProfessorofEnglish,U.S.NavalAcademy,Annapolis,MD) EnglishMusicCopyrightandForeignPublicationintheEarlyNineteenthCentury:Guichard v.Kalkbrenner InEighteenthͲandNineteenthͲCenturyEnglandthecopyrightstatusofmusicalworksprintedabroadwasunclear.British musicsellerscouldpurchaseworksbyforeigncomposersandregisterthemtheStationers’Company,therebyintheory establishingtheirexclusiverighttoprintandsellthesecompositions.However,whathappenedifthecomposerhadsold theworktoaforeignmusicsellerortheworkhadbeenpreviouslyprintedinthesameoradifferentformatoverseas? Thesequestionsandothersbecamethefocusoflitigationbetween1819and1830,whenCharlesGuichardsuedthe composerFrederickKalkbrennerandmusicsellersincludingThomasD’AlmaineandClementiandCollardforpirating Kalkbrenner’sConcertante,forthePianoForte,AsPerformedbyhimattheNewMusicalFundConcert,With Accompanimentsfor2Violins,2Horns,Tenor,Violoncello&DoubleBass;DedicatedtoLadyOwen(1815).Thedocuments

78  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   intheselawsuitsconsiderimportantissuesaboutthecopyrightstatusofforeignpublicationsandmusicaladaptations underEnglishlaw. Thispaper,then,willreviewthehistoryofthedisputeandwillexaminethequestionssurroundingintellectualproperty raisedbythelawsuitsinvolvingGuichard.  TimNeufeldt(UniversityofTorontoFacultyofMusicLibrary,Toronto) ReinforcingtheFrontLine:MusicPublishingandtheWarEffort,1914–1918 RecruitingtosupportCanada’sinvolvementintheGreatWarslowedbythesummerof1916,andbythefollowingSpring wasaveragingapproximately4000menpermonth,anumberfarbelowreplacementneeds,especiallygiventhatmanyof thenewrecruitsoptedforanyservicebutinfantry.Thehighrateofcasualtieswasasignificantdeterrent,andmostofthe BritishͲbornpopulationeligibletoserve—agroupthatmadeupadisproportionatepercentofenlistmentsintheopening years—wasdepleted. Thepressureonthehomefrontforeligiblemalestotakeanactiveroleinthewarcamefrommanysources,oneofwhich wasthepublishedsheetmusicintendedforpopularconsumption.Thispaperrevealsthat,whileinitialmusicofferings presentedaglorifiedvisionofwarandtheneedtosupportBritain’scolours,publicationsappearingafterthefirstCanadian troopssawactionin1915reflectamorecomplexperspectivethatencouragedmentoenlistwhilerecognizingthegrim realitiesandsacrificesmadeinthefrontline.

16.00–17.30 Room309 Challengesincontemporaryediting PresentedbytheIAML/IMSProgrammeCommittee Chair:JohannesKepper(WissenschaftlicherMitarbeiter,MusikwissenschaftlichesSeminarDetmold/ Paderborn,Germany) Viglianti,Raffaele(ResearchProgrammer,MarylandInstituteforTechnologyintheHumanities[MITH], UniversityofMaryland,CollegePark) Digitalconsumption:Performingthedigitalscore SheetmusicpublishersareslowlycatchingupwiththedigitalmediumandnewbusinessesfocusedondigitalͲonly publicationareformingaroundthesuccessoftabletcomputing.Thedisseminationofdigitalsheetmusicwouldhave perhapsunforeseenconsequencesforpublisher,pedagogy,liveperformance,individualstudy,andrehearsals.Thispaper addressesthecurrentstatusofdigitalsheetmusicandexplorestherolethatchangeable,customizabledigitalscoresmay haveintheperformer’sadvocacyofaworkbyblurringtheprescriptiveroleofmusicnotation. Thepredominantformofdigitalsheetmusicisdesignedtobeprinted.Scoresareeitherproducedwithtypesetting software,oraremadeofimagesscannedfromaprintedsource.Thistypeofscoreexistsindigitalformalmostexclusively fordistribution.Thedifferencebetweenprintanddigitaldistributionisaccess;scorescanbedownloadedandprintedat home.Digitalconsumption,ontheotherhand,entailsreadingandperformingthescoredirectlyfromitsdigital manifestation.Thepastdecadehasseenafewattemptstoadaptthescoretypicalofdigitaldistributiontobeuseddirectly inperformance.However,thebulkinessofthehardwarehasnecessarilyprovedtoomuchofanobstacle.Withtherecent successoftabletcomputing,similareffortsaretakingplaceagain.Someprofessionalperformersarealreadytakingthe opportunitytoshowofftheirdigitalliteracyinconcerthalls,likeSamHaywoodatCarnegieHallinNovember2011. Theflexibilityofthedigitalmedium,asopposedtosomething“fixed”onpaper,callsforamoremodernconceptofthe score.Smallbusinessesareinvestingintechnologiestomakethescorefollowtheperformerwhileplaying;tosupport writinganddisplayingannotationsbytheperformer,ateacherorotherperformers,etc.Thistypologyofscorediffers substantiallyfromtheprintͲorientedscoreofdigitaldistributionnotonlyinfunctionalitybutalsointhewayitismodelled computationally.Fromanacademicperspective,suchaformofpublicationopensnewopportunitiestoconveyresearchby bringingtotheforegroundvariants,editorialinterventionandcommentary.Moreover,bylayeringextranotationonthe scoreorjuxtaposingitwithothertypesofcontent,scholarsandpublishersmayincludeinformationderivedbythestudyof otherperformancesandotherperformers’advocacyofawork.Thistalkarguesthatdigitalpublicationmayunderminethe prescriptivenessofthescore,whileleavingroomformaterialtargetedatsupportingperformersinthedefinitionoftheir ethicalspace.

RonaldBroude(President,BroudeBrothersLimited;Trustee,TheBroudeTrustforthePublicationof MusicologicalEditions,Williamstown,Massachusetts) Digitaleditionsandchangingconceptsofthemusicalwork Foucaultobservesthatitisdifficulttoformulateatheoryof“theedition”withoutfirsthavingformulatedatheoryof“the work.”Foucaultisrightinthesensethateditionsrepresentworksandonecannoteffectivelyrepresentsomethingwithout firstunderstandingtheessentialqualitiesofthesomethingbeingrepresented.

79  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Iwouldsuggest,however,thattheeditionͲworkrelationshipoperatesinbothdirectionsandthattraditionalprinteditions haveshapedinimportantwaysourunderstandingoftheworkstheyrepresent.Generationsofphilosophershaveoffered definitionsofthemusicalwork,butinpracticaltermsmostofusunderstandamusicalworktobearelativelystableentity definedindetailbyitscreator,whohasrecordedhisintentionsbymeansofatext—auniquearrangementofsymbols— thatservesasasetofinstructionstoperformers.Thisparadigmimpliesthatthepurposeofaneditionistorecoverand presentthetextintendedbythecomposer.Thisparadigmisvalidatedbytheprintedition,which,becauseoffinancial constraints,canusuallyrepresenttheeditedworkbyonlyasingletextonly;itthenpromotesthattextastheclosest approximationpermittedbyavailableevidencetothe“ideal”textintendedbythecreator. Buteventextualscholarsdealingwithsuchrelativelystablegenresasthenovelhavecometorecognizethatworksare fluid—that,touseastandardformulation,theyare“processes”ratherthan“products”—andthattheyexistinnumerous stateseachofwhichcanberepresentedbyadifferenttext.Inmusic,weacknowledgethatworksmaybefluidandcanbe realizedlegitimatelyinvariousways,butwestillexpectoureditionstoofferasingletextrepresentingthecomposer’s intentions. Digitaleditionsarenotboundbytheconstraintsofprint.Theyshouldthereforeoffermultipletextsofthesamework,and theyshouldenableinteractionbetweeneditionanduser,thusofferingthepossibilityofcreatingadditionaltexts.Digital editionsshouldthereforeencourageustoseemusicalworksastheyactuallyare,asproteanentitieswithnosingleideal statethatcanberepresentedbyanidealtextina“definitive”edition.Suchdigitaleditionsdonotexistyet,butwemust encouragetheprogrammerspreparingtheplatformsonwhichtheywilldependtoprovideforaflexibilitythatreflectsthe fluidityofmusicalwork.

16.00–17.15 PaulHall BarryS.Brook:ATribute Chair:AllanAtlas Musicologyhasbeenblessedwithmanybrilliant,erudite,imaginativescholarswhohaveexpandedbothourhistorical knowledgeandourcriticalinsights.Farfewer,though,arethosewhosevisionhasextendedbeyondtheirownareasof specialization,whosevisionhasbentoverandaroundhorizonsandhemispheres,andwhosevisionhasneverbelievedin limits.Andfewerstillarethosewhocanturnthosevisionsintoreality.AmongthoseveryfewwasBarryS.Brook,towhom thissessionpaystribute. Barry’scontributionstoourknowledgeofeighteenthͲcenturymusicarevoluminous:HaydnandPergolesi,thematic catalogues,themonumental,sixtyͲvolumesetcalledTheSymphony1720–1840andtheheftyfacsimilesofFrenchOperaof the17thand18thCenturies,thearticlesonsuchtopicsasmusicpublishingandthesociologyofmusic;and,ofcourse,the workwithwhichhebeganhiscareer,theseminal,threeͲvolumeLaSymphoniefrançaisedanslasecondemoitiéduXVIIIe siècle(1962).AndbearinmindthatalongthewayhealsoservedasPresidentoftheInternationalAssociationofMusic LibrariesandtheInternationalMusicCouncil,andwasthefirst“executiveofficer”ofthedoctoralprograminmusicatThe GraduateCenterofTheCityUniversityofNewYork. Surely,theseaccomplishmentsalonewouldhaveconstitutedasplendidcareer.Buttheword“alone”(whetherintermsof scholarlyoutputorinteractionswithcolleagues)andthenameBarryBrookarenotcomfortablewithoneanother.And hereiswherethatspecialimagination,thatspecialvision,andthatspecialknackfororganizingthingsonaplanetaryscale kickedin.Hissolution—ahalfcenturyago!—forhowmusicologistsmightcontroltheeverexpandingbibliographyresulted intheRépertoireInternationaldeLittératureMusicale(RILM),which,withitsRilmAbstractsofMusicLiterature(andnow combinedwithinternettechnology),haschangedthewaymanyofusconductourresearch.Likewise,theRépertoire Internationald’IconographieMusicale(RIdIM)servedtosolidifythegrowingfieldofmusiciconography.Moreover,Barry wasinvolvedwithandplantedtheseedsforanumberofotherinitiatives,someofwhichwillbediscussedatoursession. Andthentherewasthevisiontotopallvisions:amonumentalhistoryofallthemusicsoftheentireworldthatcametobe calledTheUniverseofMusic:AHistory.Andthoughthisprojectneverreachedfullfruition,thetwovolumesonLatin AmericaandtheCaribbeanwereeventuallypublishedbytheUniversityofTexasPressundertheeditorshipofMalenaKuss in2004and2007. Finally,tocelebrateBarry’spersonandcareerataconferencedevotedtomusicologyinthedigitalageisparticularly appropriate.AsBarryputitinstillanotherofhisvisionswhileattendingaIAMLconferenceinDijonon3July1965: ThescholarͲlibrarianinthisbravenewcomputerizedworldsitsinfrontofascreeninhisofficeorhisstudyathome pushingbuttonswithonehandandholdingavermouthwiththeother.Hisspecialtypewriterenableshimtohold “conversations”withacomputermanymilesaway.Notetakingishardlynecessarysinceanypagepassingbeforehimon thescreencanimmediatelybereproducedinpaperformorberecalledlater. (“UtilizationofDataProcessingTechniquesinMusicDocumentation:ThePrincipalReport,”(Fontesartismusicae,XII/2–3 [MayͲSeptember1965],113). Inall,Barrywasanunicum!!! Oursessionconsistsofinformalreminiscencesbyfourscholarswhoknewhimwell. 

80  Thursday,25June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Speakers: BarbaraDobbsMackenzie(DirectoroftheBarryS.BrookCenterforMusicResearchand DocumentationandEditorͲinͲChiefofRilmAbstracts) RILMandtheBrookCenter:BarryBrook’sSenseofScaleȱ  H.RobertCohen(FounderandDirectorofRIPM,ProfessorEmeritus,UniversityofMaryland) “GetAboardtheATrain”:RememberingProfessorBrook  CatherineMassip(anciennedirectriceduDépartementdelaMusique,BibliothèqueNationalede France) BarryBrooketlaFrance,uneaffinitéélective  AllanAtlas(DistinguishedProfessorEmeritus,BrooklynCollegeandTheGraduateCenter,TheCity UniversityofNewYork) This,That,andGulden’s(pasDijon)Mustard ȱ AllanAtlasisDistinguishedProfessorEmeritusatbothBrooklynCollegeandTheGraduateCenterofTheCityUniversityof NewYork.HavingsucceededBarryBrookasExecutiveOfficeroftheGraduateCenter’sPhD/DMAPrograminMusicin 1989,heremainedinthatpostuntil2001.Authorofmanybooksandarticlesonawiderangeofsubjects,heiscurrently workingonastudythatdealswiththereceptionofRalphVaughanWilliamsinhis(AWA’s)hometown,NewYork. AdevoteeoftheEnglishconcertina,heplaysthatinstrumentinagroupcalledTheNewYorkVictorianConsort. H.RobertCohenisFounderandDirectorofRIPMandProfessorEmeritusattheUniversityofMaryland.Authororeditorof numerousvolumesandarticles,heestablishedtheseriesLaViemusicaleenFranceaudixͲneuvièmesiècle(Pendragon Press)andthejournalPeriodicaMusica,andwasinvolvedinlaunchingthecriticaleditionofBerlioz’smusiccriticism.He wasdecorated“Chevalierdel’OrdredesArtsetdesLettres”bytheFrenchgovernmentforhis“contributiontoFrench culture.” BarbaraDobbsMackenzieisEditorͲinͲChiefofRépertoireInternationaldeLittératureMusicale(RILMAbstracts).Sheis DirectoroftheBarryS.BrookCenterforMusicResearchandDocumentationatTheGraduateCenterofTheCityUniversity ofNewYork,and,since,August2013,PresidentoftheInternationalAssociationofMusicLibraries,Archives,and DocumentationCentres(IAML).ShealsoservesontheExecutiveCommitteeoftheGraduateCenter’sPhD/DMAProgram, ofwhichsheisanadjunctmemberofthefaculty. CatherineMassipisformerheadoftheMusicDepartmentattheBibliothèquenationaledeFranceandhasbeenteaching attheÉcolepratiquedesHautesÉtudes.ShehasbeenpresidentofIAML(1989–1992),presidentoftheSociétéfrançaise deMusicologie(2006–2009),andviceͲpresidentoftheInternationalMusicologicalSociety(2007–2012).Sheiscurrently involvedinresearchonFrenchmusicfromtheseventeenthtothetwentiethcentury.

18.00–19.30 BrunoWalterAuditorium “TreasuresfromtheRodgers&HammersteinArchivesofRecordedSound”hostedbyJohnFranciswith SethWinner TheLibraryforthePerformingArtsishometooneofthegreatestpubliccollectionsofsoundrecordingsintheworld. AuthoranddiscographerJohnFrancisshareshistoricraritiesfromtheRodgersandHammersteinArchiveofRecorded Sound,featuringunpublishedarchivalrecordingsofclassicalmusicbysomeofthegreatperformersofthe20thcentury. HearArturoToscaniniandSirThomasBeechamconductingmusictheynevercommerciallyreleased,IgorStravinsky conductingGlinkaandtalkingaboutit,violinistsFritzKreislerandJanKubelik,liveoperafromtheSalzburgFestivalandthe MetropolitanOperainthe1930s,andmuchmore.Auniquemusicalexperience!

18.30–21.00 WalterReadeAuditorium Leoncavallo'sPagliacci,highͲdefinitionscreenoftheMetOpera'sperformancefrom25April2015

19.00–23.00 Room340 BigBandrehearsal   

81  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   FRIDAY,26JUNE

9.00–10.30 WillsonTheater Digitizingmusicresources:Librarians’andresearchers’perspectives PresentedbytheIAML/IMSProgrammeCommittee Chair:ThomasLeibnitz(ÖsterreichischeNationalbibliothek,Wien) AlexanderKomarov(GlinkaNationalMuseumConsortiumofMusicalCulture,Moscow) Tchaikovskyheritageinthedigitalage:Newfeatures–newchallenges In2015,themusicalworldwillcelebratePyotrIlyichTchaikovsky’s175thbirthday.InRussiathisdatewillbecelebratedat thenationallevel:theoutlineofthemaineventsinhonorofthegreatRussiancomposerisapprovedbythegovernmental decree.OneofthelinesofthisplanistocreateadigitaldatabaseofmanuscriptstitledTchaikovsky,OpenWorld.The responsibleagencyforthisprojectistheMinistryofCultureofRussiaandtheGlinkaNationalMuseumConsortiumof MusicalCulture,theworld'slargestrepositoryofautographworksofthecomposerandoneofthereputablecentersfor thestudyofhislegacy. Tchaikovsky,OpenWorldisconceivedasafulltextdatabase.ItisbeingimplementedasapublicInternetresource.It containsdigitalcopiesofallmaterialsthetextofwhichiswrittenbyTchaikovskyhimselfinfullorinthesmallestdegree: fromautographoperascorestoinscriptionsonphotographs.Theimagesaresupplementedwithreferenceand backgroundinformationinaccordancewiththefieldssystemespeciallydevelopedforthisproject.Eachfieldisprovided withannotationlinesallowingtheprofessionalsworkingonthisresourcetoelaborateon,addtoorjustifytheentered data.Moregeneralhistorical,textualandanalyticalcommentsontheentirerangeofinformationonaspecificdocument arealsopossible.SuchsupportdataisalreadypreparedfortheautographsofTchaikovsky’smusicalcompositionsfromthe holdingsoftheGlinkaNationalMuseumConsortium.Theinformationaboutthesedocumentswhichalreadyexistedin referencepublicationwascorrectedandsignificantlyupdatedinthecourseofworkonthescientificcontentofthe database.SustainingthisapproachinthefuturewillallowTchaikovsky,OpenWorldresourcebecomeasourceofthemost accurate,completeanduptodateinformationaboutthemanuscriptheritageofthecomposer. ThepaperwillgeneralizetheGlinkaNationalMuseumConsortium’sexperienceofworkontheelectronicdatabase,cover theissuesofcollaborationwithotherRussianandinternationalownersofthemanuscriptdocumentsheritageof Tchaikovsky,presenttheimplementedpartoftheprojectandidentifytheopportunitiesandprospectsforitsusein modernstudies.  SoniaArcherͲCapuzzo(UniversityofNorthCarolinaatGreensboro,NC) DiscoveringLevAronson:Preservingthepastandlookingtowardthefuturewithdigitalspecial collections TheCelloCollectionattheUniversityofNorthCarolinaatGreensboro(UNCG)containsscores,manuscripts,monographs, personalpapers,soundandvideorecordings,andephemera.TheseitemshaveresidedintheSpecialCollectionsUniversity Archives(SCUA)foryearswithlittletonodigitalpresence.Currently,selectionsfromtheCelloCollection,representingthe collectionsoftencellists,arebeingdigitized.AtthetimeoftheIAML/IMSmeeting,thesedigitizedscoresandmanuscripts willlikelybeavailableonline. Thispresentationwillfocusononeofthesecollections,thatofcellist,teacher,andcomposerLevAronson.Asurvivorof theNaziconcentrationcampsduringWorldWarII,AronsonimmigratedtotheUnitedStatesin1948(FrancesBrent’sThe LostCellosofLevAronsoncovershisearlylifeuptohisearlyyearsintheUnitedStatesbutstopsaround1950).Hespent themajorityofhiscareerinthiscountryasprincipalcellistoftheDallasSymphonyOrchestraandasaprominentcello instructor,teachingprivately,atBaylorUniversity,andatSouthernMethodistUniversity.Hisinfluenceasacelloteacher cannotbeoverstated,hisstudentsincludingprominentcellistsLynnHarrell,RalphKirshbaum,andBrianThornton.Inspite ofhissignificantcontributionstocelloinstruction,AronsonislittleͲknown,lackingevenashortentryintheGrove DictionaryofMusicandMusicians. ThedigitalCelloCollectionwillconsistprimarilyofdigitizedcopiesofphysicalitems.ThedigitizationofLevAronson’s manuscriptscores,ofwhichthereareseveral,isanimportantpartoftheproject.Manyofthesepieces,writtenor arrangedbyAronson,areavailablenowhereelse.ThecollectionwillalsoincludebornͲdigitaloralhistories.Inlightofhow littleinformationonAronsoniscurrentlyavailable,collectingoralhistoriesfromhisformerstudentsiscrucialto understandinghimasateacher,cellist,andman. Inthispresentation,Iwillexaminethisprojectfromtwoperspectives:asalibrariancatalogerwhoprovidedthe bibliographicdescriptionsfortheoriginalmanuscriptsandcustomizedmetadataforthedigitalcopies(suchasloose translationsofYiddishlyrics);andasaresearcherexploringthecollectiontogainadeeperunderstandingofwhoLev Aronsonwas.Iwilldiscusshowcombiningmyperspectivesasalibrarianandaresearcherallowsmetoorganizeand describethecollectioninusefulwaysandconductresearchcreatively.Bycreatingaccesstodigitalmaterials,librariansand researchersmayinteractproductivelyandaugmenttheirskillsetsandknowledge.

82  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   RichardSutcliffe(ResearchFacilitator,KoninklijkConservatoriumBrussel) ThefoundingoftheBelgianViolinSchoolandtheLibraryoftheBrusselsRoyalConservatories TheviolinhasastrongconnectiontoBelgiumandBrusselsinparticular.Therootsofthisconnectioncanbetracedbackto theearliestmusicschoolsinBrussels,whoseevolutionfollowedthatofthecountryitselfleadingtothepresentday conservatoriesandtheworldrenownedQueenElizabethCompetition.Thenamesofcelebratedteachersandperformers fromBrusselsinthe19thcentury,suchasEugèneYsaÿe,HenrykWieniawskiandHenriVieuxtemps,arewellknownand haveinfluencedgenerationsofviolinistsaroundtheworld. TheBrusselsRoyalConservatory,SchoolofArtsErasmusUniversityCollegehaslaunchedatwoͲyearresearchproject involvingpedagogicalmaterialsforviolinandviolaintheconservatorylibrarywiththegoalofbetterunderstandingthe teachingandplayingintheconservatoryoverthecenturies,aswellasprovidingupͲtoͲdateresourcesforitscurrent studentsanddigitizingexceptionalworksinthecollection.Thedigitizationaspectofthisprojectwillfocusonproviding accesstosourcematerialfromthelateͲ19thandearly20thcenturieswhichisnotcurrentlyavailablethroughonline repositories. ThispresentationwillofferaglimpseintotheworldoftheBrusselsconservatory’sviolinclassofthe19thcentury,its technique,repertoire,andiconography.ItwillalsodiscusstwounpublishedmethodsbyCharlesDabsalmontdatingfrom thelateͲ19thandearly20thcenturieswhichwerefoundinthelibrary’scollection.

9.00–10.30 Room543 Researchprocessandtheemancipationofscores PresentedbytheIAML/IMSProgrammeCommittee Chair:JimCassaro(UniversityofPittsburgh,Pittsburgh,PA) ManuelErviti(AssistantMusicLibrarian,UniversityofCalifornia,Berkeley,Emeryville,CA) ManuscriptResearchandthedigitalTurn In2004,a211ͲpagenineteenthͲcenturyorchestralmanuscriptscorebyanunknowncomposerwasdonatedtotheMusic LibraryatUCBerkeley.Initialinvestigationsattemptingtoidentifythepieceanditsauthorreliedequallyonlibrary databases,Googlesearches,aswellasprintedsourcestoidentifytheworkasaneightmovementcomposition(copiedfor aVienneseperformancein1842)bythecontroversialFrenchͲbornharpvirtuosoandcomposerN.C.Bochsa(1789–1855). Researchattemptingtothrowlightonthebroaderperformanceandreceptionhistoryofthepieceinitiallyreliedon conventional,printedprimaryandsecondarysourcesandrevealedthatthecomposition,originallyentitled“ThePowerof ImitativeMusic,”thoughpreviouslythoughttohavebeenlost,wasinfactfirstperformedinLondonin1836andlaterin Naplesin1844.Characteristicoftheongoingresearchprocesshasbeenunexpectedfacilitationofvariousstagesofwork byveryrecentdigitizationandonlinepublicationofcertainkeysources.Thiscasestudy,usingprojectedvisualimagesof themanuscript,itstexts,and(online)researchresources,followstheimpactofborndigitalandrecentlydigitizedsources thathavepropelledtheresearchprocessandservesasareminderofthevalueofboththetraditionalaswellasthe mutatingresourcesthatarebecomingavailable.  BalázsMikusi(HeadoftheMusicDepartment,NationalSzéchényiLibrary,Budapest) AvaudevillequotationinHaydn’sIlDistrattoandtheaestheticsofthetheatresymphony Thispaperseekstodemonstratethroughacasestudyhowresearchintothevastcollectionsofhistoricaldocumentsnow availableontheWorldWideWebcanshednewlightonmuchͲdiscussedindividualcompositions,clarifyingtheir contemporarycontextandtherebytheaestheticconceptstheyarebasedon. Sincethe1990publicationofElaineSisman’sseminalarticleonHaydn’s“theatresymphonies”thenumeroussurprise effectsthatappearinthecomposer’s1770ssymphonieshavetypicallybeenattributedtotheseworks’theatricaloriginsor aspirations.Nonetheless,theconceptof“theatresymphony”inHaydn’soeuvreisineffectbasedonasinglecomposition, SymphonyNo.60(knownasIlDistratto),whichisthoughtoriginallytohavebeenwrittenasincidentalmusictoJeanͲ FrançoisRegnard’sfiveͲactcomedyLedistrait. IproposethatrecentreadingsofIlDistrattoasa“theatresymphony”aremisleading,insofarastheworkcouldbetterbe understoodinthecontextofamoreflexiblecategory,the“characteristicsymphony.”Acrucialargumentisprovidedbythe identificationofadistortedquotationinthefourthmovement:theCͲmajorclosingsectionisbasedonthevaudeville “Quanduntendronviantdansceslieux,”which(asisrevealedbyagreatnumberofFrenchlibrettiavailableonline) enjoyedimmensepopularityinthesecondhalfofthe18thcentury.Thisdiscoverysuggestsanentirelynewreadingofthe movementinquestion:IarguethatthevaudevillewasprobablysungonstageinActIIIofRegnard’scomedybythemost musicalcharacterofthepiece,theChevalier. Evenmoreimportantly,theidentificationofthevaudevillemelodyshedsnewlightontheinterpretationsofthissymphony byHaydn’scontemporaries.Whereasmoderncommentatorshaveinsistedthatthecomposermeanttoillustratecertain stageactionsandindividualcharactersoftheplay,18thͲcenturyaccountsinfactsuggestedsuchareadingonlyforthis(as itturnsout)exceptionalsection,basedonadirectquotation.Apartfromthispeculiarmoment,however,the

83  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   contemporaryaudienceappearstohaveviewedtheentiresymphonyasaportrayaloftheprotagonist’stitleͲgivingflaw: absentmindedness.Inthislightthenumeroustypesofsurpriseeffectsthatrecentanalyseshavesystematicallyconsidered ascharacteristicof“theatresymphonies”ingeneralprovetobeillustrationsofaconcretecharactertrait.Inotherwords, theapparent“theatricality”ofIlDistrattoisnonecessaryattributeofthegenre,butratheranaccidentalfeature,onthe basisofwhichnogeneralizationsshouldbemadeasregardsHaydn’sothersymphonies.  AdélaïdeKientzi(Librarian,ConservatoiredeStrasbourg),LindaHumphreys(Librarian,Conservatoire deStrasbourg) ThecontemporarymusicscorescollectionattheConservatoireofStrasbourg:Frombirthto emancipation ThelibraryoftheMusicConservatoireinStrasbourg,Alsace(France),holdsaparticularlyrichcollectionofcontemporary musicscores. Alsacehasalwaysbeenfertilegroundintermsoftheeducationandtrainingofbothamateursandprofessionalmusicians. ItsgeographicalsituationplacesitinthecentreofEurope,withbordersclosetoBelgium,Luxembourg,Belgium,Germany andSwitzerland.Inthiswealthyculturalenvironment,amusiccollectionhasgrownthatwewishinourpresentation. TheCityofStrasbourg’sinterestinandsupportofculture,particularlycontemporarymusiciseasilydemonstrated.It manifestsitselfintheFestivalinternationaldesmusiquesd’aujourd’hui:Musica,theeditionpublishedbytheStrasbourg Conservatoire,thecomposerͲinͲresidenceprogrammeattheConservatoire,andthefactthatcomposersarepermanently presentinthecity.Furthermore,thereareregularperformancesbyvocalandchamberensemblesthatpromote contemporaryartisticcreation. InaFrenchnational,politicalandculturalcontextthatisfavorableforthecreationofcontemporaryart,includingmusic, themanagementofcontemporarymusicscoresstandsoutfromothermusicashavingspecialrequirements.Ontheone hand,weobservethedevelopmentofnumerouswaysofprovidingaccesstoinformationonFrenchcontemporarymusic, butontheotherweclearlyseethattraditionalmusicpublicationmethodsofthepastarenotnecessarilyappropriateto today’smusicpublishingenvironment.Contemporarymusichashadto«emancipate»itselffromthistraditional publicationcycle. ThispaperwilldescribeandexaminethecollectionofcontemporarymusicscoresatthelibraryoftheConservatoirein Strasbourg:aftersituatingthecityinitsparticularhistorical,geographicalandculturalcontext,wewillexaminethose musicalinstitutionsinStrasbourgthatholdacontemporarymusicscorescollection,describethechoicesthathavebeen madetomanagethedocuments,andshowhowmuchaprovincialconservatoirehasenricheditselfwitharichandrare collectionofcontemporarydocumentsfromverydiversesources.

9.00–10.30 BrunoWalterAuditorium Italy  PresentedbytheIAML/IMSProgrammeCommittee Chair:JohnH.Roberts(UniversityofCalifornia,Berkeley) LeonellaGrassoCaprioli(HeadofResearchandDirector,DepartmentofSingingandMusicTheater, ConservatoriodiMusica”ArrigoPedrollo,”Vicenza,Italy) Lexicographicalmusicresearchfromadigitalperspective:ThecaseoftheItalianLexiconofSinging TheLessicoitalianodelcanto—ItalianLexiconofSinging(ILS)—isahistoricaldictionarydevelopedasadigitaldatabase.The researchprojectstartedattheendofthe1990sasaprototypeandwasfurtherdevelopedattheUniversityofPaduaby ateamofthreeprofessors(LeonellaGrassoCaprioli,RobertaZiosi,andSergioDurante).Foundedontheanalysisof historicalItaliantextsonboththetheoryandpedagogyofsinging,ILScontainsanextensivecollectionoforiginalhistorical sources,whicharealmostfullydigitalized;anindexofsignificanttechnicalwords;andadictionarystructuredas athesaurusofterms.Atthepresentstage,theindexconsistsofcirca9000terms,extractedfrommorethan80Italian sourceswrittenfromtheendofthe16thtothefirsthalfofthe19thcentury. ILSsynthesizesmusicologicalandlinguisticresearch.Assuch,itbelongstothegeneralcategoryof“corpora”(databaseof historicalandspecialisticdictionary)andisoneofthemostadvancedtoolsdevelopedinthatareaofexpertise.Conceived fordigitalmedia,itpresentsitselfasaplatformwhereadditionaldatacanconvergetointegrateeverincreasingcontent, includingimagesandaudioͲvideofiles.Theaimistobecomeaversatilevirtualarchivededicatedtothehistoricalheritage, structuredonacontemporaryconceptofscientificpublication.ILSisdedicatedtoprofessors,pupils,musicologists,and musiclovers:asophisticatedinterfaceprovidestheuserwithaccesstoahugeamountofdatainafast,intuitive,and flexibleway.Beingapublishedresource(LiguoriEditore,Naples),ILSismeanttobereleasedontheinternational internationalmarketthroughwebsubscription. ThedevelopmentofILSasamusicologicalprojecthashighlightedmanyissuesrelatedtothemanagement,conservation, andtransmissionofknowledgethroughnewtechnologicaltools.Thefurtheraimoftheauthorsistostimulatethecreation

84  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   ofanactivecommunityofusersthatwillbehopefullyengagedindevelopingandmonitoringthescientificqualityofthe database.ILSisnotintendedasafinishedobject,butasaplatformconstantlytobeupdated,atooldesignedtocreate acommunityofinteresteduserswhocould—inascientificallyvalidatedenvironment—participateactivelyinthe continuousimprovementofthedatabase.ThisperspectivehasinspiredthemoststrategicallyinnovativeaspectofILS’ design,whichaimsatexploitingthepotentialofquantitativedatatreatmentofferedbythetechnologicalsupport, implementingprotocolstoguidethemanagementandcontrolofnewentries,andincorporatecorrectionsproposedby externalcontributors(theusersthemselves).  EmilianoRicciardi(AssistantProfessorofMusicHistory,UniversityofMassachusetts,Amherst),Craig Sapp(Researcher,CenterforComputerAssistedResearchintheHumanities;ConsultingAssistant ProfessorofMusic,StanfordUniversity,Stanford,California) TassoinMusicProject:AdigitalandinteractiveeditionofthesettingsofTorquatoTasso’spoetry,ca. 1570–1640 CurrentlyinitsstartͲupphase,theTassoinMusicProject(TMP)isanopenͲaccessandinteractivedigitalplatformthatwill allowmusichistorians,performers,andliteraryscholarstoaccessandanalyzelate16thͲandearly17Ͳcenturysettingsof thepoetryofTorquatoTasso,arguablythemostprominentliteraryfigureofearlymodernItaly.Theproject,realizedin collaborationwithDigitalInitiativesoftheUniversityofMassachusettsAmherstandtheCenterforComputerAssisted ResearchintheHumanities(CCARH)atStanfordUniversity,willprovidemoderneditionsoftheabout650extantsettings ofTasso'spoetry,thevastmajorityofwhichhaveneverbeeneditedbefore. ConstitutingoneofthelargestdigitalrepositoriesofItalianmadrigalsandrelatedgenres,theeditionswillbeavailablefor downloadontheproject'swebsiteinavarietyofelectronicformats,suchasPDF,MIDI,MP3,MEI,MusicXML,MuseData, andHumdrum.SearchtoolsdevelopedbyStanfordUniversity'sCCARHwillfacilitatemusicalanalysisofthisrepertoire. Someofthesemusicalsearchtools—bysinglepitchandmelodicorrhythmicpattern—drawonCCARH'sworkforthe JosquinResearchProject,aplatformfortheanalysisofRenaissancemusicthathasreceivedwiderecognitionintheearly musiccommunity.Theothertoolsareinsteaduniquetotheproject,allowinguserstoruncombinedmusical/textual searchesthatarecrucialforthestudyofthisrepertoire. Theplatformwillalsofeatureasubstantialtextualcomponent,featuringtranscriptionsofthepoetictextsastheyappearin themusicalsettingsandincontemporaneousliterarysources.EncodedbytechniciansofUMassAmherst’sDigital Initiatives,thetextualapparatuswillallowforadynamicvisualizationoftheliteraryvariants,thusfacilitatingthecollation ofdifferentsources.Thankstothisfeature,theprojectwillbeanindispensableresourceforliteraryscholarsinterestedin thetraditionandtransmissionofTasso'spoetry,aswellasformusichistoriansinterestedintrackingtheliterarysources fromwhichcomposersmayhavedrawnthetextstheysettomusic. Addressinganinterdisciplinaryaudience,theTassoinMusicProjectbringstogethertwoinstitutionsinvestedinthe developmentofdigitalplatformsformusicalandhumanisticresearchaswellasagroupofscholarsfromtheUSand EuropewhoformTPM'seditorialandadvisoryboards.Assuch,theprojectmayserveasamodelforinstitutional cooperationandopensavenuesforinterdisciplinaryapproachestothecreationofdigitaldatabasesofearlymusic.  LiciaMariaSirch(ProfessorofMusicandLibrarian,Conservatorio“GiuseppeVerdi,”Milan),Teresa MariaGialdroni(ProfessorofMusicHistory,UniversitàRomaͲTorVergata,Roma;Editor,Studimusicali, journaloftheAccademiaNacionalediSantaCecilia,Roma) CLORI,adatabaseoftheItaliancantataafter10years:Aresourceforresearchandaresearchfor resources CLORIisaprojectoftheSocietàitalianadiMusicologiainpartnershipwithRISM.Itspurposeistoencourageandsupport researchintotheItaliancantata,themostimportantanddisseminatedformofvocalmusicthroughouttheseventeenth andeighteenthcenturies.CLORIincorporatesalloftheresourcesthatcomputerscienceandtechnologymightprovide amodernresearcher.Aftertenyearsofactivity,andinclosecollaborationwithlibrariesandresearchinstitutesinEurope andtheNewWorld,itisnowpossibletoevaluateCLORI’sdevelopment,thedifficultiesinvolvedinitsprocedures,and (mostimportantly)theresultsobtained.Moreover,thankstothequantityandvarietyofmaterialcollectedandrevised,it isindeedpossibletoobservethemassiveoutcroppingoffreshresearchoutletsandupͲtoͲdatemethodsofscientific investigation,whichrequirespecificadjustmenttothenewcontext,alongwiththenecessityofprovidingtheseresources tothediversedocumentsunderscrutiny. Thisprogressreportwilladdressafewparticularproblemsthathavebeendealtwith,suchascriteriafortranscriptionof poetryorthepossibilityoftotaltextresearchaswellassolutionsreached.Furthermore,theresultsfromsomespecific scientificinvestigationswillbepresented,astheywereresolvedthankstothesourcesfurnishedbyCLORI. Forinstance: a)Individualworksonceheldinasinglecollectionandsubsequentlydispersedcannowbetrackedandrecognizedbytheir provenance,context,musicaltradition,anddistinctiveaesthetics.TheresultsfromCLORI’sdatabasefieldsevenallowfor

85  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   catalogingphysicaldescriptions(watermarks,documentarycitations,copyists’manuscriptstyle,accidentalmarks,etc.)—all providinglinkstorestoreworkstotheirorigins. b)GiventhediverseandlonghistoryoftheItaliancantata,thegenrenowcanhopetoreclaimitsinterdisciplinaryplacein, forexample,thedomainofItalianpoetry,the“classicmyth”intheBaroqueera,andeventheiconographyofthatrichage.

9.00–10.30,11.00–12.30 PaulHall Iconography(IandII) “WaslehrenunsdieBildwerke?”:Musiciconographyfromthepioneerstothepresent PresentedbytheInternationalMusicologicalSocietyandAssociationRépertoireInternational d’IconographieMusicale(RIdIM) Chair:DinkoFabris(President,InternationalMusicologicalSociety;ProfessorofMusicHistory, ConservatoriodiMusicaSanPietroaMajella,Naples,andtheUniversityofBasilicata,Potenza,Italy) “WaslehrenunsdieBildwerke?”ThequestionwasfirstformulatedbyHugoLeichtentrittinSammelbändeder internationalenMusikgesellschaft7(1905–1906)andquotedinPicturingPerformance:TheIconographyofthePerforming ArtsinConceptandPractice(1999)byThomasHeck,whodeemedBarryS.Brook’scoͲfoundingofRIdIM/Répertoire Internationald’IconographieMusicalein1971(withGenevièveThibault,comtessedeChambure,andHaraldHeckmann) “thebestresponsetothequestion.”In1977,the12thQuinquennialCongressoftheInternationalMusicologicalSociety heldinBerkeleyincludedapanelon“ThePresentStateofIconographicalResearch”chairedbyBarryS.Brook.Eminent scholarssuchasWernerBachmann,HowardM.Brown,H.RobertCohen,ZoltanFalvy,BrigitteGeiser,H.W.Janson,Claude LaPointe,RichardD.Leppert,JamesW.McKinnon,WalterSalmen,H.ColinSlim,andEmanuelWinternitzparticipatedin thatsession.AlmostfortyyearsafterBerkeley,thejointconferenceofIAMLandIMStobeheldNewYork,andatwhich RILM’s50thanniversarywillbecelebrated,willincludeaspecialsessiondevotedtothesamequestion:adiscussiononthe presentstateofresearchinmusiciconography,which,byexaminingthecontributionsofpioneers,willaddressthemany changesintroducedbydigitalresourcesandreflectuponnewperspectivesforthefuture.Theparticipants,listedbelow, areallleadersofinternationalprojectsandrepresentthemaininstitutionsspearheadingresearchinmusiciconography andrelatedsubjects.ThediscussionisalsointendedasasignificanthomagetoBarryS.Brook,oneofthefoundersofthe disciplinewhowillbehonoredbythefollowingparticipants: ZdravkoBlazekovic(Director,ResearchCenterforMusicIconography,BarryS.BrookCenterForMusicResearchand Documentation,TheGraduateCenter,TheCityUniversityofNewYork;Editor,MusicinArt;ICTMStudyGrouponMusic Iconography) FlorenceGétreau(President,Sociétéfrançaisedemusicologie;Editor,MusiqueͲImagesͲInstruments(1995–);Senior scientist,CNRS(Centrenationaldelarecherchescientifique);Director(2004–2013),Institutderecherchesurlepatrimoine musicalenFrance(CNRS)) NicolettaGuidobaldi(Chair,IMSStudyGrouponMusicIconography,ProfessorofMusicology,UniversityofBolognaat Ravenna,Italy) BjörnR.Tammen(CoͲEditor,ImagoMusicae:InternationalYearbookofMusicalIconography;AssociateChair,IMSStudy GrouponMusicIconography;Researcher,AbteilungMusikwissenschaft,InstitutfürkunstͲundmusikhistorische Forschungen,ÖsterreichischeAkademiederWissenschaften,Vienna,Austria) CristinaBordasIbáñez(AEDOM(AsociaciónEspañoladeDocumentaciónMusical);ProfessoradeMusicologíayDirectora, GrupodeInvestigaciónenIconografíaMusical,UniversidadComplutensedeMadrid,Spain) AntonioBaldassarre(President,AssociationRIdIMLuzern;ProfessorandDirectorofResearchandDevelopment, DepartmentofMusic,LucerneUniversityofAppliedSciencesandArts,Switzerland;regularguestprofessor,Escuela NacionaldeMúsica,UniversidadNacionalAutónomadeMéxico[UNAM])  ZdravkoBlažekoviđ(Director,ResearchCenterforMusicIconography,TheGraduateCenter,TheCity UniversityofNewYork;ExecutiveEditor,RILM) Winternitz,Brook&Seebass:TheBirthandEarlyYearsoftheRépertoireInternationald'Iconographie Musicale ReceivinghisdoctorateattheSorbonnein1959,subsequentlyteachingattheUniversityofParis(1967–1968),while frequentlyvisitingParistoconductresearchthere,BarryS.Brookwasveryfamiliarwiththelongtraditionofresearchin musiciconographyinFranceandthestrongdisciplinaryadvancementstakingplacethereinthe1960s.Particularly significantwasthefoundingin1967oftheLaboratoired’organologieetd’iconographiemusicaleattheCNRSbyGeneviève Thibault,comtessedeChambure(1902–1975),who,atthetime,occupiedauniqueplaceintheworld,asshefocusedon researchofvisualsourcesformusic.RecognizingtheLaboratoire’ssignificanceandthegoalsofthecomtessede Chambure,Brook,withherandHaraldHeckmann,spearheadedthefoundingoftheRépertoireInternational d’IconographieMusicale(RIdIM).FollowingtheearliermodelofRISMandRILM,RIdIMwasmeanttogathercataloguing

86  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   dataalsothroughthenetworkofitsnationalcenters.Tocoordinatetheiractivities,in1972,BrookfoundedtheU.S. nationalRIdIMcenterattheGraduateCenterofTheCityUniversityofNewYork,namingittheResearchCenterforMusic Iconography,whichfunctionedasboththeU.S.nationalRIdIMcenterandtheinternationalcentralofficemaintainingthe mastercatalogueofcardsproducedbyothernationalcenters.UnderBrook’sguidance,RCMIworkedonformulatingthe methodsforRIdIM’scataloguingofmusiciconography,organizedthefirsteightconferencesofRIdIM(1973–1980), producedinventoriesofmusiciconographyinfiveU.S.collections(1986–1991),andinitiatedRIdIM’syearbookImago musicae(1984).BrookalsoinvitedEmanuelWinternitztoCUNY’sGraduateCenter,afterhisretirementasCuratorofthe DepartmentofMusicalInstrumentsattheMetropolitanMuseumofArt.Winternitz,whosincethe1950shadproduced groundbreakinginterpretivestudiesofvisualsources,offeredclassesatTheCUNYGraduateCenterduringthe1970s.  FlorenceGétreau(President,Sociétéfrançaisedemusicologie;Editor,MusiqueͲImagesͲInstruments; DirectricederechercheauCNRS(Centrenationaldelarecherchescientifique);Institutderechercheen Musicologie(IReMus)(CNRSͲMinistèredelaCultureͲBnFͲUniversitéParisͲSorbonne),France) ThreefoundersofmusiciconographyinFrance:GenevièveThibaultdeChambure,AlbertPommede Mirimonde,FrançoisLesure In2006,ashortsummaryofthepublicprojectsthatwereestablishedinFrenchinstitutionstoindexmusiciconographical resourceswaspresentedattheannualmeetingofIAML(F.Gétreau,«1936–2006:CataloguingMusicalIconographyin France:Adisciplinaryperspective»,RidimNewsletter2(2007),pp.13–17).Alsoin2006,IsubmittedtotheUniversityof ToursthehistoryofmusiciconographyinFrance(HistoiredesinstrumentsetreprésentationsdelamusiqueenFrance:Une miseenperspectivedisciplinairedanslecontexteinternational,Thèsed’Habilitationàdirigerdesrecherches,Tours, UniversitéFrançoisͲRabelais,2006,http://tel.archivesͲouvertes.fr/docs/00/08/80/86/PDF/HDR_Getreau.pdf InthiscontributionIwouldliketofocusonthefoundingroleofthreeimportantFrenchfigures.Noneofthemcanbe consideredasascholarwhoactedintheacademicmilieutofoundmusiciconographyasadiscipline.However,allofthem playedaprominentandverydifferentroleincreatingthesedimentsofthisinterdisciplinaryfield:GenevièveThibault,by initiatingapublicresearchcollectionofvisualreproductions;AlbertPommedeMirimonde,anamateurarthistorian,by offeringprolificseriesofarticlesonworkspreservedinFrenchpubliccollections;andFrançoisLesure,byopeningnew perspectivesfortheuseofimagesbymusicologistsandcreatingacollectionofmonographsforFrancophoneamateurs. Thibaultwasamusicologistworkingonthe15thͲcenturychanson,and,althoughshepublishedonlytwoarticlesonmusic iconography,sheusedsystematicseriesofvisualdocumentsthatbecamein1967thegroundingcollectionoftheResearch CentresheestablishedwiththehelpofCNRS.Theseseriesweredigitizedin2000andareavailableonlinesince2007. Mirimondecreatedprivatelyanevenmoreextensivecollectionofreproductionsusedforhisownpublications.(Thisseries ofabout10.000reproductionswasdonatedtotheLouvrein1985.ItbecameapermanentloanoftheDépartementdela Musique,BibliothèquenationaledeFrance,andwasdigitizedinGallicain2008,butunfortunately,itwasnotscholarly indexed.)Mirimonde’sarticlesandbooksneedtobereͲevaluatedtoday,accordingtointernationalstandards,but providedanimportantstartingpointtosubjectstudiesinarthistory—inacountrywheremonographsarepredominant— andoccasionsformuseumstoorganizethematicexhibitions.FrançoisLesurewrotefourverydifferentbooks,contrasting inthisregardwithmoretheprolificGermanstandards,butheusedvisualsourcesasacontributiontothesociologyof music,oneofthefieldshespearheadedinFrance.Theirlegacy,therefore,remainsessential.  NicolettaGuidobaldi(ProfessorofMusicology,UniversityofBolognaatRavenna;Chair,IMSStudy GrouponMusicIconography) Mappingimagesofmusicforcontextandmeaning:From“ProspectsofaMedievalist”(1981)to apresentͲdaydigitalarchiveofmusicaliconography Lefiguresonooggettidellastoriografiamusicalecomelepartiturestesse;comequeste,esigonochenellaricercasirifletta incessantementeperilrinnovamentodeiprocedimentimetodologici. (TilmanSeebass,inaugurallecture,Societàitalianadimusicologia,annualmeeting,Palermo,1981) Withthesewords,TilmanSeebassendedhisinaugurallecturedeliveredattheannualconferenceoftheItalian MusicologicalSociety(Palermo,1981),whichstandsasthefirstmeetingtotakeplaceinItalyonthesubjectofmusic iconography(“Prospettivedell’iconografiamusicale:Considerazionidiunmedievalista,”RivistaItalianadiMusicologia, XVIII/1[1983],67–86).Seebass’sappealontheneedtoadoptaniconologicalapproachtovisualrepresentationsofmusic, presentedinPalermoandinsistentlyreassertedinmanyofhissuccessivewritings,hadasubstantialimpactonthe expansionoftheyoungdisciplineinItalyandtoitsevolution,inthefollowingdecades,withinarichinterdisciplinaryand internationalcontext.MypaperwilltracetheimpactofSeebass’scalltoanalyzethemusicalcontentofvisual representationsfromtheperspectiveofhistoricalandculturalcontextsinindividualandcollectiveresearchactivities, meetings,andpublications,emphasizinginparticulartheflourishingofmusiciconographythroughtheresearchcarriedout withinICTMandIMSstudygroups. Onthatsamemethodologicalbackground,adigital“Archiviodell'immaginariomusicale”wascreatedin2006,inthe Dipartimentodibeniculturali(UniversitàdiBologna,Ravennacampus),aspartofabroadͲrangingresearchprogramme,

87  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   “Lefontidell'esteticamusicale:Nuoveprospettivestoriche,”aimedatprobingnewsourcesandmethodological perspectivesonmusicalaesthetics.Thisdatabase,designedasaspecificresearchtoolforinvestigatingimagesasmirrorsof musicalpractices,concepts,andtastesofthepast,canmakeinterestingcontributionstothestudyofcontinuityand transformationsoficonographicschemesandmusicalmeaningsacrossdifferentcultures,places,andages.Mypaperwill addresssomeofitsmostrecentachievements,suchasthevirtualexhibitionofmusicbooksandscoresrepresentedin16thͲ and17thͲcenturypaintings,whichtookplacein2013incollaborationwiththeMuseoeBibliotecaInternazionaledella MusicaandtheFondazioneFedericoZeri.Specialattentionwillbedevotedtoadifferentapplication,currentlyinprogress, whichaimsatcreatingvirtualreconstructionsofmusicalimagesandlostsoundscapesinselectedItalianRenaissance palaces,withemphasisoniconographicdecorations.Inthiscontext,FedericodaMontefeltro’swellͲknownstudioloin Urbino’sDucalPalace(1474),totallydecoratedbytarsierepresentingvariousmusicalinstrumentsandmusicalbooks,is apromisingcasestudy.  BjörnR.Tammen(SeniorScientist,AbteilungMusikwissenschaft,InstitutfürkunstͲund musikhistorischeForschungen,ÖsterreichischeAkademiederWissenschaften,Vienna;CoͲEditor,Imago Musicae:InternationalYearbookofMusicalIconography;AssociateChair,IMSStudyGrouponMusical Iconography) The‘InnsbruckArchive’andthe‘TrecentoCorpus’reconsidered:Ontheprospectsofresearchdata mappinginmusicaliconography Twoimportantresearchtoolsconvergeinmypaper:ontheonehandtheInnsbruckArchiveforMusicalIconography, compiledintheMusicologyDepartmentofInnsbruckUniversityoverthepastfourdecadesthankstotheresearch incentivesofWalterSalmenandTilmanSeebass;and,ontheother,HowardMayerBrown’s“CorpusofTrecentoPictures withMusicalSubjectMatter,”publishedinImagoMusicae:InternationalYearbookofMusicalIconographybetween1984 and1988.Bothwererealizedduringaperiodoftransition.Concurrently,RIdIM,asajointventure,hadbeendeveloping since1972,and,althoughgivingrisetovariouscataloguingactivitiesthroughouttheworld,theapplicationoflargeͲscale databasetechnologyforiconographicevidencewasnotyetmanageableandstillalongwayoff. RegardingtheInnsbruckArchive,Iwillscrutinizethemultifariousproblemstobeencounteredinthecomplexhistoryof thisnonͲsystematic,randomaccumulationofresearchdataforAustrianmusichistory,addressingthelimitationsof relationaldatabasetechniqueaswellastheformatofvirtualexhibitionsthatwasexploredin2002–2003.Thanksto astrictlydefinedbodyofevidenceinbothchronologicalandgeographicalterms,the‘TrecentoCorpus’(whichwasnot conceivedatallindigitaltermsbyitsauthor)willserveasatouchstonefortheprospectsofmultidimensionalresearch datamodeling.Thus,Ishallbuildabridgebetweenpast,present,andfuture,reassessingtheresearchachievementsoftwo (orratherthree)protagonistsinourdiscipline,and,atthesametime,envisioningtheplaceofmusicaliconographywithin thedigitalhumanities.

CristinaBordasIbáñez(ProfesoraTitular,DepartamentodeMusicología,yDirectora,Grupode InvestigaciónenIconografíaMusical,UniversidadComplutensedeMadrid) Deloscódicesmedievalesalartecontemporáneo:Elsugestivoitinerariodelaiconografíamusicalen España LosestudiosdeiconografíamusicalquesehanllevadoacaboenEspañaoquehantratadotemasrelacionadosconlo español,permitenhaceruninteresanterecorridohistoriográficodeestamateriayconstatarsuparalelismoconalgunas líneasdeinvestigacióndestacadasenlamusicologíaespañola.Unadeestaslíneas,quetodavíaestávigenteycongran éxito,eselartemedievalyenparticularelestudiodelosinstrumentosmusicalesatravésdelasrepresentacionesplásticas. LosconflictosnacionalistasdefinesdelsigloXIXycomienzosdelXXcontribuyeronaorientarlosestudiosmusicaleshaciala épocamedievalconánimodemostrarlaantigüedadartísticadelamúsicaespañola(siendolosprincipalesimpulsores AsenjoBarbieri,FelipePedrellysusucesor,HiginioAnglés).Losinteresantesfrutosdeestemovimientosemostraronenel estudiodecódicesmedievales(CantigasdeSantaMaríaenespecialporlariquezadesusminiaturas),retablosypórticos románicos.JuanF.Riaño(1887),EnriqueSerrano(1901),CeciliodeRoda(1912),WilhelmGiese(1925),JohnB.Trend (1928–29)yotrosilustresmusicólogoscomoHiginioAnglésintrodujeronelámbitodelaiconografíaensusestudios medievales.Lalíneadeinvestigaciónmedievalistahacontinuado,desdemodernasperspectivas,con musicólogos/iconógrafosactualesvinculadosainstitucionesacadémicas(comoRosarioÁlvarez,JordiBallester,Manuel PedroFerreira,PepeReyyCarmenR.Suso,entreotros). Latemáticareligiosaesotradelaslíneasclásicasenlamusicologíaespañola,acentuadaenelperiododelapostguerrayla dictadurafranquista(apartirde1939).Entrelosvariadosestudiosiconográficossobretemareligiososedestacanlos dedicadosalPórticodelaGloriadelacatedraldeSantiagodeCompostela.EstefamosoPórticohacontadoconvarios proyectos,dirigidosporJoséLópezͲCaloyCarlosVillanueva,queincluyenelestudioyreproduccióndelosinstrumentos.El modeloutilizadoenelPórticohaservidoparapromoverelestudiodeotrospórticosrelacionadosconelCaminode Santiago,yparaabririnteresantesdebatessobrelareproduccióndelosinstrumentosmedievalesysuusoengrabacionesy conciertos.

88  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Enconsonanciaconeldesarrollodelaiconografíamusicalinternacional,enlasdécadasdelos1970y1980delsiglo pasado,sediversificaronlostemasdeestudiocoincidiendoconladifusióndelfenómenoEarlyMusic.Ademásdebuscar fuentesvariadasenelMuseoNacionaldelPrado(conellibropionero,LaMúsicaenelMuseodelPrado,deFederico SopeñayAntonioGallegode1972),sepublicaronestudiosmusicalessobrelosmásimportantesartistas,comoVelázquez, Goya,J.BoschyElGreco.Losprimerosrepertoriosespecíficosdeiconografíamusicalcomenzaronaelaborarsetambiénen ladécadade1970,siendopioneroelgrupoSEMA(dirigidoporPepeRey). Eldesarrollodelamusicologíaenelámbitoacadémicoapartirdelosaños80y,sobretodo,elimpulsodelosproyectosy congresosinternacionalespromovidosporTilmanSeebass,diolugaralacreacióndegruposdetrabajo,comoeldela UniversidadComplutensedeMadriden2005(dirigidoporCristinaBordas),dedondehansurgidonuevosrepertoriosy basesdedatos.Desdeestanuevaperspectiva,setratadedifundirlaiconografíamusicalcomounamateriadeestudio abiertaensusobjetivos,fuentesymetodologías.  AntonioBaldassarre(President,AssociationRIdIM;ProfessorandDirectorofResearchand Development,DepartmentofMusic,LucerneUniversityofAppliedSciencesandArts,Switzerland; regularguestprofessor,EscuelaNacionaldeMúsica,UniversidadNacionalAutónomadeMéxico [UNAM]) Adisciplinewithoutacompass?Observationsonthecurrentsituationofmusiciconographyresearch Oneofthemostfascinating,andatthesametimestartling,issuesrelatingtothesituationofcurrentmusiciconography researchistheproblematicstateoftheoreticalandmethodologicalreflectionandtheresistancetowardsthemostrecent insightsfrommediatheory,visualstudiesandotherrelatedscientificfields.Pertinently,issuesthatbecomedramatically virulentwithboththeinsightsgeneratedwithintheseandpostmoderndiscoursesonartandmusicandthedigitalagethat bothnotonlyaffecttheobjectofmusiciconographyresearchbutalsoitsontologicalandepistemologicalstatustothe core,aresparelyrecognizedasessentialwithinmusiciconographyresearch.Onthecontrary,traditionalmethodology continuestobepersistentlyapplied,strangelyunaffectedbythedramaticshiftsinsociety,thesciencesandthearts.Does thislackingofanappropriatetheoreticalreflectionofthenewchallengessignifytheendofanepistemologicaltradition thatoncewaswelcomed“tofreemusicologyfromtheisolationintowhichsomanyspecializedbranchesofresearchhave falleninouroverspecializingtimes”(EmanuelWinternitzin1972)?Againstthisbackground,thepresentationhasno intentiontodeliveraharshorevenprovocativecriticismbuttoprovideaviewintoboththecurrentdiscoursesonmusic andartandthecriticalstatusofadisciplineaboutwhichtheauthorisconvincedthatitstillhasthepotentialtobea scienceofsocialrelevancegeneratingvaluableknowledgeaboutthepastandpresent.

9.00–10.30 Room309 RépertoireInternationaldesSourcesMusicales(RISM) AdvisoryCouncil(openworkingmeeting) Chair:ArminBrinzing(InternationaleStiftungMozarteum,Salzburg)

9.00–10.30 Classroom527 IAMLOutreachCommittee Workingmeeting(open) Chairs:JonBagüés(ERESBIL–BasqueArchivesofMusic,Errenteria)

10.30–11.00 MorseHall Tea&coffee

11.00–12.30 WillsonTheater Musicandthesemanticweb PresentedbytheIAML/IMSProgrammeCommittee Chair:TimCrawford(ProfessorialResearchFellowinComputationalMusicology,Goldsmiths,University ofLondon)

89  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   RodolpheBailly(PhilharmoniedeParis[formerlyCitédelamusique],Adjointàladirection,responsable ressourcesetsystèmesd'information,Paris),CécileCecconi(PhilharmoniedeParis(formerlyCitédela musique),Chefdeprojet,responsablecatalogueetnormes,Paris) Musicandsemanticweb,ongoingprojectsatthePhilharmoniedeParis ThePhilharmoniedeParisResourcesCenter(formerlytheCitédelamusiqueMediaLibrary)iscurrentlyundertaking severalprojectsusingSemanticWebTechnologies.Workingsince2yearswiththeFrenchMinistryofCultureDepartment ofDigitalProgramsonanationalprogram,wearehelpingtodemonstratethebeneficesculturalinstitutionswouldgainto usethesetechnologiesduringproductionandexpositionofculturalmetadata.Inthiscontext,aproofofconceptisbeing builtintheMusicdomain,aimingtointerconnectseveralmajorFrenchcorpuses.Inaddition,wearepartoftheDOREMUS projectwiththeFrenchNationalLibraryandRadioFrancealongwith3researchteams,whichgoalistoprovidecommon knowledgemodels(ontologies)andsharedmultilingualcontrolledvocabulariestoculturalinstitutions,publishersand distributorsintheMusicdomain.Theprojectwilldevelopmethodstopublish,share,connect,contextualizeandupdate musiccatalogsonthewebofdata.Finally,asnewMuseumsfromallovertheworldareaddingtheircollectiontoMIMO (MusicalInstrumentsMuseumOnline),itsThesaurusisricherandistranslatedintonewlanguages.ThisThesaurusisnow fullyavailableinLinkedOpenData,thusfosteringinterconnectionbetweenMusicrelatedcorpus.ThisPaperwillreportthe ongoingprojectofthePhilharmoniedeParisPôleRessourcesinthesemanticwebdomain.  SergioOramas(MusicTechnologyGroup,PompeuFabraUniversity,Barcelona),MohamedSordo (MusicTechnologyGroup,PompeuFabraUniversity,Barcelona) Knowledgeacquisitionfrommusicdigitallibraries Avastamountofmusicalknowledgehasbeengatheredforcenturiesbymusicologistsandmusicenthusiasts.Mostofthis knowledgeisimplicitlyexpressedinartistbiographies,reviews,facsimileeditions,etc.MusicDigitalLibrariesmakethis informationavailableandsearchable.DocumentsareindexedandkeywordͲbasedsearchisgenerallyprovided.However, implicitknowledgepresentintextisnotunderstoodbymachines,socomplexqueriescannotbeanswered. Asafirststeptowardstheapproximationofmachineunderstandingtotheaccumulatedmusicologicalknowledge, documentsstoredinDigitalLibrariesmustbesemanticallyannotated.Currentdescriptivemetadataandmarkup annotationsprovidesomestructuredinformation.Nevertheless,itisinsignificantcomparedwiththeepistemicpotentialof thesourcetext.Oncedocumentsareproperlyannotated,complexstructuresandmeaningfulrelationsbetweenpiecesof informationmayemerge.Thissupportsaparadigmshift,fromkeywordͲbasedsystemstoknowledgeͲbasedsystems,hence enablingmusicologiststoformulatemorecomplexqueries.Asaconsequenceofthat,DigitalLibrarieswillturnintoreal knowledgeenvironments,insteadofmeresearchablerepositories. Manualannotationofdocumentsisveryexpensive,andsometimesunwieldy.Thus,theuseofreliable,automatic processesiscrucialtobuildknowledgeenvironments.Inthelastfewyearsseveralstudiesandapproachesontheuseof SemanticWebtechnologiesinDigitalLibrarieshavebeenproposed.Theresultoftheseintersectionhasbeencoinedas SemanticDigitalLibraries.MostoftherelatedworkisfocusedontheacquisitionofSemanticWebmethodologiesfor knowledgerepresentation,which,amongotheradvantages,facilitatesinformationexchangebetweenmultipleknowledge bases.InthecaseofMusicDigitalLibrariesthough,toolsandmethodologiesdevelopedaroundtheSemanticWebfor automaticknowledgeacquisitionhavereceivedlessattention. Inourwork,anextensivesurveyisprovidedabouttheapplicabilityandperformanceofstateͲofͲtheͲartsemantic technologiesforknowledgeacquisitionfromMusicDigitalLibraries.Thesetechnologiesareadaptedtofulfillthe requirementsandspecificityofthemusicdomain.Anevaluationofanalyzedtoolsisperformedoverartistbiographiesand FlamencoMusicarticlesgatheredfromdifferentsources(e.g.TheGroveDictionary,Wikipedia).Anexhaustiveoverviewof thepossibilitiesthataknowledgelayermayoffertoMusicDigitalLibrariesisexposed.Finally,someguidelinesforfuture workinthisresearchdirectionarealsoprovided.  BenjaminBird(StudentResearchAssistant,BrighamYoungUniversity,Provo,UT) OBPSunveiled:AnIndextoOperaandBalletPrimarySourcesOnlineandtheresearchitenables TheOBPSIndex(http://atom.lib.byu.edu/obps/advanced)waslaunchedatBrighamYoungUniversityinMay2012.Three yearslater,ithasreachedamaturityanddepthofcoveragethatmeritsaformalunveilingtotheIAMLandIMSaudience. AsofNovember2014,itlinkedtomorethan16,000digitalprimarysourcesrelatedtoopera,ballet,andothergenresof dramaticmusic,includingnineteenthͲcenturyFrenchvaudeville.Itisanticipatedthattheindexwillexceed25,000records bythetimeoftheIAML/IMSconferenceinJuly2015.Itbringstogetherresourcesscannedaspartofmorethantwenty differentdigitalinitiatives,includingtheInternetArchive,Gallica,InternetCulturale,andtheMusicTreasuresConsortium, aswellasholdingsfrommanyindividualinstitutionalrepositories.Theprojectdoesnotinvolveharvestingmetadataorthe actualdigitalfiles.Rather,itsimplypointstoresourcesandtheirmetadatawheretheyalreadyresideontheInternet.In thisregard,theindexcanbeviewedasapracticalapproachtoorganizingthevastandgrowingnumberofmusicdigital resourcesavailableonline.ItisbasedontheideathatthemosteffectivemeanstoharnessthewealthofInternetresources istocreatebibliographictoolsthatunitecommunitiesofresearchersinterestedinacommontopicorbodyofmaterials.

90  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   OBPSindexesavarietyofdigitalsourcesincludingscores,setsofparts,librettos,miseenscène,programs,andother archivaldocuments.Itcoversbothprintandmanuscriptresources.Themetadatastructurefortheindexisintentionally simple.Ratherthanduplicatingexistingmetadata,theindexprovidesselectinformationaimedatfacilitatingspecialized searchingtypicalofresearchassociatedwithdramaticmusicgenres.Forexample,theindexenablesnamesearchingby specificroles,i.e.,composer,librettist,arranger,choreographer,andevencopyistwhenidentified.Advancedsearch featuresenableselectionbyclearlystatedformats,bothgeneralandspecificgenres,andautographdesignations. SearchingbyRISMnumberandRISMlibrarysiglaisalsopossible.Tofurtherrefinethesimplifiedsearchinterface,OBPS standardizestitlesbythepremierversionwhilealsocrossͲreferencingvarianttitles.Consistentwiththemovementtoward linkeddata,italsoprovideslinkstorelatedresourcesthatcanexpandtheresearchers’accesstohelpfulsupporting information.BridgestoexternalresourcesthatarecurrentlyinprogressincludelinkstoRISM,theStanfordFirstNight index,andCésare. WhileofferingaconciseoverviewofOBPSfeatures,thepresentationwillfocusmoreextensivelyonhowtheindexcan facilitateadvancedresearch.Itwilldemonstratehowresearcherscan(1)bringtogetheressentialdocumentsforsource studies,(2)studyvariantusesofspecificgenredesignations,(3)useOBPStoconductresearchoncopyists,and(4)evaluate historicaltrendsandrelationshipsamongcomposersandpublishers.

11.00–12.30 Room543 Usingdigitaltoolsforresearchandthepreservationoftheculturalheritage PresentedbytheIAML/IMSProgrammeCommittee Chair:CarolynDow(LincolnCityLibraries,Nebraska) RoseNorton(BrighamYoungUniversity,Provo,UT) Gallicaandmusicresearch AmongthegrowingnumberofInternetconsortia,Gallicaisperhapstherichestindigitalaccesstoprimarysourcesrelated toopera,ballet,andotherformsofdramaticmusic.CertainlyfortheFrenchrepertory,itisunsurpassed.Searchingfor aspecificandknownindividualitemmaybeastraightforwardprocess.Duetoinconsistenciesinmetadataandvarious formsofsubjectaccess,however,searchingmorebroadlyformusicalgenresorforcategoriesofmusicotherthan aspecificworkcomposercanbemorecomplicatedandfrustrating. ThispresentationwillofferabroadoverviewofdigitalmusicresourcescurrentlyavailablethroughGallica,focusingon dramaticgenresincludingopera,ballet,andvaudeville.Thevariousparticipatinginstitutionsandtheextentoftheirunique contributionswillbeevaluated.Highlightsofthemostvaluabledocumentswillbepresentedinthecontextoftheir researchpotential.BriefcomparisonswillbemadetoparallelresourcesintheInternetArchive,InternetCulturale,and otherselectdigitalrepositories.Thesurveywilladdressallkindsofprimarysourcesincludingscores,parts,librettos, recordings,andrelevantarchivaldocuments,bothprintandmanuscript.Thevariouslevelsofqualityofthescanned documentsandcompletenessofmetadatawillalsobeexamined. Afterthisintroduction,specificconsiderationwillbegiventostrategiesthatcanbeimplementedtoproducethemost effectiveandcompleteresultswhensearchingforspecificrepertories.Nuancesinmetadatathatcomplicatemorebroadly basedsearcheswillbeidentifiedandvariousmeanstoovercometheseobstacleswillbeprovided.Ideasonhowmusic resourcesinGallicacanbeexportedandusedtoenrichlocaldiscoverysystems,selectiveindexes,andspecializeddigital musicconsortiawillbepresentedwithtimeleftfordiscussionanddebate.  EnidNegrete(Invitedresearcher,CentroNacionaldeInvestigación,DocumentacióneInformación Musical“CarlosChávez”delInstitutoNacionaldeBellas,MéxicoCity),AlbertoPérezͲAmador (ResearcherandProfessor,UniversidadAutónomadeMéxico,MéxicoCity) TheMexicanSpanishoperadatabase:Adigitaltooltoprotectanunknownheritage Thisprojectinvolvesthecreationofthefirstdatabasetogatherinformationonlibrettists,composers,works,performers, andproducersofoperainMexicoforthepurposeofmakingaccessibleinformationaboutthreehundredyearsofoperain MexicoandSpain. Thedatabasewillprovidereliableinformationnotonlyonworksandcomposers,butalsoonthelocationofscores,their condition,andreception.Inthatway,itwillprovideanoverviewofthedifferentfilesandsourcesofMexicanandSpanish opera,aswellasongoingresearchandnewsreleasesabouttheachievementsofoursingerswithinandoutsideour countries. TheinstitutionsparticipatingintheprojectaretheCentreforResearch,DocumentationandInformation“CarlosChávez” (CENIDIM),INBA(InstitutoNacionaldeBellasArtes),andtheUniversidadAutónomaMetropolitanaͲIztapalapa,Mexico.In addition,weareintheprocessofcompletingacollaborationagreementwithMAEͲDocumentationCentredesArts Escèniques,theInstitutdelTeatreofBarcelona.WearealsoplanningtocontacttheTeatroColóninArgentinaandthe MunicipaltheatreinChile. Relevanceofresearch

91  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   ThenecessityandimportanceofthisdatabasecomesfromthelackofreliablescientificsourcesforthisaspectofMexican andSpanishculture.Actually,mostexistingstudiesareoftenbasedoninsecuredata,andsupportedbyfewreference sources.ThedifferentactivitiesinoperaticproductioninMexicoarenotbornofknowledgeandcritiqueofhistoricalfacts andcontemporaryrealities.Therefore,adatabaseofthisnaturewouldfacilitatefurtherresearchandbetterrelationships betweenartists,theoristsandperformers,becauseoneofourmostimportantproblemsisthatmanyofouroperashave beenwrittenbutnotperformed. OuroperatictraditionisasoldasthatofRussiaandSweden.However,despiteitshistoryandcontinuity,ithasnotbeen consideredasanationalculturalmanifestation.Afterthreehundredyearsofoperatradition,thegenreisstillconsidered aforeignoralienart.TheMexicanͲSpanishdatabaseaimsto,finally,provideausefulresourcetounderstandthetradition ofoperainMexico.  ZaalTsereteli(Director,NN(L)E“Anchiskhatelebi”,Tbilisi,Georgia),LevanVeshapidze(Lecturer,High SchoolforGeorgianFolkSongandChant,Tbilisi,Georgia) TheempiricalresearchofaGeorgiansoundscale TherestillareauthenticsingersinGeorgia,aswellasintheothercountries,singinginsomeunusualmusicalscaleforthe modernage.Itisquiteeasytoseethatdifference,althoughtodeterminetheexactcharacterizationofGeorgianmusical scaleisamuchmoredifficulttask.Toclarifytheissue,thefollowingmethodhasbeenelaborated:spectralanalysisofearly 20thͲcenturyarchiveaudiorecordingsofprofessionalGeorgiansingers,obtainingthefrequenciesoffirst(upmost)part singerandretrievalofthemusicalscalebymeansofthestatisticalanalysisofthedata.Thesamesoundscalefordozensof oldaudiorecordings—7Ͳtoneequaltemperament—hasbeendetectedbyapplyingtheabovementionedmethod.Despite ofthis,thereexistsomerecordingsofoldauthenticchoirs,whosescalediffersfromthatofequaltemperament.Historical observationsfromthebeginningofthe19thcentury,concerningthepracticeofusing“notesinbetween”byGeorgian musicians/performers,enabledustoexplainthatdifference.Detectionoffrequenciesofsecond(middle)andthird(bass) partsingersfromoldprofessionaltrios’audiorecordingsprovedtobeimpossible.Ontheotherhand,thefollowing assumptionlooksquitenatural:allofthethreepartperformers,whilesinging,aretryingtoretainpurityoffifthsand octaves.Totestourtheoreticalfindingsinpractice,manycomputermodelsoffolksongsandchantshavebeencreated. TheempiricalresultsandsimilarityofcomputerͲmodeledsongstotheoriginals,encouragedustoexpressouropinion aboutthemainpointofGeorgianprofessional(church)andfolkmusicscaleintheformofthreepropositions.Becauseof itsgeneralcharacter,themethodofprocessingtheaudiorecordingsofauthenticperformers,describedinthepaper, mightbeutilizedtoretrievemusicalscalesofothernationsaswell.

11.00–12.30 Room309 Poland,Estonia,Russia  PresentedbytheIAML/IMSProgrammeCommittee Chair:EwaHauptmanͲFischer(MusicDepartment,UniversityofWarsawLibrary,Warsaw) HannaBias(SeniorLibrarian,theKarolSzymanowskyAcademyofMusicLibrary,Katowice,Poland) TheproblemofTadeuszPrejzner’sscatteredlegacyinthecollectionsoftheKarolSzymanowski AcademyofMusicLibraryinKatowiceandtheelectronicintegrationoftheinformation ThelegacyofTadeuszPrejzner—educator,composer,animatorofmusicallifeinKatowiceintheyears1929–1939—was senttotheKarolSzymanowskiAcademyofMusicLibraryfromtheKarolLipinskiMusicSocietyinRadzyŷPodlaski. Consecutively,foraboutamonth,thepackageskeptarrivingtotheLibrary—25intotal.Afterunpackingallofthem,the classificationprocessstarted,inthefirstplace,intothegroupofcategoriesunderlegacy.Theclassificationfocusedonthe mostvaluableitems:personaldocumentsofaprofessorassociatedwiththemusicallifeofKatowiceduringtheinterwar period,publishedreviewsandpressreleasesbyPrejzner,preservedfragmentsofcorrespondence,documentsofSilesian musicallife,studentattendancelists,andphotographs.ThecollectionalsoholdsothermaterialsaboutTadeuszPrejzner, mostlyrelatedtohisactivitiesbeforesettlinginKatowice,thatweregivenbyhiswifeEmiliain1975. ItisanextremelyvaluablecollectionespeciallybecauselittlewasknownaboutthemusiceducationsysteminKatowice’s ConservatoryofMusic,whichwasestablishedin1929.ThespecialcollectionsareintheArchives,foundedin1968 alongsidetheLibrarytofillagapinthedocumentationofearlyandcontemporarymusicalcultureoftheSilesianregion. TheArchiveisfocusedonthecollectionofcreativeendeavorsandsociallifedocuments.Thedevelopmentofthespecial collection,namelythesetofTadeuszPrejzner`sdocuments,iftheLibrary’sclassificationsystemsarefollowed,wouldlead tothedispersionofthislegacy.Programs,personalnotes,newspaperclippings,andotherdocuments,ifseparatedfrom Librarycollections,wouldmakeitdifficultforresearcherstolookforinformationabouttheprofessorandthedocuments relatedtotheartisticlifeofKatowice.Ontheotherhand,puttinginoneplacePrejzner`sheritagewillcreatetheneedto reclassifyalreadycataloguedmaterialsthatweresubmittedin1975.AlthoughtheArchivehasimplementedacomputer programthatallowselectroniccataloguingofthecollections,itspotentialislimitedtoprograms,posters,andphotographs.

92  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Aftertheanalysisofthedevelopmentplansandtakingintoaccounttheissueofexposureofthespecialcollections,the digitalplanhasbeenimplemented.ElectronicintegrationofinformationfromtheTadeuszPrejzner`scollectionwillcollect basicmetadata—bothtechnicalanddescriptive,thatwillbeenoughtofindthedocumentandprovidebasicinformation aboutthecontextinwhichthedocumentisfound.  HeidiHeinmaa(Head,SheetMusicDepartment,NationalLibraryofEstonia,Tallinn,Estonia) DigitalresourcesinEstonianarchivesandlibrariesthatfurthermusicresearch MyresearchintomusicallifeinTallinninthe18thcenturycontinuesearlierstudiesinthefieldofmusichistoryinEstonia. AstherewerenogreatcomposersinTallinnduringthatcentury,Iconcentrateonlocalmusicalinstitutionsaswellason theroleandfunctionsofmusicinsociety.Thissubjectiscloselyrelatedtothesocioculturalcontext,and,consequently,the rangeofresearchsourceshasbeenwidenedtoincludedifferentkindsofdocumentsreferringtomytopic.Forexample, archivalrecords,suchasprotocolsofthetowncouncil,cashbooks,citizenͲbooks,birthcertificates,wills,probateinventory lists,petitions,iconographicalsources,etc.,acquirespecialvaluehere,providinginformationaboutmusicians’everyday life,suchaslivingconditionsandconsumptionhabits,activitiesandinterests,concernsandproblems.Inaddition,various typesofprintedmaterials,suchashistoricaldescriptions,memoirs,letters,etc.,areimportantsourcesthatprovide contextualinformationaboutlocalcultureandcircumstances.Frommyownexperience,theonlinedatabasesand repositoriesofvariouskindsofdigitizedmaterialshaveprovedextremelyusefulinconductingmyresearch. MypapershallpresentdigitalresourcesatEstonianarchivesandlibrariesthatholddigitizedmanuscriptsandprinted materialsrelevanttotheresearchintomusicandmusichistory.1)SAAGA(http://www.ra.ee/dgs/explorer.php),a repositoryonlinethatcomprisesdigitizedarchivalrecordsfromtheNationalArchivesofEstoniaandtheTallinnCity Archivesandtowhichnewdocumentsareaddedregularly.2)DIGAR,thedigitalarchiveoftheNationalLibraryofEstonia (http://www.digar.ee/arhiiv),whichstoresprintfiles,onlinepublications,anddigitizedcopiesofpublications,containing collectionsofbooks,newspapers,journalsandmagazines,maps,sheetmusic,soundrecordings,photos,andpostcards. TherecentversionofDIGARisdesignedfortabletsandsmartphonesaswell.3)DSpaceattheUniversityofTartu (http://dspace.utlib.ee/dspace/)isarepositoryofallelectronicmaterialsincludingdigitizedbooksandtheses,manuscripts, images,alsoeͲpublicationsandeͲtheses.4)EEVA,theDigitalTextRepositoryforOlderEstonianLiterature (http://www.utlib.ee/ekollekt/eeva/),whichcontainsacollectionofrareprintedtextsthathaveplayedanimportantrole inEstonianculturalhistory.5)KIVIKE(http://kivike.kirmus.ee/),thegeneraldigitalrepositoryoftheEstonianLiterary Museum,whichcontainsdigitalcopiesofmanuscripts,prints,photos,soundrecordingsandotherdocumentsonEstonian culturalhistoryandfolklore;thepriorityisgiventobooksbelongingtothecollectionoftheRedBookofEstonian Publications(1632–1917).Additionally,theDigitalCollectionoftheArtMuseumofEstonia(http://digikogu.ekm.ee/) shouldbementioned,asitisthemostcomprehensiveonlinedatabaseofEstonianartcontainingrecordsoftheartworks thatalsoincludemusicͲrelatedimages.  SvetlanaZvereva(Tutor,RoyalConservatoireofScotland;CoͲDirector,RusskayaCappellaChoir, Glasgow) ThevanishingarchivesofRussianchoirmusiciansbeyondRussia’sborders:Searching,digitizing, researchingthem,andusingtheminpractice[CANCELLED] Russia’shistoryinthetwentiethcenturygeneratedamassiveexodusofherpeople,withthelargestwavesstemmingfrom theOctoberRevolutionandtheSecondWorldWar.Manynationstatesfoundtheirpopulationsaugmentedbythousands ofmusicianstrainedintheRussianEmpireandtheUSSR.However,onlyafewstars(suchasRachmaninoff,Stravinsky, Gretchaninoff,andChaliapin)litupforeignskies.Themajorityofémigrésmadeonlyfairlymodestcareers,workinginthe diaspora—inchurches,Russianeducationalestablishments,musicalorganisations,restaurants,cabaretsandcinemas. ChoralandensemblesingingbecamethemostwidespreadformofmusicͲmakinginthediasporaandchoralcomposition witnessedrapidgrowthoutsidetheUSSR.Émigrésalsoorganisedmanyconcertchoirsandvocalensemblesthattoured manycountries.ThebestknownofthemistheDonCossackChorusdirectedbySergeJaroff.Articlesinperiodicals,record cataloguesandconcertprogrammesshowthatsuchensemblesgreatlyenhancedthemusicallifeofmanycountries. Lifeinemigrationofteninvolvedmovingabout,whichcausedmanyarchivestobelost,sometragically.Theremnantswere ofteninthehandsofheirsorchurches.Majorarchivesfrequentlydidnotacceptémigrémusiccollections,and, consequently,ahugenumberofprimarysourcesforthehistoryofRussianmusicalemigrationhavebeenirretrievablylost. Aimingtorecoverwhatremainsofthecollectionsofmusiciansactiveinchoralmusic,theauthorhassince2000been identifyingandcopyingrelevantarchivalmaterialinseveralcountries(theUSA,France,Italy,GermanyandtheUK).The initialemphasiswasonprivatelyownedarchives,churches,andRussianinstitutions.TheholdingsofStatearchives, colleges,anduniversitiesalsowereinvestigated.Materialsonsalethroughinternetauctionsalsohavebeencopied.Atthe presenttime,theauthorhasgatheredtensofthousandsofdigitalcopies.Collatingthesedocuments,insomecases,allows ustoreconstructnotonlyscatteredcollections,butalsovolumesofsheetmusic,fromwhichindividualpageshaveturned outindifferentcountries.

93  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   Thepaperdealswiththeexperienceofcollatingadigitalarchiveofthiskind,whichinsomeinstanceshasallowedlost musictobeheardagain.Italsooutlinesthenecessityofpreservingcollectionsthatrecordthecareersofmodestyethighly educatedandtalentedmusicians.

11.00–12.30 BrunoWalterAuditorium Audioresources  PresentedbytheIAML/IMSProgrammeCommittee Chair:RogerFlury(PastPresident,IAML,UK) BrewsterKahle(FounderandDigitalLibrarian,InternetArchive,SanFrancisco,CA),BobGeorge (FounderandDirector,ArchiveofContemporaryMusic,NewYorkCity,NY) Buildingmusiclibraries TheInternetArchiveisworkingwithpartnerstopreserveourmusicalheritageandmakethatdataavailabletoresearchers foranalysis.Wehavealreadyarchivedmorethan10milliontracks,andweareworkingwiththeArchiveofContemporary Musicandotherstobringmorepublishedmusicintothecollection.Wearesupplementingthemusicwithmeticulous metadatafromMusicBrainz.org,andresearchersfromuniversityprogramshavebeguntoanalyzethemusic.Wewill discusstheresearchthathasalreadytakenplace,explorepossibilitiesforfurtherpartnerships,andtalkabouthowothers canaccessthislargecollectionforresearch.  WhitneySlaten(Ph.D.candidate,Ethnomusicology,ColumbiaUniversity,NewYork) Transparency,color,andliveness:AnethnographicstudyofthelivesoundengineeringofPorgyand BessonBroadway Howdolivesoundengineers’considerationofsocialandtechnologicaltransparencybothclarifyandobfuscatecolorations ofmusicalsoundintheprocessofamplifyinglivepopularmusic?Inadditiontoamplifyingmusictointelligiblesoundlevels foraudiences,engineersalsoamplifymusicinwaysthatasserttheirhiddensoundart,workingtosonicallyandvisually maskthemselvesandtheirequipment.Transparencyisanindustrialideologythatoutlinesmethodsoffaithfully reproducingsoundswithoutcoloringorobscuringanoriginalquality.Engineersusetheterm“transparency”intheir discoursetodescribethishiddenmodeoflaborandthefunctionalityofamplificationequipment.However,livesound engineersinevitablyandstrategicallyresistthisideologybycreativelycoloringmusicalsound.Thesecolorationsnotonly occurtechnologically,butthroughtheculturalexpectationsandmusicalityoftheengineerwhomixes.Thepracticeof engineeringlivesoundinvolvesnegotiatingaseriesofsoniccolorations thatengineersassociatetothevisualityofcomputerͲbasedgraphicequalizersettings.Thesesoniccolorationsor resonancesdescribeacousticdimensionsofaperformancevenue,resonanceexpectationsofmusicalgenres,aswellasthe resonancesofhumanhearing.Thus,thepracticeoftransparencyentailsengineers’faithfuladherencetofulfillingthese resonanceexpectations,aswellasafaithintheirownexpectationsforsonicqualitiesofmusicalcolor. DrawingonrecentethnographicfieldworkattheBroadwayproductionofGershwin’s“Porgy&Bess,”thispaperanalyzes themixingpracticeofalivesoundengineerinrelationtothesocialscienceofsoundengineeringandstudiesofcreative labor.  JoshuaNeumann(Ph.D.candidate,HistoricalMusicology,UniversityofFlorida,Gainesville) Fromthenuntilnow:DigitalmodelsofperformancesandtraditioninPuccini’sTurandotattheMet Tradition,asanontologicalumbilicalbetweenmusicmakersandconsumersacrossamultitudeofyears,interrelatesthe pastandpresentinwaysoftenunseenorimperceptible.Theyconnectmusicalpracticesofcomposition,performance,and evenaudiencebehavior,andareperhapsmostapparentinopera.Inthespringof1961,GiacomoPuccini’sfinalopera, Turandot,returnedtothestageattheMetropolitanOperaafteranabsenceofover30years.Thebroadcastofthis productionboastedthestarpowerofFrancoCorelliasCalafandLeopoldStokowskionthepodium,markinga reinvigorationoftheopera’sperformancetraditionintheUnitedStatesaftera30ͲyearhiatusfromtheMet’sstage.Nearly 50yearslater,TurandotappearedagainontheMet’sstageandovertheair,thistimewithMarcelloGiordaniasCalaf underthebatonofAndrisNelsons.Theseperformancesrepresent,respectively,thefirstandmostrecentavailable installmentsofTurandotattheMet,thusservingasbookendsthatreflectbroadlyhowinterpretationsofthisworkhave changedoverahalfͲcentury.Performancesandtheirconventionsareaninextricablepartofanymusicalwork.Thus, garneringageneralsenseofatraditionispossiblethroughlisteningtorecordingsofperformancesandreadingrelated reviews.Developinganunderstandingofwhatspecificbehavioralchangesorconsistenciesconstitutethisconnectionhas untilnowprovenelusive,largelyduetoinherentambiguitiesinqualitativemethodologies. Todate,scholarshavedonesignificantworkwiththeanalysisofquantifiedperformancephenomena,regardingboth musicalcreation(composingandperforming)andconsumption.Invariably,themostcommonlyconsideredperformance phenomenonhasbeentempo,mostprominentlyacrossanentireperformance.Morelocalizedtemporelationshipshave

94  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   emergedinscholarshipmorerecentlyastechnologyhasenabledpreciseinvestigationthroughexpandedmethodologies. Inthispaper,IanalyzeFrancoCorelli’s1961andMarcelloGiordani’s2009performanceswithrespecttobeatͲtoͲbeat temporelationshipsandrhythmicphrasinginCalaf’sarias“Nonpiangere,Liù,”and“Nessundorma!”Suchananalysis illuminatesthedramaticpacing,whichiskeytobothPuccini’sconcernsaboutperformanceofhisworks,aswellasan understandingofallotherperformancephenomena.Throughdigitalandmathematicalanalysisofmusicalphenomena preservedinrecordingsofthesetwoperformances,Idemonstratehowtheadditionofstatisticalanalysistoconventional musicologicalmethodscanbringscholarsalittleclosertowarddefiningtradition.

11.00–12.30 PaulHall Iconography(II) PresentedbytheInternationalMusicologicalSocietyandAssociationRépertoireInternational d’IconographieMusicale(RIdIM) Chair:DinkoFabris(President,InternationalMusicologicalSociety;ProfessorofMusicHistory, ConservatoriodiMusicaSanPietroaMajella,Naples,andtheUniversityofBasilicata,Potenza,Italy) Seedetailsonpages86–89.

11.00–12.30 Room340 RépertoireInternationaldesSourcesMusicales(RISM) CommissionMixte(closedworkingmeeting) Chair:WolfͲDieterSeiffert(PresidentofRISM,RISMCommissionMixte,München)

11.00–12.30 Classroom527 IAMLCataloguingCommission WorkingMeetingforCataloguingIssues Chair:JosephHafner(McGillUniversity,Montréal)

12.30–13.45 Lunch

13.45–15.15 PJSharpTheater IAMLGeneralAssembly(II) Chair:BarbaraDobbsMackenzie(President,IAML,RILMInternationalCenter,TheGraduateCenter, TheCityUniversityofNewYork)

13.45–15.15 PaulHall Reflectionsonphilology PresentedbytheIMSProgrammeCommittee Chair:CatherineMassip(anciennedirectriceduDépartementdelaMusique,BibliothèqueNationalede France) GuillaumeDeveney(Ph.D.candidate,l’Universitéd’AixͲMarseille,France) Lerôledelaphilologienumériquedansl’analyseetlacompréhensiondesmusiquesactuelles:Lecas de‘nouvellestextualitésmusicales’ LedéveloppementrécentdelaphilologienumériqueautraversdestravauxdeFrançoisRastier(2001)aentraînéle développementquelquesannéesplustardd’unnouveaucourantdelaphilologiemusicaleenItalieconnusouslenomde «nouvellestextualitésmusicales».Apartirdestravauxd’AngelaͲIdaDeBenedictis,publiésdansl’ouvrageLafilologia musicaledeMariaCaraciͲVela(2005),cemouvements’estintéresséàl’étudedesnouveauxmodesdeconservationetde transcriptiondelamusiquequ’ouvrelatechnologienumérique.Cettenouvelleperspectivedelanotiondetextualité, orientéeégalementparlesthéoriesdutextedeBarthesouencoreDerrida,renvoieàunversantdel’étudedesmusiques actuellesencoretroppeuétudiées:letextenerenvoyantplusuniquementàladimensionscripturaledelapartition,mais

95  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   àtoutelesmodalitésfaisantsensdanslaproductiondel’œuvre,qu’ellessoientauditives,visuelles,chorégraphiques,etc. Parlebiaisdecetteconception,l’étudephilologiquedesmusiquess’ouvre,amenantlechercheuràréinterrogerlanotion d’œuvrenonpluscommeréͲeffectuationdel’œuvretranscritesurpartition,maiscommereprésentationetconvergence destextualitésvisuelles,auditives,gestuellesàl’attentiond’unpublic.Sil’ons’intéresseàl’étudedesmusiquesactuelles (enanglaispopmusic),onpeutsedemandersiuneétudephilologiqueestréellementnécessaire,cerépertoireétant encoreconsidéréaujourd’huiparbeaucoupdemusicologuescommeappartenantàlatraditionorale.Or,l’apportdes nouvellestextualitésmusicalesnouspermetderéinterrogercetteaffirmationpourvoirquecesmusiques,ancréesdans l’industriemusicale,offrentdenouvellescatégoriesdetextes,deparatextesetd’avantͲtextes.Unerechercheplusprécise estalorsàenvisagerpourendéfinirlesapportsphilologiques. L’objectifdecetteconférenceestdemettreenévidencecesnouvellestextualitésquenousaoffertcerepositionnement théoriquedelaphilologiesurl’enjeudunumérique,maisaussiévaluerlapertinencedecetteapprochedansl’étuded’un couranttelquelesmusiquesactuelles.

SusanneKogler(Privatdozentin,InstitutfürMusikwissenschaftderUniversitätGraz;Leiterindes Universitätsarchivs,KunstuniversitätGraz,Austria) KritikundPhilologiezwischenErinnernundVergessen:PerspektivenfürdieMusikforschungim digitalenZeitalter SeitderberühmtenKontroversezwischenUlrichvonWilamowitzͲMoellendorffundFriedrichNietzschewurdenPhilologie undKritikoftalsGegensätzebetrachtet.SounterstrichbeispielsweiseJeromeMcGanninseinemunlängsterschienenen BuchANewRepublicofLetters:MemoryandScholarshipintheAgeofDigitalReproduction(2014)dieBedeutungder PhilologiefürdasBewahreneinerErinnerungskulturimdigitalenZeitalter.AnKritischeTheorie(TheodorW.Adorno), postmodernesDenken(JeanFrançoisLyotard)undpolitischePhilosophie(HannahArendt)anknüpfend,zieltdieserBeitrag daraufab,dieKluftzwischenbeidenSeiten,diemitunterauchfürdieHaltungdesErinnernsbzw.Vergessensstehen,zu überbrücken.DieHauptthesewirdsein,dassgeradeinderdigitalenÄra,inderdie“kleineErzählung”anBedeutung gewinnt,sowohlphilologischesalsauchkritischesDenken,sowohlErinnernalsauchVergessen,unabdingbarsind.  Wieichausführenwerde,sindesgeradedie“digitalenGeisteswissenschaften”,dieeineVerbindungvonKritikund Philologieleistenkönnen.DennderWechselvonGeisteswissenschaftzudigitalerGeisteswisenschaftbetrifftnichtinerster LiniedenEinsatzneuertechnischerMittel,sondernbringtdieNotwendigkeiteinermethodischenRevisionmitsich.Dies korrespondiertmitderindenletztenJahrenhäufigkommentiertenKrisederGeisteswissenschaften,dieauchdie Musikwissenschaftberührt. MittelsdigitalerTechnologienkönnenArchiveneuePerspektivenundEinsichteninihreBeständebieten.Diesesind bekanntlichnotwendigerweiseimmerfragmentarischundsubjektiv.DieHerausforderungbestehtnundarin,interaktive Präsentationsformenzuentwickeln,dievondenBenutzernundBenutzerinnenentsprechenddenjeweiligenInteressen undFragestelllungenmodifizertwerdenkönnen.DadurchentstehteineDynamik,dieeserleichtert,dassneueEinsichten entstehenundviele“kleineErzählungen”dieeine“große”ersetzen.ZudemtrittdersubjektiveundephemereCharakter jederPerspektivehervor. AmBeispielvonDokumentenausdemUniversitätsarchivderUniversitätfürMusikunddarstellendeKunstGraz, Österreich,wieProgrammheften,EssaysundKonzerteinfühungenwerdeichdieRezeptionvonWerkenneuerMusikund desklassischenKanonsinHinblickaufKonstantenundVeränderungenimLaufedes20.Jahrhundertsuntersuchen.Dabei werdeichzeigen,dasssowohlfürdieForschungalsauchfürdiePräsentationderErgebnissedigitaleTechnikendazu beitragenkönnen,kritischeundphilologischePerspektivenzuverbinden.DennindigitalenUmgebungenkannsowohldie notwendigeKontextualisierungalsauchdiekritischeAktualitätindynamischerFormgewährleistetwerden.ImBesonderen dieMöglichkeitdesVergleichsvonaltenundneuenKontextenträgtzuneuenEinsichtenbeiundunterstreichtdadurchdie NotwendigkeitvonErinnernundVergessenfüreinadäquatesVerständnisunserergegenwärtigenMusikkultur.

13.45–15.15 WillsonTheater Naples:Reconstructingmusicallifeandinfluence PresentedbytheIMSProgrammeCommittee Chair:EmilioRosͲFábregas(SpanishNationalResearchCouncil[CSIC],InstitucióMilàiFontanals, Barcelona) RodolfoZitellini(Collaborator,RISMSwitzerland,Berne;UniversitédeFribourg,Switzerland),Angela Fiore(ResearchAssistant,UniversitédeFribourg,Switzerland),ClaudioBacciagaluppi(Collaborator, RISMSwitzerland;UniversitédeFribourg,Switzerland) ’MUSICONAPOLITANO’:AnonlinebiographicalindexofmusicprofessionsinNaples Forcenturies,thecityofNapleshasbeenaturningpointformusicianscomingfromdifferentpartsofItalyandEurope. ParticularlyduringthetwocenturiesofSpanishdominationandthesubsequentAustriandomination,fromtheearlyͲ

96  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   sixteenthtotheearlyeighteenthcenturies,theintensecirculationofmusicandmusiciansgavebirthandsteadilyincreased thereputationofNaplesasacapitalofmusic.However,anorganicreconstructionofthemusicalactivitiesandespeciallyof thecirculationofmusiciansbetweendifferentinstitutionsofbothcivilandreligiouscharacterislackingtodate.Thisisdue tothegreatquantityofheterogenoussources,whichmakeitdifficulttocorrelatethemwithtraditionalresearchmethods. Thisdocumentationiscontainedinsourcesofdifferingnature,suchaschronicles,accountbooks,deeds,documents internaltotheinstitutions,correspondenceetc. The“MusicoNapolitano”onlinebiographicalindexisadatabasehostedbytheUniversityofFribourg(Switzerland).Itaims togather,extract,andestablishconnectionsinthishugeamountofbiographicaldata.Informationisclassedindifferent indexes,includingtranscribednames(asonthesource),standardizednames,institutions,andprofessions.A“fuzzy search”functionpermitsdataretrievaldespitethedifferentspellingsofpersonalnamesinhistoricalsources.The “workers”appearinginthedatabasearenotonlymusiciansinastrictsense(singers,instrumentplayers,composers, choirmasters),butalsobelongtorelatedprofessions(librettists,impresarios,etc.)thatproveessentialinreconstructing thenetworkofmusicalandtheatricalactivitiesinNaples.Thecreationofacontinuallyupdatedindexofsimplereference, opentofurthercontributors,andgivingaccesstomoredetailedbiographicalinformationundereachname,allowsfor easilymappingthepresence,integration,andmobilityofthemusicpersonnelintheurbantextureofNaples,givingthe researcheracomprehensivesnapshotoftherelationsbetweenpeopleinthemusicalworldatthetime.  GiuliaAnnaRomanaVeneziano(ProfessorofMusicHistory,ConservatoriodiNapoli;Universidadde Zaragoza,Spain) TowardandawayfromVesuvius:Newprojectsstudyingtheinfluxanddiffusionofmusicand musicianscenteredonNaples(1650–1750) TheimpactofnewtechnologiesontraditionalarchivalresearchhaschangedconsiderablytheimageofNaplesinthe modernage,notonlyasacityrichinmusicalinstitutionsandprofessionalmusicians,butalsoasadynamiccentreof attractionformusicͲlovers,travelers,and,atthesametime,theoriginofanimpressivemusicdiasporaofhundredsof highlyͲeducatedsingers,instrumentalists,andcomposerswhospreadallaroundEuropeandalsototheNewWorld.Only theresourcesofspecificdatabasescanmakepossiblethereconstructionofthispeculiardynamicprocess,bothcentripetal andcentrifugal. Aspartoftheauthor’sinvolvementinseveralrecentprojectsthatrelyondatabasesandnewtechnologies,this presentationwilldescribetheadvantageofusingcrossͲdatastemmingfromthoseresources,inparticulartheMUSICI Project,whichdocumentsnonͲItalianmusicianspresentinNaplesbetween1650–1750(www.musici.eu);theENBACH virtualexpositionoftheSpanishKingdomofNaples(http://www.ub.edu/enbach/);andthenewinventoryofmusic collectionsattheConservatoireofNaplesinprogressaspartofacollectivedatabaseofthemusiccollectionsofItalian Conservatoirescalled“MusicaConservata.”Thethreeprojectsallowaccesstoseveralkindsofresources:a)databaseswith fullindexes;b)digitalpanelsreadableonline,withhistorical,geographical,andiconographicalinformation;andc)audioͲ videodocumentsrelatedtomusicperformedwithperiodinstrumentsandaccordingtohistoricalpraxis.Afewcaseswill demonstratethefruitfulusageofcrossͲdataforscholarsandthepotentialtostimulatemultidisciplinaryresearch,in particularontheperformingarts.

13.45–15.15 Room543 Musicandcollectivememory PresentedbytheIMSProgrammeCommittee Chair:EgbertoBermúdez(ProfessorofMusicology,UniversidadNacionaldeColombia,Bogotá) SimónPalominosMandiola(ProfessorandResearcher,UniversidadAlbertoHurtado,Santiagode Chile),GonzaloUtrerasVargas(AssistantProfessor,UniversidadAlbertoHurtado,SantiagodeChile) Imageandsoundasmemory:BuildinganaudiovisualarchiveoftheNewChileanSong/nueva canciónchilena StudiesincollectivememoryfollowanacademictrajectorythatstretchesbacktotheworkofFrenchphilosopherand sociologistMauriceHalbwachs,around1920,whosewritingswereheavilyinfluencedbyHenriBergsonandEmile Durkheim.Nevertheless,itisnotuntil1970thatmemorybecomesaresearchfieldthroughtheworkofFrenchhistorians suchasPierreNoraandHenryRousso,whoaddresscomplexprocessesofbuildingnationalmemoriesandtheproblematic relationbetweenhistoryandmemory(Milos,2007). Duringthe1990s,studiesonmemoryextendtoLatinAmericancountries,especiallythosepreviouslyaffectedby authoritarianregimes,addressingexperiencessuchasthoselivedinconcentrationcamps,throughdeportationand genocide,activelycriticizingofficialandinstitutionaldiscourses(Jelin,2002;2004).Paralleltothisprocess,an epistemologicalopeningallowedtheexplorationofdiverserepresentationalsystemsthroughwhichitispossibletoaccess collectivememory,suchasoralandliterarytestimony(Levi,2000;Sarlo,2005;Carnovale,LorenzandPitaluga,2006); cinema(Baer,2006);television(Feld,2004);andvisualarts(Spiegelman,1994).

97  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   InChile,musicalmovementssuchasNewChileanSongplayedanimportantroleinmobilizingsubalternidentitiesand denouncingthehorrorsofPinochet’sdictatorship(1973–1990).Themusicoftheseartistsisaframeworkthroughwhich collectivememoriesofresistancearetransmitted,visible(orbetter,heard)notonlyinlyrics,butalsointheinstruments, harmonicelements,andmelodicformsused.Atthesametime,audioͲvisualworkshavebeenoneofthemaincultural manifestationsofdemocraticprojectsduringChileandictatorships(suchastheNewChileanCinema,CADAand Teleanálisis),helpingtosustainahistoricalmemoryofresistance.OntheseaudioͲvisualworks,therewasanactive collaborationbetweenfilmmakersandmusicians,leavinganimportantarchivethatsurvivedcensorshipanddestruction andhavebeenrecentlythesubjectofresearchprojectssupportedbyinstitutionssuchastheNationalCouncilforCulture andArtsandtheMuseumofMemoryandHumanRights. TheobjectiveofthispresentationistoprovideanaccountoftheexperienceofbuildinganaudioͲvisualarchiveoftheNew ChileanSongintheMuseumofMemoryandHumanRights,andtoanalysetheworkscollectedinordertoidentify differentstrategiesusedbymusiciansandfilmmakerstomobilizecollectivememoriesofresistanceintherecenthistoryof Chileansociety.  MarceloCamposHazan(AdjunctProfessorofLatinAmericanStudies,UniversityofSouthCarolina, Columbia,SouthCarolina) Lundu:Musicandthepoliticsofclass,race,andnationalidentityinpastandpresentͲdayBrazil CultivatedinthesalonsandparlorsofRiodeJaneirosincetheearlynineteenthcentury,thelunduusuallyconsistedof ashortstrophic,pianoͲaccompaniedsongwithheavilysyncopatedlinesandlyricsofahumorousnature.MasterͲslave relationships,especiallyoftheamorousandsexualkind,wereoftenthesubjectmatteroftheselyrics.Thelundutitled Graçasaoscéus,thefocusofthispaper,wascomposedin1839byGabrielFernandesdaTrindade(1799/1800–1854), aprolificBraziliansongwriter.Scholarshavealreadyhighlightedtheunusualcontentoftheversesofthislundu,asober encomiumtoathenͲrecentpoliceinitiativetoeliminatevagrancyfromthestreetsofRiodeJaneiro.InthispaperIargue, however,thatthepiececommandsattentioninother,hithertounsuspectedways,waysthataretellingoftherelationships betweenmusicalmeaningandsocialidentityinBrazil,bothpastandpresent. Myargumentfallsintofoursections.Thefirstoneidentifiestheconcretehistoricalepisodealludedinthesong’slyrics:the massroundupandincarcerationofRiodeJaneiro’svagrantsandbeggarsundertakenbyorderofthelocalpolicechiefin 1838.ItwasthislittleͲknownmomentinthestillͲcurrentefforttocontrolthecity’spredominantlynonwhitestreet populationthatwascelebratedintheversesofGraçasaoscéus.Thesecondsectionconsistsofastructuralanalysisofthe piece,withemphasisonitssyncopatedrhythms—thepreeminentsignifierofAfricanothernessinurbanBrazilianmusic. Thethirdoneadoptsaperformancestudiesperspective.Graçasaoscéushasbeenabundantlyrecordedandhaslentitself toarangeofperformanceapproachesthatIquantifyandcomparebywayofacomputerͲaidedanalysis.Thefourthand finalsectionconsistsofareceptionͲbaseddiscussionoftheserecordings,onethatpointstothework’scontinuedinfluence onBrazilianclassandracerelations,aswellasitsroleintheaffirmationofamusicalsenseofBraziliannessdevelopedover thecourseofthetwentiethcentury.  IndiraMarrero(ProfessorofTheory,EscuelaNacionaldeArte(ENA)andUniversidaddelasArtes(ISA); Researcher,GabinetedePatrimonioMusicalEstebanSalas,LaHabana,Cuba) CatálogodelasobrasmusicalespublicadasenElFígaro(1889–1895) EnlasúltimasdécadasdelsigloXIXcirculabanenLaHabanaunbuennúmerodepublicacionesperiódicasencargadasde recopilarlosacontecimientossocialesmásrelevantesdelmomento.ElFígaro,específicamenteentre1889–1895,esunode estosexponentesquerevelanuestrahistoriaenelcontextoartísticoͲculturalhabanero.Enesteperíodoseeditan partiturasquerecreanunamúsicadesalóndesconocidaporlahistoriografíamusicalcubanaactual.Estasobrasvisibilizan géneros,formatos,comportamientosmusicalesycompositoresavaladosdentrodeunasociedadburguesaconsumidorade estetipodecomposicionesrelacionadasconlosencuentrossociales.Porelcarácterhistóricoquerecogeestetipode fuentemusical,sepretenderealizarunapropuestadecatálogodelamúsicadesalónpublicadaenElFígarocomo herramientadepreservación,gestiónydifusióndelpatrimoniosonorocubano.Paraelloseprevérealizarunaadecuación delafichacatalográficapartiendodelestudioinicialdelRépertoireInternationaldesSourcesMusicales(RISM)(España), estándarinternacionalestablecidoparalacatalogacióndefuentesmusicaleshistóricas.

15.15–15.30 MorseHall Tea&coffee

15.30–16.00 PJSharpTheater ClosingSession Chairs:BarbaraDobbsMackenzie(President,IAML),DinkoFabris(President,IMS)

98  Friday,26June IAML/IMSNewYork2015–Programme(lastupdated:20June2015)   16.00–17.30 BoardRoom IAMLBoardmeeting Boardmembersonly

19.00  Farewelldinner 

SATURDAY,27JUNE

9.00–12.00 Room543 SIMSSAWorkshop 

99