International Association of Music Libraries, Archives and Documentation Centres (IAML) Congress Rome, Italy 3–8 July 2016, Auditorium Parco della Musica Preliminary programme with abstracts (last updated 9 March 2016) SUNDAY, 3 JULY 9.00–13.00, 14.00–17.00 IAML Board meeting Board members only 19.30 Opening reception MONDAY, 4 JULY 8.30–9.00 The IAML Board Welcomes First Time Attendees. An introductory session for those attending their first IAML meeting 9.00–10.30 Opening session Presented by the Organizing Committee [speakers tba] 10.30–11.00 Tea & coffee Coffee Corner for Mentees and Mentors Monday, 4 July IAML Rome 2016 – Preliminary Programme (last updated: 9 March 2016) 11.00–12.30 Archives of music publishers Presented by the Archives and Music Documentation Centres Branch Chair: Marie Cornaz (Bibliothèque royale de Belgique, Brussels) Pierluigi Ledda (Archivio Storico Ricordi, Milan), Gabriele Dotto (Archivio Storico Ricordi, Milan) Setting the stage for a broad digital network: Positioning the Archivio Storico Ricordi as a hub for collaborative projects The Archivio Storico Ricordi began and grew with the publisher Ricordi, founded in 1808. Considered one of the most important private musical archives, it preserves the original handwritten scores of 23 of Verdi’s 28 operas, all the operas by Giacomo Puccini (except La Rondine), and also a great many works by composers like Bellini, Rossini and Donizetti up to contemporaries like Nono, Donatoni, Sciarrino and Bussotti. The extraordinary importance of the Archive resides in the variety of documents it preserves, which offer a broad panoramic vision of the culture, industry and society over the course of two centuries of Italian history. In the Archive, housed in the Braidense National Library in Milan, are preserved around 8.000 scores, more than 16.000 letters by musicians, librettists, singers and all manner of people connected to these arts, around 10.000 costume and set designs, more than 9.000 librettos, 6.000 historical photographs, and a large collection of Art Nouveau and Deco posters created by some of the main artists of the time. The Archivio Ricordi protects, preserves and promotes the knowledge of this artistic and documentary heritage, provides research services, digitization, and spread of the materials among organization with cultural purposes, universities and educational institutions. Since 2011 a project group has been working on a long‐term plan to index it, launching a process to catalogue and digitize the collection and preserve the original documents. The inventory is also to be made available to the international research community in digital form. The archive is building virtual networks with other cultural and scientific institutions for this purpose. In this sense, the Archive has recently developed a tablet app about the life of Giuseppe Verdi, a sub‐website devoted to the historical catalogue of the publisher, now fully accessible for free, and is currently evaluating the implementation of new digital technologies (e.g. semantic web, linked open data, interoperability with external datasets) to make available its heritage in better ways. Jennifer A. Ward (Répertoire international des sources musicales, Frankfurt) Tracing the footsteps of the Ricordis in Leipzig Archives Nearly every recounting of Casa Ricordi's history briefly mentions the travels of founder Giovanni Ricordi (1785–1853) from Milan to Leipzig to study engraving at the firm of Breitkopf & Härtel in the summer of 1807, one year before he founded his own firm. But details about Giovanni's sojourn to Germany and other aspects that connect the early history of Ricordi to Germany remain unexplored. Since no information on Giovanni Ricordi's earliest years with his firm is extant at the Ricordi Historical Archive in Milan, attempts to look for evidence of Ricordi's excursions to Leipzig may take place in Leipzig itself. Holdings in the Sächsisches Staatsarchiv (Saxon State Archives), which houses the Breitkopf & Härtel Archives and other publishers' archives, may be supplemented by documents found in the Stadtarchiv Leipzig (Leipzig City Archives). By exploring these Leipzig archives, we can piece together the relationship of Giovanni Ricordi, just starting out in Italy but ambitious with a well‐developed business sense, with established German publishers and find out more about the motivations and outcomes of Ricordi's studies in Leipzig. Martina Rebmann (Staatsbibliothek zu Berlin, Berlin) Ein Archiv schreibt Musikgeschichte – 200 Jahre Schott‐Archiv Mainz Im Jahr 2014 ist es einem Konsortium von Ankäufern, darunter die Staatsbibliothek zu Berlin, gelungen, das Historische Archiv des Musikverlags Schott (Mainz) zu erwerben. Damit kam auf einen Schlag ein Musikverlagsarchiv in die öffentliche Hand, das an Größe und Geschlossenheit kein Pendant hat. Es umfasst die Geschäftsakten (Korrespondenz, Druck‐ und Stichbücher, Kopierbücher, Kontojournale) von 1787 bis 1945 sowie das gesamte historische Herstellungs‐, Musikhandschriften‐ und Erstausgabenarchiv seit 1810 bis etwa 1950 – viele 100 Meter Archivmaterial. Die Aufteilung des für die Wissenschaft unschätzbar wertvollen Archivs auf die beiden Staatsbibliotheken in Berlin und München sowie einschlägige Forschungseinrichtungen gewährleistet im jeweiligen Sammlungskontext die bestmögliche Nutzbarkeit. Die Staatsbibliothek zu Berlin erhielt dabei umfangreiche Autographen‐ und Briefbestände mit herausragenden Namen und weniger bekannten Briefpartnern von Franz Abt über Richard Wagner bis zu „Zumsteeg’s Witwe“. Mehr als 200 Jahre Verlagsgeschichte sind in diesem Archiv niedergelegt und es ist keine Übertreibung, dass dieser Verlag Musikgeschichte 2 Monday, 4 July IAML Rome 2016 – Preliminary Programme (last updated: 9 March 2016) geschrieben hat: bereits der Gründer des Verlags, Bernhard Schott, stand mit bedeutenden Komponisten in engem Austausch und hat so die Entstehung von musikalischen Werken befördert. Viele Forschungsfragen können aus dem Material künftig beantwortet werden: wie nehmen Verlage Einfluss auf die Musikgeschichte durch Annahme bzw. Ablehnung von Werken? Gibt es Parallelentwicklungen in Deutschland, etwa am Leipziger Verlagsstandort oder auch im europäischen Ausland – z. B. beim Verlag Ricordi, Mailand? Welche Rolle spielt das Verlagsprogramm für die Entwicklung einzelner Gattungen, gibt es direkte Einflüsse auf die Verbreitung von Werken bzw. Genres? Natürlich wird auch ein Schub für die Forschung einzelner wichtiger Komponisten ausgeübt, wie hat ein Verlag die Karriere von Komponisten beeinflusst? Gemeinsam mit der Bayerischen Staatsbibliothek in München ist ein Plan zur Erschließung entwickelt worden, damit die Nutzung verbessert und der Zugang über das Internet ermöglicht wird. Das Referat geht auf Fragen der gemeinsamen Erschließung verteilter Bestände ein, widmet sich rechtlichen Problemen bei der Erschließung und Digitalisierung von teilweise urheberrechtlich geschütztem Material und es werden die Ideen zu einem digitalen Schott‐Portal im Internet diskutiert. 11.00–12.30 Cross‐searching for data Presented by the Forum of Commissions and Professional Branches Chair: Stanisław Hrabia (Jagiellonian University, Kraków) Andrew Hankinson (McGill University, Montréal), Ichiro Fujinaga (McGill University, Montréal) Cross‐institutional music document search Libraries have amassed large collections of digitized materials, but users of music materials may need to search many libraries’ collection in their quest to find a given piece. Furthermore, when comparing different documents, users are faced with multiple user interfaces from each library's digital repository. To meet the needs of these users, some libraries or individuals have made their collections available on third‐party websites, a labour‐intensive process that involves downloading an entire book's worth of images, creating a PDF file, and then re‐uploading it to websites to make them available—often without the knowledge of the source library. While the original institution may have extensive metadata, including error corrections and authoritative cataloguing on a document, these features may be ignored or mis‐quoted leading to an overall degradation of information quality, and a link back to the original institution is not guaranteed. To address this, we are proposing a new approach, based on the International Image Interoperability Framework (IIIF). This is a standard that has recently been proposed and adopted by many memory institutions for making image‐based collections available online. Through adopting IIIF, libraries can serve document images and metadata directly from their institutional web servers, negating the need to explicitly publish their document collections through PDFs on third‐party sites. The patrons can then access images or a part of an image from multiple libraries using a single user interface. The IIIF has recently been formalized into a formal international consortium, with institutions such as the British Library, the Bavarian State Library, and the Bibliothèque nationale de France pledging to make their digital collections available through this initiative. IIIF works by defining two standard protocols, or Application Programming Interfaces (API). The first, the “Image API,” standardizes the format of the URL (Uniform Resource Locator) for requesting an image, or part of an image, from an institutional repository. The second, the “Presentation API,” specifies a standardized structural representation of an image or a collection