IAML Electronic Newsletter No. 34 / 35, March 2010 Music in libraries A note from the editor Virtuoso Skills Goes Global: De- Greetings from your new IAML Newsletter Editor! The past few months livering Music Reference Sources have given me a chance to get a handle Training Abroad of these new duties and connect with colleagues around the world as I‟ve By Amelie Roper, Assistant Librarian, gathered the content and assembled it (London) into the pre-existing template. I look forward to the challenge of giving voice In November 2009, I travelled to Goth- to the many activities of our Associa- enburg with Rupert Ridgewell (Curator, tion. Music Collections, British Library) to de- This is a double issue, in part due to liver the IAML (UK & Ireland) course the delay in its release while I found my Virtuoso Skills for Music Enquiries for the feet in the role of editor. But I hope the Swedish IAML branch. This article ex- length and content justify the doubling plains how the event came about, and de- up as well. The “lead story” highlights scribes the preparation for delivering music the UK-Ireland and Sweden branch reference sources training abroad. Key collaboration in music librarian train- factors that made the venture a success are ing. Other features report on activities identified with a view to promoting further in , China, Poland, and Tuni- international training collaboration. sia, among others. You‟ll also find in- formation about the upcoming Moscow The course conference. Virtuoso Skills for Music Enquiries is I wish to thank Martie Severt, Jutta one of four courses run by the Courses and Lambrecht, and the other members of Education Committee of the IAML (UK & the IAML Board for their confidence in 1 Ireland) branch. It was formed in 2002 me as I assume these new duties. I must from the amalgamation of two independent admit it is a daunting challenge to take courses – Advanced Music Reference over the reins from such an able prede- Sources, dealing with printed sources, and cessor as Michael Fingerhut. I thank Notes from Cyberspace, covering online him for his generosity in sharing his sources – and is updated regularly. Its aim experience, advice, and templates with is to provide an in-depth introduction to me! music reference sources for those working Finally, thank you to the many con- with music in libraries, with particular ref- tributors who submitted ideas and re- erence to western classical music. ports. My aim is to produce a newsletter The course consists of a series of inter- that reflects its membership. Without active presentations covering different ar- your participation, there would be no eas of the music reference apparatus newsletter. This issue is “live”; the hunt is on for fresh content for the next! 1 The remaining three courses are Music for the Please send your news to newslet- Terrified, Success with Music Interlibrary Loans, [email protected]. and Managing Music Collections. For further in- formation on branch training, see the IAML (UK & Brian McMillan, Editor, IAML Newsletter Irl) website at http://www.iaml.info/iaml-uk- irl/training.html. There are plans to launch a further course on music cataloguing in 2010.

To submit an item to this newsletter, please send it via email to the address [email protected] IAML Electronic Newsletter N° 34 / 35 March 2010

(guides to reference sources, dictionaries Demand was so great that it ran on two and encyclopaedias, abstracting and index- consecutive days, allowing us to train ing tools and so on). These are comple- around 25 librarians from across Sweden. mented by “hands on” sessions, in which participants practise using the resources discussed, ideally using both printed and online tools.

Entrance to Artis-

ten, home of the

Academy of Music Delegates taking and Drama, Goth- part enburg in “hands on” sessions Entrance to Artisten, home of the Acad- emy of Music and Drama, Gothenburg

Our visit to Gothenburg in November 2009 was not without precedent. Back in 2003, John Wagstaff, then Librarian at the Music Faculty in Oxford, and Angela Es- cott, Orchestral and Choral Librarian at the Royal College of Music, gave presenta- tions on reference sources as part of the Nordic Music Librarians‟ Conference at the Ingesund College of Music, Arvika. However, to my knowledge, Virtuoso Skills at Artisten in 2009 was the first time a full UK course had been delivered The idea abroad. Virtuoso Skills for Music Enquiries runs in the UK approximately every two years Making it work (more frequently if required). However, in Alongside energy, enthusiasm and a 2007, a planned UK course was cancelled common commitment to making the event due to lack of demand. One of the people work, five key factors made the delivery of who had hoped to attend was Pia Shekhter, the course in Sweden a success: Head Librarian at the Academy of Music and Drama, Gothenburg, and former presi- 1. Definition of clear objectives dent of the Swedish IAML branch. Such Pia had already identified the training was her determination both to attend the need and potential market for the course. course and to share the experience with For us, then, the most important question others that she decided to investigate was whether we could meet the training whether it would be possible for IAML need successfully. This involved showing (UK & Ireland) to hold the course in Swe- Pia the standard materials for the course, in den. About two-and-a-half years (and particular the course outline, lists of re- many emails!) later, her idea was realised sources and sample exercises for the in the delivery of the course at Artisten, “hands on” sessions, so that she would Gothenburg, home of the Academy of Mu- have a clear idea of what could (and could sic and Drama and venue of the joint not) be done. IAML-IAMIC-IMS conference in 2006.

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From this discussion, two issues lab, communal areas for refreshment emerged that were fundamental to the breaks, and excellent reference sources smooth running of the course: language collection, was an ideal venue for the and availability of resources. This led us course. All that remained was to determine to agree that all training and training mate- the date. rials would be delivered in English and that the host institution would need to make available as many printed and electronic music reference sources from our resource lists as possible. Extracts from any essen- tial printed resources that could not be pro- Training suite at Ar- vided could be scanned and inserted into tisten, Gothenburg presentations. Similarly, trial subscriptions could be set up for electronic resources that could not otherwise be accessed. The exis- tence of resource lists for the UK course made it easy to identify any “problem” resources in good time, so that we could Training suite at Artisten, Gothenburg adapt our training as appropriate. 3. Definition of roles When running a course, it is important 2. Agreement of cost, date and venue to define responsibilities at an early stage. Having decided that the event was fea- Again, we were able to refer to the infor- sible in principle, we needed to work out mation for organisers on the IAML (UK & the cost of the course to determine whether Ireland) website as a starting point for ne- it would be affordable for the Swedish gotiation. We were very fortunate in that IAML branch. In the UK, we currently Pia took care of all the local arrangements charge a flat rate for a course delivered “in very professionally. This included advertis- house” – that is, a course delivered for a ing, bookings, photocopying, arranging specific organisation. The host takes re- technology access, catering and all the sponsibility for the venue and other practi- other practical considerations that are es- cal arrangements, and training is provided sential to the smooth-running of any event. by IAML (UK & Ireland) for a negotiated This left Rupert and me free to concentrate fee. The fee is modest as it only aims to on how to adapt the content of the UK cover costs, and presenters teach voluntar- course for delivery in Sweden. Early on in ily. To this figure we added basic travel, the planning stages, we met to discuss how accommodation, and subsistence costs. to divide the training and to agree on the With these details fixed, we were free to content of our sessions to avoid duplica- discuss the other key area: the venue. We tion. This involved checking currency of needed to be sure that we would have ac- links and printed editions, adding details of cess to printed and electronic resources, any new resources and ensuring adequate and that delegates would have their own coverage of non-English language refer- computers to work on in order to be able to ence tools. undertake practical activities. With this in mind, we were able to point Pia to the in- 4. Preparation formation for organisers of the course on Preparation is key to the successful deliv- the IAML (UK & Ireland) website, which ery of training of any kind, and even more sets out the venue requirements. All of our crucial when teaching in unfamiliar terri- needs could be accommodated at Artisten, tory. As well as setting deadlines for the which, with its well equipped computer

3 IAML Electronic Newsletter N° 34 / 35 March 2010

cal issues face-to-face. After that, we kept in contact regularly by email and were open in discussing potential problems and setting deadlines. The combination of a single face-to-face meeting and regular email correspondence worked very well.

To conclude, delivering Virtuoso Skills for Music Enquiries in Sweden was an extremely rewarding and enjoyable experi- ence, which I would wholeheartedly rec- ommend to other branches. It was an ex- cellent opportunity to share good practice with colleagues and to learn about unfamil- iar reference sources. Feedback from at- tendees was both encouraging and com-

A small selection of the printed plimentary, and I hope this will be one of reference sources needed for many similar events to come! Virtuoso Skills for Music Enquiries * * * * * Photos of IAML-Amsterdam completion of various presentations and exercises, we prepared by testing out train- ing materials on colleagues. Handouts and resource lists were emailed to Pia in ad- vance to enable her to prepare delegate packs and assemble trolleys of printed re- sources for use during the course, trial sub- scriptions were arranged with database providers and backups of presentations were saved in various places in case of technical failure! Once we got to Artisten, we had allo- cated time for a “technical test” in advance Ria Warmerdam writes: of delivering the training. This allowed us The Dutch branch of IAML is reflecting to familiarise ourselves with the training on a wonderful conference. It was very room and technology, check that we had rewarding for us, and we hope it was access to all of the printed and electronic equally rewarding for the participants. Our reference sources we would need and to website www.iamlconference2009.nl is test our presentations. still up. There you‟ll find a large selection of photos of the week that was. Be sure to 5. Communication check them out. Although most of the negotiations for the course took place by email, it was very News from the branches helpful that Pia attended a short placement at the Royal College of Music Library in Australia 2008, and then went on to be a delegate at Perhaps you have not heard too much the IAML (UK & Ireland) Annual Study from IAML Australia of late – that is be- Weekend in Canterbury immediately af- cause we are radically overhauling our terwards. This allowed us to get to know Communications and Publications strategy. one another, and to resolve various practi- With some vibrant young members taking

4 IAML Electronic Newsletter N° 34 / 35 March 2010 new initiative, we are moving from print to would be interested in some international electronic this year, embracing a Web 2.0 support for this initiative – any ideas? strategy, online newsletter and blogs, an online Journal format with occasional pa- 2009 highlights pers, and an online approach to network- The public perception of our work was ing. This is an essential shift in a country highlighted by two remarkably successful with vastly dispersed members who also events, broadcast nationally, celebrating live far „down-under‟ from our internation- major collection items. Firstly, the Rimini al colleagues. This strategy is our main Antiphonal manuscript at the State Library initiative in 2010; without external funding of New South Wales and, at the National or resources, we have only our own wit, Library, a celebration of 50 years of artistic time, and skills to achieve this, so you may work inspired by the Australian Nobel have to be patient with us. But you will Laureate Patrick White‟s novel Voss. This hear a lot more from us when imple- featured a retrospective of the opera mented! created by composer Richard Meale, who died in November 2009, and librettist Da- Meetings vid Malouf. The archives of our Australian Face-to-face discussion, though, re- composers, performers, broadcasters, en- mains important and we are holding our trepreneurs and publishers continue to National Conference at the Queensland grow abundantly in our research libraries – Conservatorium of Music in Brisbane this creating a remarkable array of national year on September 1-2. Our Queensland collections of past and living musicians. members are busy at work, planning a spe- We are also implementing new approaches cial focus on Community Music, Music to cataloguing and making collections ac- Education, and Digital Discovery. In 2009 cessible with diminishing resources. The hosted a national Amalgamations within the University / meeting in October, led by outgoing Presi- Conservatorium sector continue to pose dent Jonathon Wood. The best part of our challenges for music libraries, most recent- forums is always the exciting and provoca- ly at the Victorian College of the Arts and tive sharing of ideas; full reports from each The University of (successfully state and major institution are available. A steered by Georgina Binns and Evelyn new Executive was elected, with Robyn Portek). Australia was also delighted in Holmes, Curator of Music at the National 2009 to play host to Almut Boehme, Head Library of Australia, taking over the presi- of Music at the National Library of Scot- dency supported by three vice-presidents, land, who enlivened our perspective on Pauline McNee and Sarah Evans (whom Scottish music abroad. some of you met in Amsterdam), and Julia IAML has also been working closely Mitford (Thanks, UK, for exporting her to too with the Music Council of Australia, us!), Secretary Christine Vincent, and advocating the role of music libraries and Treasurer Bligh Glass. archives in all sorts of key items on the Inspired by the Young Professionals Fo- national agenda, especially music educa- rum we included in the Sydney Confe- tion, digital business models and commu- rence, we also introduced an „Under 35‟ nity projects. two-year free membership category to at- tract young staff into our professional net- Thanks to Amsterdam! work. While this is expensive for our Finally, a delightful word of thanks to IAML chapter to maintain, this incentive Amsterdam. It is hard for many of us to aims to activate our emerging young pro- attend the international conferences but fessionals and sustain our work-force and one Public Librarian working in Western professional association into the future. We Australia, Linda Papa, was persuaded to

5 IAML Electronic Newsletter N° 34 / 35 March 2010 attend by that clogs key ring handed out at availability of Chinese publications the closing of the Sydney conference in in library science, musicology and 2007! She described her week in Amster- other related areas; dam as “thoroughly engaging and thought- Provide indicative support for the provoking” and she “met some beautiful, contribution of the country‟s know- clever people.” Linda shared with Austral- ledge-based economy development; ian members some of the “fantastic ideas Share and enhance access to music and music” heard in various wonderful research output in China; venues and on library tours. Thanks, and Foster music librarianship and its good luck for Moscow from your Australi- continuing professional training; an colleagues who know what international Honor librarians who have rendered conference planning feels like! We wish outstanding service in the profes- more of us could see you all more often. sion.

Robyn Holmes, President, IAML Australia. Other matters discussed included con- sortial purchases and the exploration of a Read more about 2 Australian web project platform to unify and share bibliographic developments on page 11. information among Chinese music libra- ries. The next conference will be held in New Music Library Association Nanjin Arts Institute in 2011. Established in China On November 25-27, 2009, the 5th Katie Lai, Hong Kong Baptist University National Conference of University Music Libraries took place at the Tianjin Conser- IAML Finland vatory of Music. Held every two years, this launches conference is an important event for all monograph music libraries in China. This year, over 60 series librarians from the major music conserva- tories, arts institutes, and universities in The Finnish mainland China and Hong Kong, as well as IAML Branch has such publishers as People‟s Music Publish- launched a new ing House, ProQuest, and Kuke attended monograph series the conference. in English, Ad- The theme this year was “Collabora- vanced Musicolo- tion and Resource Sharing.” In addition to gy (ISSN 1798-3754). The first volume, brief reports on recent developments and Theory and Analysis of Classical Heavy projects at each library, the founding of the Metal Harmony by Esa Lilja, is now avail- “Library Association for Music Institutes”1 able from Harrassowitz and will be re- constituted the highlight of the event and viewed by Robert Walser in Fontes artes marked a major milestone in the history of musicae and Jack Sheinbaum in Notes. Chinese music libraries. The principal aims The Branch has already published more of the Association are to: than 100 titles related mostly to music li- Encourage scholarly activities; brarianship. We hope that our new Eng- Strengthen cooperation and colla- lish-language series in the field of musi- boration among music libraries in cology will give our Branch even more to China and overseas; offer to the global community of music. Publish, distribute and promote the Jaakko Tuohiniemi, Chairman, IAML Fin- 1 The English name of the music library association land is still to be finalized and confirmed.

6 IAML Electronic Newsletter N° 34 / 35 March 2010

Conference of Polish Music and Ireland”; Kalliope, the unified data- Librarians base for all kind of archival fonds in Ger- many; the Répertoire des Arts du Spec- The 11th National Conference of Polish tacle, the French project for fonds related Music Librarians and 3rd National Confe- to the performing arts; and Domus, the rence of Sound Archives took place on database of music collections in South November 4-6, 2009, in Stanisław Moni- Africa. uszko Music Academy in Gdańsk, Poland. The goal is to develop a similar project 60 participants from 31 libraries attended. to collect information about music fonds in The 23 reports and papers delivered at the Spain. The Centro de Documentación de conference sessions fell into three main Música y Danza of Spanish Department of subject categories: (1) digitalization of Culture will host a central database for the musical documents – achievements and Spanish AMA. It expects to develop the perspectives, (2) music sources and collec- database prototype in the first months of tions, and (3) music sound archives. this year and to begin inputting informa- The conference featured an exhibition tion from participating institutions before of the history of Music Academy Library the summer. Massimo Gentili-Tedeschi was invited and a concert played by Hevelius Brass th with Monika Kaźmierczak on carillon. to the November 11 meeting in Barcelona The new Executive Board of the Music to see the development of the Spanish Libraries Section – Polish National Branch project and the first draft of the database. A of IAML was elected: The members are link to this prototype should appear on the Stanisław Hrabia, Chair; Jolanta Bycz- IAML AMA working group web page in kowska-Sztaba and Piotr Maculewicz, the near future. Vice-Chairs, Karolina Skalska, Secretary; Andrzej Spóz, Honorary Board Member; Jon Bagues and Inger Enquist, Co-Chairs, Iwona Bias, Ewa Hauptman-Fischer, Working Group on the Access to Music Andrzej Jazdon, Ewa Kozłowska, Anna Archives Project Michalska and Magdalena Wiącek, Mem- * * * * * bers-at-Large. 3 New Masterclass Media Photos of the conference are posted at Foundation DVDs now http://www.iaml.pl/Photo/Galeria_Gdansk. html. available

The Masterclass Media Foundation at- Stanisław Hrabia, Chair, IAML Poland tended IAML-IMS conference in Amster-

dam in 2009 and thoroughly enjoyed the Access to Music Archives opportunity to meet librarians and musi- cians during that time. The catalogue has Project increased since then and now includes 2 new DVDs of masterclasses with pianist In late 2009 representatives from major Stephen Kovacevich: (1) Schubert's Op.90 Spanish institutions with holdings of per- Impromptus, no. 1 and 3 and (2) Beethoven sonal or institutional archival music fonds piano sonatas no. 21 ("The Waldstein") met twice to discuss the development of and no. 31, Op 110. Another piano master- the AMA project in Spain. class DVD will debut at the end of Febru- There were presentations of the most ary. It features Emanuel Ax, who works on successful projects, including Cecilia, “the Beethoven Sonatas and the 32 Variations on-line guide to music collections in arc- in C minor (woo 80). hives, libraries and museums in the UK

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The Foundation looks forward to meet- ing IAML members at the March meeting New Collections of MLA in San Diego.

Joanna Pearson, Administrator, Master- class Media Foundation Croce quartercentenary edition The works of Giovanni Croce, maestro di cappella at St Mark‟s in Venice from 1603–1609, are the subject of Michael Procter‟s ongoing complete works edition, the Croce Quatercentenary Editions (14 volumes). Volumes I and II are already Barry Tuckwell Collection acquired by available. The next 3 volumes, containing (X) the first book of double-choir motets, (VIII) the five-voice Sacrae Cantiones and By Evelyn Portek, Music Librarian (XIII) the Italian texted pieces (including Louise Hanson-Dyer Music Library the Sette Sonetti in the Italian, English and Latin versions) and a number of sacred The Louise Hanson-Dyer Music Library madrigals, are due for publication early in of the University of Melbourne (Australia) 2010. has recently acquired a substantial collec- The 400th anniversary of the composer‟s tion of materials belonging to the eminent death was commemorated with various player and conductor Barry musical events in 2009. An international Tuckwell. Tuckwell is widely recognized conference devoted to Croce and Giamma- both as the foremost horn player of his teo Asola will take place in Venice in May generation and for extending the instru- 2010. ment‟s technical possibilities. The collec- tion was acquired with the generous assis- Michael Procter, Edition Michael Procter tance of a grant from the Ian Potter Foun- dation to support the linking of education RIPM adds new journals and the arts. The Ian Potter Foundation is As of January 2010, RIPM (Répertoire one of Australia's leading private philanth- international de la presse musicale) had ropic organisations. The university would indexed 7 new periodical titles. Mean- not have been able to acquire this outstand- while, its online full-text archive now pro- ing collection without the financial assis- vides access to 61 titles. tance from the Foundation. Barry Tuckwell's multi-faceted career in music spans more than sixty years. During this time he has performed throughout the world as soloist, chamber musician and conductor; he is also a highly regarded teacher. Born in Melbourne in 1931, he joined the Melbourne Symphony Orchestra at 15 and the Sydney Symphony Orchestra a year later before leaving for England at age 19. After playing with the Hallé, Scot- tish National, and Bournemouth Symphony orchestras, Tuckwell was appointed Prin-

8 IAML Electronic Newsletter N° 34 / 35 March 2010 cipal Horn with the London Symphony Banks, , Orchestra. During his 13 years with the and . Unique orchestra, he was elected to the Board of items in the collection include scores and Directors and was Chairman of the Board parts in manuscript, often heavily anno- for 6 years. tated by Tuckwell, and accompanied by Resigning from the LSO in 1968 to pur- correspondence with the composer which sue a career as soloist and conductor, serves to illuminate the process of compo- Tuckwell was chief conductor of the Tas- sition. These items are being catalogued as manian Symphony Orchestra for four a priority. Other documents chart Tuck- years, and founding Conductor and Music well‟s study of horn repertoire by Mozart Director of the Maryland Symphony Or- and Richard Strauss in particular. chestra for 16. He has made over 50 com- The concert programs in the collection mercial recordings as a horn soloist and span Tuckwell‟s career from the mid 1940s conductor and has received 3 Grammy until his retirement as a performer. A large Nominations. He continues to have an ac- proportion feature performing groups with tive career throughout the world guest which Tuckwell was associated, such as conducting and broadcasting, as well as the London Symphony Orchestra, the giving lectures and master Tuckwell Wind Quintet and classes. the Jones, Tuckwell and Tuckwell currently holds Langbein Trio. Tuckwell‟s the position of Professorial international solo career is Fellow at the University of also fully documented. A Melbourne and Honorary program listing is currently Patron of the Melbourne underway. International Festival of Some of Tuckwell‟s Brass. Among the many more notable correspon- awards he has received are dents include Leonard the Companion of the Order Bernstein, Benjamin Brit- of Australia, Officer of the ten, John Culshaw, Benny Order of the British Empire, Goodman, Norman Le- Honorary Doctor of Music brecht, André Previn, Leo- from the University of Syd- pold Stokowski and Alice ney, Fellow of the Royal Strauss, daughter of Richard College of Music, Fellow of Strauss. the , the George Pea- As the collection is catalogued and body Medal for Outstanding Contributions listed, conservation measures are taken to to Music in America and the Andrew improve its physical condition and ensure White Medal from Loyola College. He is its longevity for future research. Tuckwell also an honorary member of both the Royal sorted much of the correspondence and Academy of Music and the Guildhall concert programs into chronological order. School of Music in London. These collections are described according The Barry Tuckwell Collection includes to archival practices, while the manuscript his own library of music scores, concert scores and published music are catalogued programmes, press reviews, sound record- in the library catalogue (see an example). ings, promotional posters and photographs, The Barry Tuckwell Collection is a sig- engagement diaries and some business nificant and comprehensive resource for papers and personal correspondence. Not- anyone researching any aspect of Tuck- able amongst the music scores are works well‟s professional career and for those composed especially for Tuckwell by interested more generally in 20th-century , Alun Hoddinott, Don horn repertoire or performance practice.

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Awards German Composer York Höller receives 2009 Grawemeyer Award

Norway Music Information Centre re- Jutta Lambrecht writes: ceives IMC commendation The 2010 recipient of the annual

Grawemeyer Award for Musical Composi- Martie Severt writes: tion is German composer York Höller for On October 18, 2009, the Board of the his recent orchestral cycle Sphären. Höller International Music Council announced the joins an impressive list of Grawemeyer winners of the inaugural IMC Musical laureates, including Witold Lutoslawski, Rights Awards. One of 6 special commen- Kaija Saariaho, Pierre Boulez, and Tan dations went to the library part of the Nor- Dun, who have received the honour since way/Vietnam project “Transposition,” its founding in 1984. which was nominated for the honour by Höller is professor emeritus of music IAML. The Music Information Centre composition at the Kölner Musik- Norway (coordinated by Hilde Holbæk- hochschule and was the Artistic Director of Hanssen) is responsible for this part of the the Westdeutscher Rundfunk‟s Electronic project. Some of you may remember Music Studios from 1990 to 1999. Hilde‟s presentation in Naples in 2008. Sphären, a 40-minute 6-movement work, The awards were distributed to the win- was premiered in ners during the 3rd World Forum on Music April 2008 by the and 33rd General Assembly of the IMC, Sinfonieorchester held in Tunis. The jury praised Transposi- des WDR (Köln) tions as an exemplary cooperative project under Semyon between music institutions in Norway and Bychkov. Vietnam to provide musical scores and A sample of the recordings to Vietnam and expand the op- work may be portunities for music education and par- streamed from the ticipation. Since the project partners were Grawemeyer web- in Vietnam for meetings, I accepted the site. The com- award on Hilde‟s behalf. In the 2 minutes I poser‟s notes on got to say a few words about the project, I Sphären may be read at Boosey & Hawkes also included a few words about IAML‟s online. outreach work and I expressed my hope that this project would inspire many IAML members. * * * * * You can read more about Transposition Haitian Relief on the Norway Music Information Centre website. In the wake of the January 12, 2010, The Norwegian Ministry of Foreign Af- earthquake that devastated Haiti, several fairs has renewed funding to the project for library and music organizations have coor- another three-year term. dinated relief efforts to support the recov- ery and future vitality of Haitian culture. Support may be directed through the fol- lowing library organizations among others:

ALA Haiti Library Relief Libraries Without Borders Bibliothèques sans frontières

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New digital resources

Robyn Holmes writes: Two wonderful breakthrough Australian initiatives are really worth checking out! The Australian Music Centre launched its long-awaited new web development.

http://trove.nla.gov.au

gitally; or find out where and how. The service harvests relevant data both from across Australia and worldwide. Austral- ia‟s specialist services, such as Music Aus- tralia, will be fully integrated into this ser- vice, with a special music subject view, over the next 18 months. In the meantime, http://www.australianmusiccentre.com.au/ www.musicaustralia.org still works! There are web 2.0 features in TROVE as well: This site holistically integrates all the Cen- people can comment, tag, add, network. tre‟s functions on the web for the user: The newspaper service alone has generated documentation of the musical landscape, a whole community of volunteers online access to resources, Australian music who have already corrected millions of events and publications. Additionally, lines of OCR‟d text! there is an interface for composers to depo- sit and upload their data, scores, and bio- graphical information, and an e-commerce International Music Council capability for users, increasingly populated General Assembly 2009 with digital content. Customers from any- where in the world can now order online In October 2009 it was my privilege as and get resources digitally. Most notably President of IAML to attend the 33nd Gen- for IAML, this integration is wholly driven eral Assembly of the International Music „behind the scenes‟ by the adoption of an Council (IMC) and the 3nd World Forum FRBR data model, adapted by the AMC to on Music, which was organized in con- encompass musical, research and cultural junction with the Assembly. The IMC is “a documentation across formats; commercial global network of expert organisations and perspectives; and the user access require- individuals working in the field of music. ments of each. Founded in 1949 by UNESCO, IMC is The National Library‟s new discovery mandated to promote musical diversity and service TROVE Australia (“a treasure support cultural rights for all” trove”) has just been released. TROVE (http://www.imc-cim.org/). IMC has sev- achieves what Google has not yet: integra- eral categories of membership, including tion of all different kinds of discovery into National Music Councils and International one single search. You can find music, Music Associations. IAML is one of many audio, books, articles, pictures, digitised international members. historic newspapers (fully text searchable), The World Forum on Music sessions archives, websites, and biographical in- dealt with the following themes: formation all from the one search; get it di-

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Supporting Musical Diversity: how work. Three top winners were celebrated UNESCO, governments, and music or- and 6 projects received a Special Com- ganisations are implementing (or ob- mendation, including the Norway Music structing) the UNESCO Convention for Information Centre‟s Transpositions pro- the Protection and Promotion of the ject (see “Awards,” p. 10). Diversity of Cultural Expressions. The 33rd General Assembly of the Inter- Riding the Digital Tiger: New devel- national Music Council adopted a series of opments in digital distribution and their key decisions that will help the organiza- impact on the music industry. tion and its members to realize its vision of The Changing Paradigms of Cultural being the world's leading professional or- Policy: Perspectives from different re- ganization dedicated to the development gions of the world. and promotion of diverse music. Music Education from Advocacy to Drawing on the IMC's mission to pro- Practice: The challenge of creating and vide exceptional value to its members by managing a global network and part- building knowledge, creating networking nership system. opportunities, supporting and enhancing Challenges to Art Music: In a world the visibility of projects that help sustain overrun by celebrity and superficiality, people's participation in musical life, the is there an audience for the disciplines IMC will continue to carry out its action in accordance with its strategic plan adopted and profound truths of art music? nd 2 years ago by the 32 General Assembly. The Forum sessions were well organ- Seven strategic objectives have been trans- ized with speakers from all over the world, lated into action lines for the coming bien- panel discussions, and open discussions. nium, which will be implemented through Although not yet posted, papers presented advocacy, research, policy formation, and at the Forum will be made available on capacity-building. IMC‟s website. The General Assembly dealt with the The 3rd World Forum on Music seized usual business matters, such as new admis- the opportunity of being in Tunisia to fea- sions, finance, and budget, and adopted a ture presentations on Tunisian music and series of amendments to the Statutes and music in Tunisia, which offered converg- the Rules of Procedure that aim to increase ing and distinctive aspects of these two the efficiency and effectiveness of the or- terms. ganisation's work and modus operandi. The rich musical diversity present in Frans de Ruiter (Netherlands) was Tunisia was reflected in the artistic pro- elected President for a 2-year term. He gramme offered to Forum participants, previously served as President of the IMC ranging from liturgical music to music from 1997-2001. The General Assembly from the classical modern Tunisian and paid tribute to the outstanding work and Arab repertoire; from Bedouin and Sufi dedication of outgoing president Richard chants to contemporary creations. Letts (Australia) and elected him with a At the Forum the inaugural IMC Musi- standing ovation to join the circle of Hon- cal Rights Awards were presented to pro- orary Members of IMC. jects and programmes that exemplify one or more of the IMC's five music rights: the Martie Severt, President, IAML rights for all persons to free expression in music, to a music education, and to partici- pation in various forms of music making and listening, and the rights for musical artists to develop and disseminate their art and to receive proper recognition of their

12 IAML Electronic Newsletter N° 34 / 35 March 2010

Conference Survey Update relevant, how important are various aspects of the conference week to delegates, what Amsterdam 2009 topics should the programme address, and what are the strongest aspects of the pro- At the IAML meeting in Amsterdam, it gramme. Suggestions were also sought on was announced that an online conference how to make the conference better. The survey would be available for delegates to answers to these questions are indeed illu- share their comments about the programme minating. and the topics it addresses. The comments Delegates were pleased with having would then help the IAML Programme joint meetings with the IMS, and being Committee to shape future conferences. able to discuss common goals and inter- Survey results from several conferences ests. The wide array of topics and types of will give a clearer picture of what members libraries represented was cited as broader are seeking in terms of conference struc- than in past conferences, and that this led ture, sessions offered, and issues ad- to a more successful interchange of ideas dressed. and sharing of information in both formal The results of the survey for the Ams- and informal settings. Information on terdam conference provide some interest- Dutch collections and the plenary sessions ing commentary on this joint meeting with with Ton Koopman and Louis Andriessen the International Musicological Society were also highlights for many delegates. (IMS). What follows is a brief analysis of The ability to interact and network with the survey results. A more in-depth report- colleagues is regularly cited as one of the ing of the survey results will be available most relevant aspects of IAML confe- soon on the IAML website. rences. For topics in the programme that were Demographics not relevant to delegates, many cited the Fifty-one delegates completed the con- need for more people to be involved in the ference survey. Among these respondents, various IAML groups, in that too many 31 were female (61%) and 20 were male groups are chaired by 1 person. Duplica- (39%), and the majority were in the 51 to tion of information given in several ses- 60 age range (43%), followed by the 41 to sions (Council; General Assembly) also 50 age range (29%). Almost all of the res- was frustrating to delegates, as well as the pondents were IAML members (94%), and number of parallel sessions in any given this conference was not the first one at- time slot in the programme. tended by most (82%). Indeed, a majority Items of high and low importance pro- of respondents have attended the last 10 duced interesting results. Most important IAML conferences (24%). The survey in- to delegates was the opportunity to net- dicated that the majority of delegates have work with colleagues, the Wednesday af- been IAML members for almost 30 years ternoon excursions, and meeting jointly (27% joined IAML in 1981–1990). The with other organizations. Of less impor- earliest date of joining IAML was 1978 tance to delegates were the National and the latest, 2009. The majority of res- Branch reports session, the Outreach ses- ponses to the survey came predominately sion, and the post-conference tours. Inte- from 3 national branches: Germany, restingly, the Farewell Banquet also was UK/Ireland, and the U.S. ranked as of low importance (10th place). As for what topics the conference pro- Individual Questions gramme should address, chief among these The survey was designed to ask for in- were topics of relevance to music libraries, put on several topics: what is most relevant important collections, and updates on the in the conference programme, what is least various “R” projects. Preservation of music

13 IAML Electronic Newsletter N° 34 / 35 March 2010 materials, other than digitisation, also was present the author‟s vision of IAML based of interest, as well as large projects and the on where we have come from and what we ability to fund them, how institutions are have accomplished in the past and what coping with the current economic climate, will be necessary to keep IAML relevant in and the standards for music librarian edu- the future. cation. Some of the potential questions that will The structure of the meetings was con- be addressed in these position papers in- sidered one of the strongest aspects of the clude: conference programme, as well as the va- Is our present structure, built on riety of what is programmed. There seems branches, subject commissions, and to be something for everyone in our pro- committees, the best way to carry on gramme offerings. Delegates also appre- the work? ciate the pacing of the conference and the Does our governing structure allow for high quality of papers presented. the best approach to change? In order to make our conference pro- What hasn't IAML addressed in its gramme even better, survey respondents work that is crucial to its future suc- suggested more time for discussion of pa- cess? per topics, publishing of conference papers online via the IAML website, as well as Once completed, these position papers handouts and PowerPoint presentations, will appear on the IAML website, and more presentations on popular music, and comments will be solicited on IAML-L, more poster sessions. especially from those who will not be at- While these comments provide only a tending the Moscow conference. glimpse of what survey respondents sug- In Moscow, the plenary session will be gested, they are indeed important to the interactive, with delegates continuing to work of the IAML Programme Committee suggest what is needed to guide IAML in and to the organization as well. Continued the future. The result of this work will be use of the survey instrument each year, the potential creation of a plan that will using the same questions will result in the assist the organization in moving its work ability to establish trends, assess impact, forward, and accomplishing its work in a and increase the relevance of our annual confident manner. conferences. This is an exciting and important time in IAML history. I hope that all IAML mem- James P. Cassaro, bers are willing to add to the discussions. Chair, IAML Programme Committee James P. Cassaro, Vice-President, IAML Moscow Plenary Session Contributors The Future of IAML Many thanks to the following people who have contributed directly or indirectly to In 2011, IAML will celebrate the 60th this issue: Jon Bagues, James P. Cassaro, anniversary of its founding. Such a miles- Inger Enquist, Robyn Holmes, Stanisław tone offers a welcome opportunity to dis- Hrabia, Katie Lai, Jutta Lambrecht, Joanna cuss the organization‟s future. An associa- Pearson, Evelyn Portek, Michael Procter, Ame- tion of IAML‟s age and stature should look lie Roper, Martie Severt, Jaakko Tuohi- at itself carefully in order to plan confi- niemi dently for an unknown future. Prior to the actual session in Moscow, IAML 2010 - Moscow - June 27–July 2 position papers will be written by several Early registration deadline: April 15 IAML members. These short papers will

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