tenth international congress of music libraries in jerusalem || working commissions

WORKING COMMISSIONSAuthor(s): Kurt Dorfmüller, D. W. Krummel, André Jurres, Don L. Roberts, Charlotte vander Pot, Claes M. Cnattingius, Dietrich Lotichius, Anders Lönn, Barry S. Brook and Rolf L.SchuursmaSource: Fontes Artis Musicae, Vol. 22, No. 1/2, TENTH INTERNATIONAL CONGRESS OF MUSICLIBRARIES IN JERUSALEM (1975 Januar-August), pp. 48-61Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23506187 .

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48

V. WORKING COMMISSIONS

KATALOG-KOMMISSION

Die beabsichtigte Sitzung über Fragen der ISBD (International Standard Bibliographie Description) mußte unterbleiben, da die meisten Vertreter der großen Nationalbibliographien, die in erster Linie von diesen Problemen betroffen sind, nicht anwesend sein konnten. Das Thema wurde aber außerhalb des offiziellen Programmes in Einzelgesprächen erörtert. Nachdem die vorgesehene Beteiligung des Vorsitzenden bei der IFLA-Konferenz in Washington (November 1974) ebenfalls nicht zustande kam, wird nun eine Zusammenkunft beim zuständigen IFLA-Büro für „International Bibliographie Control"

(Leitung Mrs. Dorothy Anderson) in London vorbereitet. Die gewonnene Zeit wurde für die Subkommission für Klassifikation verwendet, die drei Sitzungen abhielt.

Subkommission für Klassifikation

Der Plan einer umfassenden Klassifikation umfaßt fünf Facetten:

1. Besetzung 2. Zeit (Entstehungszeit der Werke) 3. Form-Gattungen 4. Zweck, Anlaß, Inhalt

5. Raum (Entstehungsraum der Werke).

Nachdem über Teil 2 in den vergangenen Jahren im wesentlichen Klarheit erzielt wurde, stehen nun

Teil 3 und 4 zur Diskussion.

Zu 3. Die Vorarbeiten zu einem Thesaurus der Form- und Gattungsbegriffe wurden durch Lisbeth Thew und Gertraut Haberkamp weitergeführt. Sie beschränken sich zunächst auf Termini des

deutschen Sprachgebrauchs nach dem Sachteil von Riemanns Musiklexikon. Jeden Terminus umgibt ein Netz von Beziehungen zu anderen Begriffen; dabei kann es sich um

Überordnung, Unterordnung, Gleichheit oder um Spielarten der Ähnlichkeit handeln.

Nach mehreren Versuchen wurde eine Methode entwickelt, um mit Hilfe bestimmter Zeichen diese

Beziehungen schematisch darzustellen. Durch Zeitangaben (Vierteljahrhunderte) wird auch der Wandel

berücksichtigt, dem die Begriffe in der Zeit unterliegen. Ein Modell, das den Begriff „Tanz" in dieser Weise darstellt, wurde auf einer Sitzung vorgelegt und

fand Zustimmung. Danach werden L. Thew und G. Haberkamp nun das gesamte Material in

alphabetischer Thesaurus-Form bearbeiten. Soweit die Begriffe einander klar über- oder untergeordnet sind, oder einander zeitlich ablösen,

sollen sie außerdem in hierarchischen Übersichtstafeln erfaßt werden. Dadurch können im Thesaurus

Verweisungen zwischen weit auseinanderliegenden verwandten Gattungen entfallen (z. B. Minnesang -

Lied; Geistliches Drama - Oper). Einigkeit bestand, daß die hierarchische Gliederung nur innerhalb

gewisser Grenzen möglich sei. Diskutiert wurde die Frage, ob für die Form-Gattungs-Klassifizierung eines Musikstückes mehr die

Benennung oder mehr der musikalische Sachverhalt entscheidend sei. Bei Kunstmusik soll die originale Benennung vorrangig sein (z. B. Beethovens 9. Symphonie = Symphonie, trotz Vokalteil; Concerto à

quattro = Konzert, nicht Quartett). Für die nötige Differenzierung sorgt die Zeiteinteilung und die von der Form-Gattungs-Facette völlig unabhängige Besetzungs-Systematik. So wird vermieden, daß Wechsel und Widerstreit der Theorien zu uneinheitlicher Ordnung und zur Überforderung des Bibliothekars führen. Bei Musik ohne fixierte Benennung (z. B. mündlich tradierte Kult- oder

Volksmusik) muß dagegen ein Form-Gattungs-Begriff aufgrund des musikalischen Sachverhalts geprägt werden.

Zu 4. A. Ott arbeitete hierzu einen Entwurf aus, der aus einer systematischen Darstellung und einem alphabetischen Index besteht. Für die möglichen Zwecke, Anlässe und Inhalte wird folgende Gruppierung vorgeschlagen:



Working Commissions 49

A. Zeitlich (u. a. menschlicher Lebenslauf, Jahreslauf, geschichtliche Ereignisse) B. Örtlich (von weitesten Begriffen wie Weltall etc. bis zu einzelnen Gebäuden) C. Soziologisch (u. a. Gesellschaft, Arbeit, Lernen und Lehren, Unterhaltung, Krieg und Frieden) D. Religiös (einzelne Religionen) E. Akzidentell (Musik als Begleitung zu Tanz, Theater, Hörspiel etc.) F. Psychologisch (Stimmungen, Affekte, Leidenschaften etc.) G. Gegenstandbezogen (z. B. auf die Natur, auf andere Künste, auf menschliche Tätigkeiten).

Jede Gruppe ist in Untergruppen gegliedert, innerhalb derer schließlich die engen Begriffe ihren Platz finden (z. B. „Kindheit" oder „Abend" in A; „Mond" oder „Wald" in B usw.). Diese engen Begriffe werden dann alphabetisch zu einem Thesaurus zusammengestellt. Wahrscheinlich wird es

zweckmäßig sein, die Listen 3 und 4 zu einem einzigen Thesaurus zu vereinigen, um Überschneidungen zu vermeiden. Zunächst erscheint die getrennte Bearbeitung methodisch günstiger.

Die Erarbeitung einer Systematik zu 4 ist nötig, da nur so die verschiedenen Benennungen gleicher Sachverhalte zusammentreffen. Erst wenn eine große Zahl enger Begriffe systematisch geordnet ist, lassen sich die Termini auswählen, die den Thesaurus bilden (Entscheidung für einen einzigen Begriff bei Synonyma, Verwendung eines zusammenfassenden Terminus für mehrere eng verwandte Begriffe u. ä.).

In der Diskussion um den vorgelegten Entwurf wurde u. a. auf mögliche Überschneidungen hingewiesen, z. B. zwischen G und anderen Gruppen (besonders B). Zu prüfen ist ferner, inwieweit

gleiche Unterteilungs-Schemata in verschiedenen Gruppen wiederholbar sind. Bathja Bayer regte an,

religiöse Anlässe soweit wie möglich unter den zeitlichen Begriffen des Lebenslaufes, Jahreslaufes etc.

unterzubringen. So wären Initialriten (Taufe, Beschneidung etc.), ,Jtites de passage" (Konfirmation, Reifezeremonien etc.), Hochzeit, Sterbesakramente etc. der jeweiligen Altersstufe zuzuordnen. Ähnlich wäre mit religiösen Festen zu verfahren, die alljährlich feste Daten haben oder mit den Jahreszeiten verbunden sind. So könnte erstmalig ein poly-religiöses beziehungsweise poly-kulturelles System entstehen. Die bisherigen Schemata gehen einseitig von der im eigenen Land vorherrschenden

Religion aus.

Dr. Bayer wies außerdem auf zwei Gesichtspunkte hin, die in der Systematik berücksichtigt werden sollten: 1. die Sprache bei Vokalwerken; 2. bei Sammlungen ist der Zeitunterschied zwischen

Entstehung der enthaltenen Werke und Entstehung der Sammlung von Bedeutung.

Kurt Dorfmüller, Vorsitzender.

An den Sitzungen nahmen teil: E. Aczel, I. Adler, R. Amiran, B. Bayer, Y. Cohen, J. Coppenhagen, K. Dorfmüller, G. Haberkamp, D. Harran, J. Harrington, G. Herz, E. Hurwitz, A. Lönn, M. H. Miller, C. P. Mills, M. Segre, A. Shiloah, L. Thew, T. Wood.

COMMISSION FOR BIBLIOGRAPHICAL RESEARCH

The Commission for Bibliographical Research met on Wednesday, 21 August, at 9 a. m., with thirteen persons in attendance from nine countries: Otto Albrecht (U. S. A.), M. P. Baumann

(Switzerland), Rudolf Elvers (Germany/B. R. D.), Gertraut Haberkamp (Germany/B. R. D.), Don Harran (Israel), D. W. Krümmel (U. S. A.), François Lesure (France), Anders Lönn (Sweden), Miriam Hunt Müler (U. K.), P. Neidorf (Australia), Mercedes Reis Pequeno (Brazil), Don Roberts (U. S. A.), and Lisbet Thew (Switzerland).

An advance proof-copy of the Guide for Dating Early Published Music (Hackensack, N. J.: Joseph Boonin; Kassel, etc.: Bärenreiter, 1974; 268 pp.) was presented and discussed. It was agreed that the

Compiler would collect additions and revisions (amplifications and corrections, new evidence, and

references to new evidence, and references to new writings), for distribution as occasional

Supplements. Users of the Guide are requested to send such information to him, at 329 Library,

University of Illinois, Urbana, Illinois 61801, U. S. A. The project for bibliographical control of music publishers' catalogues was discussed. A group from

the U. S. A., under the supervision of Dr. Lenore Coral, will prepare a Preliminary List, based for the

most part on secondary references with abbreviated entries. This will serve as a checking copy for the

final product, which will consist of a Bibliographical List as well as a microform collection of the

Kurt Dorfmüller, Vorsitzender.



50 Working Commissions

catalogues themselves, accessible to scholars probably through publication. For the Preliminary List, three recommendations were made. First, the scope should extend from the beginnings to 1945 (not

terminating with the Hauptkataloge, as was generally agreed last year in London). Second, all

catalogues should be included for now regardless of size, although the final Bibliography will probably have annotations only for the important ones. Third, catalogues from sources other than publishers (such as dealers, loan libraries, and the like) should be collected but handled separately, perhaps in a

supplement to the final Bibliography. The meeting concluded with reports on bibliographical activities in various countries, and

discussions of the relocation of several major private collections.

D. W. Krümmel, President

MUSIC INFORMATION CENTRES (MIC)

MIC held three sessions in Jerusalem and a fourth one in Tel Aviv, where we were the guests of

William Elias and the Israel Music Institute, of which he is the managing director. We were very much

impressed by the set-up of this institute and can only congratulate our host country on possessing such a well-run music information centre.

Eight centres were represented in Israel: Canada (Mrs. L. J. Hassel), Finland (Mr. Jarmo Sermilä), Holland (Mr. André Jurres), Israel (Mr. William Elias), Norway (Mrs. Bodil Russ), Sweden (Mr. J. O.

Rudén), Switzerland (Mr. Hans Steinbeck), U. S. A. (Mrs. Toni Greenberg). Among the countries

applying for membership in MIC, Australia was represented by Miss P. Neidorf. The minutes of the 1973 MIC meeting in London were approved. Summarized versions of these

minutes appeared in Fontes 1974—I/II and in The World of Music 1974-1.

Among the topics discussed during the various sessions were: the editing and publishing of an international directory of organizations and institutions that are interested and active in promoting new music; the reports of the various national centres, with emphasis on the difficulties they may experience either in the field of finances or otherwise; the preparation of a special session, to be

organized in 1975, to discuss the problems of editing, publishing and promoting contemporary music. The delegates were particularly glad to hear from Miss Neidorf that the "Australia Music Centre"

will finally open its doors in Sydney, under the presidency of the distinguished Australian composer James Pemberthy; director will be James Murdoch.

The exhibition of scores in the Jewish National and University Library was in the capable hands of William Elias and gave an excellent international survey. The auditions of recordings, meant for all the members of IAML, were not wholly met by the success they deserved; it seems difficult to find the

right procedure for this aspect of our work, but we will certainly continue our efforts in this direction in Montreal The material, both scores and recordings, displayed in Jerusalem by the MIC members, has been offered to the Israel Music Institute.

Unforgettable was the lunch, offered the whole MIC group by its Israel section, in a picturesque Yemenite restaurant in Jaffa.

A more complete report of the Jerusalem meeting will be sent to the MIC members in due time, as also to other persons who might apply for it.

André Jurres, President.

RESEARCH LIBRARIES COMMISSION

S ub co m m issio n on the professional training of the research music librarian

1973/ 74 Report

At the August 1973 meeting of the IAML Research Libraries Commission, the Committee on the Professional Training of the Research Music Librarian was established with Don L. Roberts (Evanston) appointed Chairperson. The Committee's charge is to survey training practices and to prepare a

D. W. Krümmel, President

André Jurres, President.




statement of qualifications necessary for the Research Music Librarian. Rudolf Elvers (Berlin), Eva-Brit Fanger (Kobenhavn), Miriam Miller (London), and Radu Stan (Bucuresti) have agreed to serve on the Committee.

After preliminary correspondence between Committee members, thirty-four questionnaires were sent to a carefully chosen group of librarians who represent a broad spectrum of research music

librarianship. Twenty-two replies were received and the Committee met in Jerusalem to analyze these

responses. The purpose of the questionnaire was to determine what professional training is required for a

research music librarian in various countries. In order to place the answers in a proper perspective, the

questionnaire was designed to provide information on the duties of the research music librarian. The

eight main areas covered in the questionnaire were: formal educational training, internship, certification, trends, training summary, duties of a research music librarian, job descriptions for the

respondent's library, and comments. The responses can be outlined in the following manner. Seventy-seven per cent stated that formal

educational training in musicology was required and that a specific academic diploma was normally

necessary. Ninety-ope per cent reported that formal educational training in librarianship is necessary and that this educational training usually results in a diploma or level. Less than one-third stated that

specific training in the performance of music was needed but most pointed out that performance skills

were inherent in musicological training. One-half of the countries polled have special courses in music

librarianship but this course is generally not an absolute prerequisite for the research music librarian.

Slightly more than half of the respondents stated that it was necessary to have a period of internship and several commented that this was the "usual way" of becoming a research music librarian.

Certification is required in only one-third of the countries polled. Respondents felt studies in general

librarianship and computer science are becoming more important whereas there was no discernable

trend concerning the desirability of additional training in administration. Responses concerning the

most important components of a research music librarian's training varied widely and included

musicology, general librarianship, ability to work with manuscripts, computerization, languages, and

exhibit preparation. The basic duties of the research music librarian, according to the survey, included

selection of books, music and recordings; public services; compilation of bibliographies and printed

catalogs; cataloging and classification; publicity about the library, its collections, and its services

through written materials and exhibitions; instructing library users on how best to use the library's

resources; administering the library; the training of library personnel; and research projects related to

the library. More than half felt that the research music librarian should do independent research

projects whereas less than one-third were involved in fund-raising for their libraries. Other areas

mentioned by individual respondents included the teaching of music bibliography, space planning,

correspondence, and equipment maintenance.

To summarize, the research music librarian has a broad range of duties, should have training in

musicology and normally must have a degree in librarianship. Internship is often necessary but

certification is seldom required. At the Montreal meeting, the Committee plans to submit a proposed list of desired qualifications

for the research music librarian. The Committee recommends, and those attending the session of the Research Libraries

Commission in Jerusalem concur, that the officers of IAML be petitioned to form a working commission on training and continuing education for music librarians. At least two commissions are

presently studying these topics (the Research Libraries Commission and the Public Libraries

Commission) which results in an unnecessary and undesirable duplication of efforts. A letter is being sent to President Heckmann requesting that the Board and Council consider this proposal at the

Montreal conference.

Don L. Roberts, Chairman of the Subcommission.

PUBLIC MUSIC LIBRARIES COMMISSION

Great difficulties had to be overcome by the Commission since Dr. Alfons Ott before the

Congress expressed the wish to resign after having chaired the Commission for over twenty years.

Don L. Roberts, Chairman of the Subcommission.




Fortunately Eric Cooper (London, Borough of Enfield) was willing to take his place: a hard task with

hardly any preparation and without the presence of two subcommission chairmen out of three.

However work had to go on and at the Plenary Session, attended by 17 people, (for the greater part coming from other professional branches) a survey was given of the work done and to be done in

the three Subcommissions.

Subcommission: Reference and Community Service (Chairman: Hans

Vetterlein, Berlin) had planned to produce its first publication: the quarterly news bulletin Musikbibliothek Aktuell. Unfortunately neither its Chairman nor any of the Subcommission's members were able to attend the Congress, and the newsletter itself did not reach Jerusalem in due

time. In a letter Hans Vetterlein, as chief editor, made an urgent appeal to the representatives responsible for a large country or group of countries to send their contributions to the editor: brief notes and news items on (public) music libraries, e. g. new collections, documentation, professional literature, meetings of national IAML groups and working commissions, exhibitions, catalogues, planning of reference works - in short all information of more than just local interest.

The other project of this Subcommission, the compilation of a Directory of Public Music Libraries, could not be discussed for reasons mentioned above.

Subcommission: Education and Training (Chairman: Dr. Hermann Wassner,

Stuttgart) had to do without its Chairman and his substitute. Nevertheless a meeting was held, and the

participants came to the following conclusions: 1. to ask the Chairman to publish in Fontes the results of the questionnaire on education and training sent out to 13 different countries a few years ago. 2. to promote the education and training of music and record librarians in those countries where this is not already organized. 3. to co-operate more closely with other professional branches working in the same field: e.g. research and conservatory libraries.

Two reports were discussed: Qualifications of a Music Librarian, published in the ML A Newsletter

(Nov./Dec. 1973) by a commission chaired by Prof. Don Krümmel, and Staff Organization of Music Libraries written by Brian Redfern. Both reports mention that too little attention is being paid to education and training in both Great Britain and the United States. In the U. S. A. hardly any training of record librarians exists. England would like to promote sabbatical leave for those who want to attend a special training course for music and record librarians. In short: a specialisation sh o u 1 d n o t d i sa p p e a r !

'

Subcommission: Public Music Collecting or should it be "Policies of Col

lecting"? (Chairman: the undersigned) suffered the loss of a very active member, Elizabeth Hartman, because of her retirement from the music library of the Free Library of Philadelphia. The

International Basic List of Literature on Music, in fact accomplished in 1973, has not yet been

published. A member of Blackwell's Music Publishers (Oxford) had, however, spent a lot of time in

checking the entries for availability, latest editions, reprints, new publications, etc. This was followed

by further deliberations with members of the Subcommission. In Jerusalem the Board of IAML considered proposals for the publication of the List, and subsequently the President of the Board gave permission for it to be published by Blackwell's under the auspices of IAML. This list would be distributed by them free of charge. It was agreed that we would seek the publisher's assistance in

compiling updated supplements every 5 years. In the Plenary Session the compilation of a basic list of Musica Practica had been discussed. Most

participants expressed their doubts about this question. It was decided to investigate, through Musikbibliothek Aktuell, which countries do have such national basic lists of Musica Practica;

collecting and comparing such lists might promote a final solution in this matter. Other projects to be dealt with by this Subcommission may be:

1. standards for public music libraries; 2. selection (acquisition policy, including e. g. folk music, non-western music).

The work on Music services for the blind, originally broached by this Subcommission, has not made any progress since Miss Annie Willemsen's Inventory of Braille Music Libraries and Printing Houses (1972). The meeting decided once more to contact Mrs. Mary Mylecraine (Division of the

Blind» Library of Congress), and to ask her whether she in her library might put up an apparatus for the compilation of a central catalogue of all Braille music, and of a reprint and supplement of the International Catalogue of Braille Music Publications (1956).




A meeting on audiovisual materials in public libraries was also held under the auspices of the Public

Music Libraries Commission. Two suggestions were made: firstly that IAML should sponsor an

international bibliography of books on media technology, co-ordinating with IFLA who were

contemplating a similar project, and secondly that it should publish an international list of audiovisual

terms. In connection with the first proposal, it was stated that the Deutsche Bibliotheksverband had a

commission for media, and might have facilities for publishing such a bibliography. Reference was

also made to the multiplicity of cataloguing codes for audiovisual materials, either completed or in

preparation. However the meeting found it difficult to agree on the extent to which IAML had

responsibility for these matters, and the discussion was left in abeyance. To conclude, the Public Libraries Commission decided to make a 3-year plan, and to ask the

chairmen of the 3 Subcommissions to produce visible results within a certain limit of time.

Communication should be improved within this professional branch, but also with other branches.

Librarians should attend meetings having been briefed in advance by written reports, distributed if

possible a few months before the annual meeting. Charlotte van der Pot, Secretary.

RECORD LIBRARIES COMMISSION

The Record Libraries Commission had two joint meetings, one with IASA and one with the Public

Music Libraries Commission; a third meeting was cancelled.

The joint meeting with the Public Music Libraries Commission was held under the chairmanship of

Mr. Eric Cooper. The main point of discussion was the setting up of a public lending library group in

close co-operation with the Record Libraries Commission, as proposed by Mr. Cooper at last year's

meeting in London. Four subjects were discussed: 1. The need for education and training of the public record librarian, particularly in the practical

handling of material in the public library situation. Material was subject to much greater stress in a

circulating library; technical training would help to counteract this - an important consideration in

view of rising costs and material shortages. It would be useful to discover what efforts were being

made throughout the world to teach this knowledge. 2. Technical information: arising out of (1) above, there was a need for the collection and

dissemination of technical information relevant to the public record lending situation. The Pickett and

Lemcoe report was discussed, and some form of public record library supplement to it envisaged; it

might be possible to collaborate on any future updating of P'ickett and Lemcoe.

3. Minimum standards for the provision of sound recordings in public libraries. The chairman drew

the members' attention to two reports on this subject: one produced in Great Britain for the

Department of Education and Science by Mr. Cooper, the other one produced in Holland,

Gramophone Library Work In The Netherlands, by Mr. Huib Deetman.

4. Exchange of general information on tape cassettes and gramophone records in the public library

situation. There should be a group gathering information as it appeared in technical periodicals, record

magazines, and other sources. It was decided to set up four small working groups to cope with these problems. The following

persons were suggested as chairmen for the different groups: Mr. Bent Christiansen (Danish Library

School) for No. 1, Mr. Eric Cooper (Enfield Public Libraries) for No. 2, Mr. Huib Deetman

(Amsterdam Public Music Library) for No. 3, and Mr. John Morgan (Camden Public Libraries) for

No. 4, and members present were asked to send any relevant information to the appropriate people.

It was also decided that there should be one separate meeting with the public lending libraries in

Montreal, and one joint meeting with the Record Libraries Commission. Claes M. Cnattingius, Secretary.

Participants Eric Cooper, Chairman (Great Britain), Claes M. Cnattingius, Secretary (Sweden), Elizabeth Hart,

Assistant Secretary (Great Britain), Harald Bogner (Austria), Joop van Dalfsen (Holland), Huib

Charlotte van der Pot, Secretary.

Claes M. Cnattingius, Secretary.




Deetman (Holland), Lorna Hassell (Canada), Ken Home (Australia), Judith Jacks (Australia), Derek Lewis (Great Britain), Karl L. Nicol (BRD), Charlotte van der Pot (Holland), Robert Temisien

(Canada), Thor Wood (USA).

Subcommission Radio Sound Archives

Jerusalem Meeting, August 20, 1974

Chairman: Dietrich Lotichius, North German Radio, Hamburg

Participants: Austria: Dietrich Schüller (Vienna) Holland: Joop van Dalfsen (Hilversum) Belgium: Wim Mertens (Leuven) Israel: Grete Herz (Jerusalem); Yohanan Canada: Robert Ternisien (Montreal) Cohen (Jerusalem); Israel Hadar (Haifa); Eliza Finland: Antero Karttunen (Helsinki) beth Parente (Jerusalem); Anita Sibilia (Jeru France: Francine Bloch (Paris) salem); Miriam Rothschild (Jerusalem); Don

Germany: Wolfgang Adler (Berlin); Wolfgang Harran (Jerusalem); Josef Tal (Jerusalem) Hempel (Baden-Baden); Dietrich Lotichius Norway: Gudrun Snekkenes (Oslo) (Hamburg) Sweden: Claes M. Cnattingius (Stockholm) Great Britain: Derek Lewis (London) United States: Dena Jacobson (Pittsburgh)

The Subcommission resumed its meetings after an interval of two years which had been established to avoid an overlapping of activities with meetings of radio sound archivists arranged by the European

Broadcasting Union and held on the fringe of IAML conferences both in Bologna and in London.

Meanwhile it was felt that while these EBU deliberations had to cope with a wide range of Sound Archive topics, but little time was left for detailed study of special aspects such as commercial sound

recordings. The chairman had therefore offered the services of the subcommission for discussions of

items related to that kind of sound recordings. The meeting convened during the Jerusalem Congress seemed even more appropriate since no EBU gathering of Sound Archivists had been scheduled for this

year. Mr. Avigdor Herzog, Head of the National Sound Archives very kindly agreed to the meeting being

held on their premises.

General maintenance and condition of stock. Ways to preserve the technical state of records.

The various methods used by the different radio stations were discussed. Some kept copies of the records to make tape dubbings for programme or producer use. Others just bought more copies. It was

agreed that time for the checking of either tapes or records was rarely available. Unfortunately the

quality of commercial pressings gives frequent reason for complaint. Cleaning machines for records as used by some stations do not at all operate as expected, in fact in

many cases requiring frequent maintenance. In the Swedish Radio technicians are experimenting with a prototype cleaning machine applying ultrasonic methods rather like that used in the Library of

Congress, Washington.

Efficiency of a returns system.

The various systems introduced by the radio stations were discussed, including a punch card

method, mechanised means etc.




Co-operation between central archives and regional branches.

Various methods of supplying gramophone records from radio stations' H. Q.s to their satellite stations - within their own countries - were mentioned. The basic stock principles of such branches are determined very much by their particular function. There was much concern about valuable archive material of local origin that may not be known or not transferred (even as copies) to the central archive.

Procedures of selection and purchase of gramophone records for radio programme use.

An extensive discussion arose on the question of how to obtain both records and information from manufacturers or dealers abroad. The meeting learned that the Israel Broadcasting Authority is

particularly vulnerable due to a ban on air parcels occasioned by the political situation. A special problem turned out to be important: exchanging tapes of deleted records on an international basis.

To overcome these difficulties one of the possible solutions could be to amend agreements between radio organizations and record companies by a clause permitting the international exchange of deleted

recordings. In Western Germany, a similar provision is already in existence, allowing the exchange of commercial recordings acquired under the respective agreement with any broadcasting body holding a

corresponding contract with I. F. P. I.

The meeting agreed that efforts should be made for more information on where to get foreign label

recordings or those of labels not easily to be found on the market. Therefore the librarians present undertook to send lists of good export dealers (particularly those dealing with pop) and those

specializing in rare labels to the chairman for re-distribution. Anyone in a position to contribute

information is invited to send lists to: Dietrich Lotichius, Norddeutscher Rundfunk, D 2000 Hamburg 13, Rothenbaumchaussee 132.

Commercial music cassettes.

At present few countries play cassettes into their programmes, disc or tape still being the major method. As the matter stands now there are variants in quality and ease of use. The problem will

become more intense when more material is available on cassette only. A simultaneous cassette/disc issue of commercial releases should be encouraged.

International Standard Recording Code.

The chairman explained the previous history and the latest developments of "ISRC". The scheme

is not confined to commercial recordings but open to anyone producing recordings. Mile. Bloch said

that in France a general acceptance of the principles has been achieved. Note: A detailed description of the scheme is found in the No. 10, November 1974 issue of the

Phonographic Bulletin, Journal of the International Association of Sound Archives (IASA).

Documentation on changing names of orchestras as well as names of amalgamated or disbanded

orchestras.

Mr. Lewis briefly explained the reason for the B. B. C.'s application to the E. B. U for standardised

information with regard to correct titles of orchestras and choirs to be made available. No reasonable

solution seems to be in sight so far.

Dietrich Lotichius, Chairman. Dietrich Lotichius, Chairman.



56

COMMISSION OF COLLEGE MUSIC LIBRARIES

Les difficultés de transport, ainsi que d'autres engagements, ont empêché le Président et les membres de cette Commission d'être présents au Congrès de Jérusalem. (Note de la R é d.)

RIS M

(voir pp. 83-90)

RILM

Report No. 9: Jerusalem, August 18th-24th, 1974

During the Triennial Congress of the International Music Library Association held in Jerusalem on

August 18th-24th, 1974, there were two RILM sessions. The first was a general meeting devoted to a

discussion of the RILM five-year cumulative index I- V, 1967-1971, questions of coverage, the

publication of RILM retrospectives, and a special report by the West German National Committee.

The second was a meeting of the RILM Thesaurus Sub-Commission, which dealt with revisions in the

RILM English Thesaurus and the RILM Multi-lingual International Thesaurus. The following is a brief

summation of the proceedings.

General Meeting

Report by the President

The printing of volume VI of RILM abstracts covering 4174 publications for 1972 und earlier -

including articles, books, dissertations, music editions, bibliographies, etc. - is nearing comple

tion. Volume VII for 1973 publications and the RILM five-year cumulative index I-V, 1967-1971

are in preparation. Both VII/1 and the cumulative index will be published by the end of the year.

RILM now has the benefit of perfected computer programs that handle a great deal of work that

formerly was done manually. Beginning with VI/3 our keyboarders have been inputting edited

abstracts in random order. The computer later 1) assigns abstrâcts to their proper categories,

alphabetizes them, and numbers the entire issue, 2) automatically distributes cross references to the

specified categories, and 3) automatically generates the author index. Heretofore the RILM staff had

to edit an entire issue and assemble it by hand before committing it to any kind of computer

processing. Now data is input while editorial work on remaining abstracts is still in progress; all routine

work is shifted to the computer. The time saved is considerable.

New computer programs have also been developed for the five-year cumulative index, a project which has consumed much time on the part of programmers, indexers, keyboarders, and proof-readers.

(See the report on the Thesaurus Sub-Commission below.) RILM is currently receiving modest funding from the National Endowment for the Humanities to

meet the deficit between costs and subscription income. Additional funding, though in a still smaller

amount, has been requested for 1975; in 1976 RILM should approach self-sufficiency. Subscriptions are rising slowly, but steadily. An increase in subscription income, a smaller salary schedule than in the

past, and a second price rise with volume IX in 1976 to $ 48.00 for institutions and $ 15.00 for

individuals should come close to sustaining RILM financially. RILM needs the support of all IAML

members in subscribing to the journal - both individually and institutionally.

Regarding RILM retrospectives, volume I, entitled Thematic catalogues of music: an annotated

bibliography, is presently available. Volumes in preparation include the following: volume II, French

dissertations in music, edited by Jean Gribenski, volume III, The iconography of music, edited by Frederick Crane, and volume IV, Congress reports.



RILM 57

Special report from the West German Committee

Several National Committees sent written reports about their activities in the last year. Peter

Wagner reported orally about the West German Committee as follows.

Stephanie Krappe of the RILM Center at the Staatliches Institut für Musikforschung in Berlin

recently compiled statistics for the period 1970-1972 and found that: 1) 82 % of all abstracts sent from West Germany were written by the authors themselves, 2) 25 % of all West German abstracts

were revised in some way by the Committee, and 3) 5 % were condensed. The BRD Committee no

longer has funds to pay assistants to write abstracts in cases where authors do not comply. The

possibility of printing in RILM abstracts only the citation of books and articles, etc., in instances of

non-cooperation by the authors is being considered. In the discussion that followed, the President pointed out that at the inception of RILM Harald

Heckman had said that German authors simply would not cooperate, and yet several years later Klaus Ernst Behne - Stephanie Krappe's predecessor - reported that 86 % of all West German abstracts were author-abstracted. It was agreed that a 4 % decline in cooperation was not especially alarming and that advertising by Bärenreiter for the forthcoming five-year cumulative index would recall the

importance of the RILM project and author cooperation for many West German authors.

Thesaurus Sub-Commission Meeting

Anders Lönn, Chairman

The principal topics at the joint meeting of the Thesaurus Sub-Commission and the IAML Classification Sub-Comission were as follows.

1) Professor Brook reported that the RILM five year cumulative index I-V, 1967-1971 would be

published by the end of the year, and he demonstrated a computer printout of the multi-lingual thesaurus, which incorporates references from French, German, Russian (transliterated on a trial

basis), Polish, Hungarian, Swedish, and Danish. A draft of part of the introduction to the index, explaining the aims and principles of the multi-lingual approach, was distributed by the Chairman.

2) Of additional languages, Italian and Czech were among those urgently needed; various

possibilities of assistance were mentioned. For forthcoming annual indexes, the existing lists of

non-English terms should be checked for consistency, completeness, etc., by the Chairman.

3) The special problem posed by Cyrillic and other non-Latin alphabets was discussed at some

length. It was suggested that the transliterated terms should be retained in the thesaurus (as in the demonstration version in printout form), but omitted from the index. However, if similarity to Russian is to be a criterion for excluding terms from other Slavic languages not in Cyrillic, then the transliterations cannot be omitted: if they were, the entire complex of variants would be without

representation. At the same time, since Russian readers are unlikely to need transliterations, their main effect would be to replace Czech or Polish terms by similar terms in Russian — resulting in a loss of convenience for Czechs and Poles with no gains for Russians.

4) On the question of terms specific to a particular language, culture, or ethnic groups, it was decided not to attempt to draw up detailed lists of - for example - the names of folk instruments, but to keep the present practice of grouping them under folk instruments. However, the name of the instrument would probably be preferable as the first subdivision rather than the country, at least for instruments found in more than one country. Also, a see-reference from the specific instrument to the

general heading should be added if possible (ie., gusli, see folk instruments)-, this might be especially important where the instrument is also entered under its individual name as an art music instrument.

Varying names for the same folk instrument must be connected by means of cross-references, if a

preferred form cannot be found. This could probably best be done by revision at regular intervals, rather than by trying to establish a standard beforehand.

It was pointed out that a description of structured headings like folk instruments should be

included not only in the thesaurus (as at present), but also in the index itself.

5) A list, compiled by Galina B. Koltypina, of suggested additions to the thesaurus dealing with

important concepts in Marxist musicology was examined. In some cases revisions in the present thesaurus were made, while in other cases her terms could be accommodated by existing thesaurus

Anders Lönn, Chairman



58 RILM

terms. For instance, "Soviet mass song" would be entered under USSR, "revolutionary hymns" and

song, "revolutionary"; "Party principle in music" would be entered under aesthetics, "Marxist Leninist". It was emphasized that where terminology was ambiguous - as for example in the cases of

"Marxism", "Communism", "Socialism", "sociology", "culture", etc. - the article's definition had to be accepted for indexing purposes.

6) Regarding the relations between the classified abstract and the index, it was agreed to re-examine the present practice of not duplicating entries in a particular class under the corresponding index term. (E. g., items classed in category 07 have not been entered under bibliographies in the

index.) While leading to some inconvenience, this has seemed the only economical solution. It was

suggested that each class should be looked at anew for structuring, to ensure that items included therein would be indexed under all relevant specific terms. (E.g., a bibliography of 19th-c. German

piano sonatas would be indexed under Germany, piano music, and sonatas.) In this way, inconvenience would be kept at a minimum.

Barry S. Brook, President, Commission internationale mixte; Anders Lönn, Chairman, Thesaurus

sub-commission; Carol Neuis-Bates, Managing editor RILM abstracts.

RldlM

Report No. 4: Meeting at the Triennial Congress of the IAML in Jerusalem, 18th-24th August, 1974

Chairman's Report:

International activities of the RIdIM project that have taken place in the two years since the formation of the international commission have resulted in the adoption of the master catalogue card and of the basic principles of cooperative accumulation. Two specific areas of accumulation for 1974-75 were established: 1) musical instruments in Italian religious paintings of the 16th century, and 2) depictions, in all media, of secular ensembles from 1730-1810. Thus far seven countries have responded with filled-out catalogue cards for these topics; participation by about eight other countries is expected within the coming year.

To avoid duplication of effort, the following principles of accumulation have been established. Each country will catalogue and gather reproductions of works of art that are currently housed within their borders. For engravings, etchings, bronzes, etc., that may exist in multiple copies throughout the world, the country in which the item was originally printed or cast would normally be responsible for its detailed cataloguing; after such 'cataloguing information has been made available internationally, other countries possessing copies need only record the presence of such copies in their various locations.

The sponsorship and organizational structure of RIdIM has been established as follows: the three sponsoring organizations are the International Council of Museums, the International Association of Music Libraries, and the International Musicological Society. RIdIM is governed by the Commission Internationale Mixte, composed of four or five persons designated by each of the three sponsoring bodies, and presided over jointly by Madame de Chambure, Harald Heckmann, and Barry Brook, chairman. There is an International Advisory Commission made up primarily of distinguished museum directors, art historians, computer specialists, and private collectors. In addition, in each country, there are working National Committees or participating individuals, for example: in Australia, Graham Pont and Prue Neidorf; in Belgium, Jean Ferrard; in Brazil, Mercedes de Reis Pequeno; in Denmark, Henrik Glahn and Mette Müller; in England, Howard Meyer Brown; in France, Madame de Chambure and Frédérique Thieck at le Centre d'Iconographie Musicale; in Germany, Harald Heckmann; in Hungary, Zoltân Falvy; in Israel, Bathya Bayer; in Italy, Sergio Paganelli; in the Netherlands, Clemens von Gleich; in Poland, Maria Prokopowicz and Jan Biatostocki; in Portugal, Madame de Azeredo Perdigao of the Gulbenkian Foundation; in Rumania, Octavian Cosma; in Sweden, Eva Helenius Öberg.



RldlM 59

Special reports:

Brazil, Mercedes de Reis Pequeno: The RIdIM project has been received with enthusiasm by various institutions in Brazil. The RldlM instructions have been translated into Portuguese and groups from ten institutions in Rio de Janeiro and Sao Paulo have already begun to work. An exhibition of the iconography of music was prepared for the meeting of the International Music Council in the summer of 1974. Madame Pequeno distributed copies of the catalogue prepared for the occasion, which reproduced 18 of the 132 pieces shown. These materials, dating from 1550-1850, were largely ethnographic in nature. Prof. Brook suggested that since the RIdIM card was focused primarily on western art, Madame Pequeno's experience would be helpful when the card is eventually emended to account for ethnographical materials.

France, Madame de Chambure, Centre d'Iconographie Musicale: A questionnaire was sent asking provincial museums to check relevant holdings. Closer communication was established with the Louvre in order to obtain regular information concerning acquisitions, displays, store room content, etc.

Paintings of the Louvre have been studied and photographed (in color and black and white) and

publication of a volume is being considered for 1976; it will include reproductions of the paintings and

analyses prepared by the Centre d'Iconographie Musicale (a similar publication, on musical instruments found in pictures at the Prado, has appeared). In addition, a catalogue of drawings at the Louvre is nearing completion (expected early 1975).

Work has begun on the following topics: medieval frescoes (as an area of concentration) in collaboration with the Musée National des Monuments Français; Caravaggistes; performance practice of ensembles; and the Viol family.

The Franco-British travelling instrument exhibition, Eighteenth Century Musical Instruments: France and Britain, initially shown in several museums in Great Britain, was displayed in Paris last October. Visual aids were used to demonstrate the playing and grouping of the instruments. Method

books, tutors, and fingering charts were included. The chairman praised the catalogue of the exhibition as a model of scholarship and elegance.

Israel, Israel Adler: A fichier is being maintained by the Jewish! Music Research Centre which concentrates on Judaic, biblical an post-biblical iconography.

U. S. A., Research Center for Musical Iconography: A report on the RCMI in the College Music

Symposium for the fall of 1973 has detailed the center's holdings and activities. A pilot project adapting the RIdIM catalogue card to computerization, undertaken by Ronnie Gellis as part of her Master's thesis in medieval music at the City University of New York, demonstrated the workability of the system in computerized format. This pilot project employed the RILM indexing system and was

sponsored by the Research Center for Musical Inconography in the City University of New York. The second Annual Conference on Musical Iconography, held in New York, March 1974, is the

subject of a separate report. Eight areas of concentration were suggested for 1976 accumulations:

1) Greek vases, Greek and Roman jewelry and gems, and ancient wall paintings; 2) Wall paintings and other media 1400-1530; 3) the Viol family, including bows; 4) Musical inscriptions; 5) Drums and drummers 1550-1650; 6) Caravaggistes; 7) Performance practice of ensembles; 8) Portraits.

Discussion

On the question of whether RIdIM is concerned with photography, it was pointed out that a

photograph may well be a primary source of musico-iconographical documentation and hence falls

within the scope of RIdIM, e. g. a nineteenth-century photograph of "La Garde Républicaine", or a

recent one of a Javanese gamelan. On the other hand, the photograph of an extant Stradivarius, while useful for reference, is not within RIdlM's scope and need not be catalogued or analysed.

Mr. Offenbacher, a photographic consultant from the Inter Documentation Company AG,

representing Mr. Henri De Mink, described reprographic procedures, stating that microfiche is more

efficient than microfilm which must be unspooled; projection and printing is possible from both.

Furthermore, a library's own classification sigla may be added to the fiche envelope, thus simplifying access.

The first musical project of the IDC, European Musical Instruments, was composed of 60 fiches

with 650 frames. The second project, Portraits of Composers and Musicians, composed of 80 fiches

and 850 frames, will be available next year. Israel Adler asked how the IDC could help to further the international goals of RIdIM as well as his

own work in Israel.



60 RIdIM

The Chairman explained that microfiche may well be the most compact, efficient, and inexpensive solution to the problem of the dissemination of iconographical information gathered through the RIdIM project. This proposition, along with publication by other means, will be tested within the next two to three years. The relationship between RIdIM and the IDC has thus far been very informal. Further collaboration should be formalized through agreement between the IDC and the Commission Internationale Mixte of RIdIM.

Bathja Bayer stated that she is keeping a running file (part of which was published provisionally in

1963) on the material relics of music in Palestine and its environs, and asked if an archaeological find

of a musical instrument itself, rather than its iconographical representation, will be considered by RIdIM. The chairman explained that RIdIM is concerned with works of art depicting musical subjects rather than with the musical instruments themselves and that the analysis and study of actual instru

ments is the work of yet another group, CIMCIM, which enjoys the sponsorship of ICOM and

UNESCO. Madame de Chambure stated that CIMCIM is concerned with instruments in private collec

tions and museums, has published a book on the preservation of musical instruments, one on ethnic

instruments, and is presently preparing a general directory of the private and museum collections of

musical instruments throughout the world. In addition, Yvonne Oddon of ICOM has developed a

cataloguing card for description of the musical instruments (be they ethnographical or western) which

operates through color-coded visual classification. Dr. Harald Heckmann suggested that international working groups should not be given music

subjects that are too specific to work on, e. g. drums and drummers or viols. Broader art categories, such as paintings, prints or drawings with limiting dates, Greek vases, Gothic sculptures, etc., would be

more appropriate. With a program of truly international scope, RIdIM could go to different national

governments, explain that they were after a world wide repertory, and ask for official assistance. But if

one were to go to the German government with a topic such as "drums and drummers", little action

could be expected. Instead of accumulating information about specific subjects, participating groups and individuals should go from museum to museum covering the complete contents of each.

Prof. Brook, agreeing, suggested that both types of accumulation, i. e. the (not too) specific and

the broad, might go forward side by side: the one by individuals, the other by national committees. For many larger museums, cooperation and personnel is available for only limited efforts. In any case the topics chosen thus far have been for testing purposes only: broad accumulation continues in

participating countries as a matter of course. Madame de Chambure added that the same approach must be followed for libraries as well;

iconographers will be needed to examine manuscripts for miniatures depicting musical instruments. Great precision is required in definition of instruments and location of specific folios. Much prior research has proven useless because of the lack of such precision. Also there is need to gain access to a

museum's reserves, as well as to the materials on display, since stored works are often equally important to RIdlM's objectives. The chairman emphasized the value of RIdlM's sponsorhip by ICOM, since it can be of assistance in gaining access to works of art stored in the reserves of many museums; ICOM's good offices have already helped in several instances.

Barry S. Brook, Chairman.

IASA

Die Internationale Vereinigung der Schallarchive (International Association of Sound Archives) wurde im Jahre 1969 gegründet. Zu ihren Mitgliedern zählen nicht nur Musikarchive, sondern auch solche, die sich mit der Sammlung von mündlicher Überlieferung, von literarischen und dramatischen sowie von linguistischen, biologischen und medizinischen Schallaufnahmen beschäftigen. Die IASA umfaßt somit Archive von Schallaufnahmen jeglicher Art, deren Erhaltung und Bewahrung für

Forschungszwecke nützlich sein kann. Die IASA dient der Vermittlung von Informationen über Konservierung, Lagerung und Katalogisie

rung von Schallaufnahmen, sowie über Technik und Methode der Schallaufzeichnung. Sie fördert die

Herstellung nationaler Diskographien, den Austausch von Kopien und die Beziehung zwischen

Forschungs- und Rundfunkarchiven.

Barry S. Brook, Chairman.



I AS A 61

Die Zahl der I ASA Mitglieder am 1. August 1974 1973 1972

Institute und dergleichen 79 63 49 Personen 58 46 41

insgesamt 137 109 90

Die meisten Mitglieder kommen aus den Vereinigten Staaten, dann folgen die Niederlande, die

Bundesrepublik Deutschland, England und Kanada. Folgende Länder sind außerdem in der IASA

vertreten: Australien, Finnland, Frankreich, Israel, Norwegen, Österreich, Schweden, die Schweiz,

Hongkong, Dänemark, die Deutsche Demokratische Republik, die Sowjetunion, Ungarn, Indien,

Belgien und Japan. Die Körperschaftmitglieder sind größtenteils Universitäten, Universitätsbibliotheken und universi

täre Institute. Es schließen sich staatliche Bibliotheken, öffentliche Bibliotheken und andere nicht-universitäre Bibliotheken an. Schließlich Rundfunksender, nicht-universitäre wissenschaftliche

Institute, unabhängige Schallarchive für Forschungszwecke (im Gegensatz zu Diskotheken), Doku

mentationszentren, Museen usw. Schließlich eine Gruppe von staatlichen Archiven, außerdem das Archiv der UNO und drei „weitere" Institutionen. In allen Fällen verfügt das Körperschaftsmitglied über ein Schallarchiv.

Die Vereinigung organisiert jährlich jeweils im August oder September ein Treffen ihrer Mitglieder in Zusammenarbeit mit der Internationalen Vereinigung der Musikbibliotheken (IAML). An dem Treffen in Jerusalem 1974 nahmen jeweils 20 bis 25 Mitglieder aus Australien, Kanada, England, Finnland, Frankreich, Israel, den Niederlanden, Norwegen, Österreich, den Vereinigten Staaten, der

Bundesrepublik Deutschland und Schweden teil. Die IASA-Versammlungen fanden im Schallarchiv der Staats- und Universitätsbibliothek statt.

Insgesamt hat die IASA in Jerusalem sechs Sitzungen veranstaltet: die Jahresversammlung, eine

Sitzung die Schallarchive in Israel zum Thema hatte, eine über Auswahlprobleme in Schallarchiven, eine weitere über technische und andere Probleme in „research sound archives", eine Schlußveranstal

tung mit kritischer Diskussion über den Stand der Dinge in der IASA und eine Sitzung, zusammen mit der Record Library Commission in der IAML im Rahmen des zentralen Themas der IAML-Tagung: nicht-westliche Musik. Diese Sitzung war den Early Recordings of American Indian Music gewidmet. Beiträge zu diesen Veranstaltungen wurden geliefert von England, Frankreich, Israel, den Nieder

landen, Österreich und den Vereinigten Staaten. Darüberhinaus nahmen IASA-Mitglieder an verschiedenen Plenarversammlungen der IAML teil.

Es wurde weiterhin beschlossen, die bereits begonnene Umfrage nach Schallarchiven für

Forschungszwecke auf der ganzen Welt vor den Treffen in Montreal mit einem vorläufigen Bericht abzuschließen und damit eine Untersuchung nach der Situation bei der eventuellen Aufnahme

parlamentarischer Sitzungsberichte zu verbinden. Außerdem wurde Dr. Schüller, Direktor des

Phonogrammarchivs der Akademie der Wissenschaften in Wien, beauftragt, eine internationale schriftliche Diskussion hinsichtlich bestimmter technischer Probleme der SchallarchivfoTSchung einzuleiten, deren Ergebnisse in der Zeitschrift der IASA, Phonographic Bulletin, publiziert werden. Nummer 10, November 1974, des Phonographic Bulletin, enthält ein vollständiges Protokoll über die

Eröffnungs- und Schlußsitzungen in Jerusalem. Andere Beiträge während der Sitzungen werden in kommenden Nummern des Bulletins publiziert.

Phonographic Bulletin wird nur an Mitglieder der IASA ausgeliefert. Der Bezugspreis ist im

Mitgliedsbeitrag enthalten. Der Jahresbeitrag für persönliche Mitgliedschaft der IASA beträgt / 9.00,für Institute und dergl.

/ 30.00. Zahlungen sind an das Sekretariat der Vereinigung zu richten. Das Sekretariat: Dokumenta tionszentrum SFW, Hengeveldstraat 29, Utrecht, Niederlande.

Rolf L. Schuursma, Sekretär. Rolf L. Schuursma, Sekretär.



tenth international congress of music libraries in jerusalem || working commissions

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