twelfth international congress of music libraries, archives and documentation centres:...
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SESSION ON RIdIM CATALOGUINGAuthor(s): Andrew E. GreenSource: Fontes Artis Musicae, Vol. 28, No. 1/2, TWELFTH INTERNATIONAL CONGRESS OFMUSIC LIBRARIES, ARCHIVES AND DOCUMENTATION CENTRES: CAMBRIDGE/ENGLAND(Januar-Juni 1981), pp. 110-111Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23505772 .
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110 RIdIM
In the Department of Portraits the RIdIM catalogue cards are filed by artist, following the system recommended by Brown and Lascelle. Photographs are filed in order of accession, with the accession
number cross-referencecf on the RIdIM card. A further system of cross-reference for instruments and
subjects is being considered.
Belgium (Bernard Huys): Work has begun at the Bibliothèque Royale Albert Ier in Brussels in cata
loguing the musical depictions of its illuminated manuscripts. To date, about 250 manuscripts have
been surveyed by Isabelle Hottois. RIdIM catalogue cards are currently being completed; a printed catalogue with abstracts of all music representations will appear in 1981.
Canada (Alison Hall): In Canada the major problem continues to be the lack of funds to pay for
photographs of musico-iconographical items. However, an encouraging number of volunteers have
recently offered their services to search for and catalogue material - in particular Rosemarie Berg mann of the Art History Department at McGill University, Montreal, whose interest and experience should prove of great value.
Federal Republic of Germany (Monika Holl): RIdIM in the Federal Republic has concentrated in
preparing an inventory of the paintings in public museums. Since the summer of 1979 all the paintings in the museums of Berlin (Gemäldegalerie Dahlem, Nationalgalerie, Schloß Charlottenburg), Kassel
(Staatliche Kunstsammlungen) and Munich (Bayerische Staatsgemäldesammlungen) have been surveyed. Among the approximately 28.000 paintings a total of 1,360 music depictions have been found.
Italy (Mariangela Donà): RIdIM work in Italy was begun in 1978 in Umbria and Lombardy by members of the Institute of Musicology in the Universities of Perugia and Milan. The Italian Musicolo
gical Society has now included musical iconography in its general inventory of music in Italy. Paolo Emilio Carpezza (Palermo) acts as chief coordinator for this program; Mariangela Donà and Fabio
Bisogni are responsible for the special section of musical iconography. Netherlands (Magda Kyrova-Klerk, read by Dick Van den Hul): There is as yet no national RIdIM
center in the Netherlands, although much individual research has been done in the field of musical
iconography. There are now plans to organize RIdIM work in cooperation with the University of
Utrecht. In the near future Utrecht and The Hague will start investigations in the application of com
puter technology to the cataloguing of musical instruments - a project in which musical iconography could be included.
Poland (Maria Prokopowicz): Mrs. M. Nowakowska has prepared about 200 RIdIM catalogue cards
on items of the Graphic Arts Division of the National Library in Warsaw. An equal number of Varsa
viana has been collected by the Institute of Musicology in Warsaw. Volume 1980/1 of the Polish
Library Review PrzeglqdBiblioteczny contains an article on RIdIM; a second article including a trans lation of the RIdIM cataloguing instructions will be published soon.
Professor Brook reported on RIdIM activities now beginning in Australia and Chile. Monika Holl, Secretary
Barry S. Brook, President RIdlM Commission Internationale Mixte
SESSION ON RIdIM CATALOGUING
Joint meetings of the RIdIM and Cataloguing Commissions, Tuesday, August 5 and Wednesday, August 6, 1980. 41 participants Chairman: Brian Redfern
The purpose of this session was to examine the revised RIdIM Master Card Cataloguing Instruc
tions. The original master card and cataloguing instructions were developed on the basis of consider
able discussion and consultation with art historians and other specialists. It had become clear in the
past year, as the pace of cataloguing increased, that two principal changes would be necessary: 1) The
clarification of certain areas of cataloguing procedure, and 2) The expansion of the instructions to
permit inclusion of non-Western musical iconography. A draft to accomplish this purpose was pre
pared after conferences in Montreal and New York, held during meetings of the Society for Ethnomu
sicology and the American Musicological Society. This draft, prepared by the staff of the Research Center for Musical Iconography in New York, was
examined item by item. Andrew Green, Research Associate at RCMI, and Barry S. Brook, President of the RIdIM Commission Internationale Mixte and Director of RCMI, presented the revisions to the
meeting and explained their rationale. The following is a summary of the most important questions raised about each area of the new cataloguing instructions:
ARTIST - It was suggested that artists known chiefly by their pseudonyms should be listed with
the pseudonym first, in accordance with current library practice. It was decided, however, that since
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RIdIM 111
Thieme-Becker and Benezit were still to be used as standards for artists' names, those sources' practice should be followed. As long as "see" references are used, this should create no problems.
It was noted that there is no provision for specifying the type of collaboration involved when there is more than one artist listed for a particular work. Since such a determination would be difficult for a
cataloguer and is beyond the bounds of primary-level cataloguing, it was decided merely to list collab
orating artists alphabetically. "See also" references should be used in RIdIM centers' "artist" files.
DATES - Sources were suggested for alternate dating systems, e.g., those used for RISM A II and for the Thesaurus der Form- und Gattungsbegriffe of the IAML Thesaurus Sub-Commission.
SCHOOL - It was decided to use a geographical term only to identify the artist's school - whether it be the artist's country of origin or that in which he worked. Stylistic designations (i.e., Surrealist,
Pre-Raphaelite) are to be used in addition to the geographical term if they are deemed important and
clearly appropriate. TITLE - It was decided that there would be only two types of title designation: 1) An original
(artist-given) title, placed in quotation marks, and 2) a well-established, museum-given, or cataloguer's descriptive title, given without punctuation. Further information about titles in the latter category will be placed on the back of the catalogue card; an asterisk following the title will indicate the presence of such information.
LOCATION - The list of country abbreviations will be corrected and completed before being incorporated into the final revision.
PERFORMERS - Several additions were proposed to this category: sovereign (replacing king,
emperor), amateur, composer, and grotesque. INSTRUMENTS - This section was not discussed at the meeting. It has since been decided to
reorganize the instrument list. A new list organized according to the Hornbostel-Sachs system has
been drawn up by Monika Holl, and will be incorporated into the final revision.
SUBJECTS - The new "Subjects" category combines the "Pictorial" and "Occasion for Music"
categories of the old cataloguing instructions. Several additions to the new category were suggested at
the meeting: military scenes (other than battles), informal music-making (other than domestic music),
cabaret, and funeral procession. SETTINGS - A new listing of architecture in landscape was proposed, to cover the setting of many
Renaissance sacred scenes. It was suggested that the Anglo-American Cataloguing Rules II be consulted for possible relevance
to some of the problems encountered in the revision. (This has since been done.) The revised instructions contain provision for the future inclusion of detailed listings for the cata
loguing of non-Western musical iconography. Such lists will be developed in consultation with a group of ethnomusicologists.
Andrew E. Green, Research Associate Research Center for Musical Iconography
IAML - I ASA COMMITTEE ON MUSIC AND SOUND ARCHIVES
Access to Radio and Record Industry Archives
Session held on Friday, 8th August 1980; Chairman: ClaesCnattingius (Sveriges Riksradio, Stockholm), Panel : Charles Delaunay (Paris), Tony Trebble (BBC, London), Trevor Pearcy (Legal Advisor, I.F.P.I.,
London), Joachim von Hecker (Bayerischer Rundfunk, Munich - paper read in absentia), Jörg Polzin
(Ariola-Eurodisc, Germany - paper read in absentia)
The Chairman invited Charles Delaunay to open the proceedings. Delaunay spoke from the position
of a private collector and discographer whose prime interest was jazz. He described the special prob
lems facing a discographer, especially when he himself started back in the early 1930s. Delaunay
noted that the record industry itself had never been particularly 'archive' conscious and, despite the
efforts of many collectors and enthusiasts, regretted that so much valuable information and material
was already lost. He touched upon the organisation of record libraries, and stressed the need for each
country to have a central library where the public could have access to as complete a range as possible
of recordings. His own collection, carefully acquired over the years, would, on his death, pass to the
Paris Bibliothèque Nationale, where it would continue to play a live part and assist future generations
of jazz enthusiasts.
Jörg Polzin wrote as both a private collector interested in historical recordings of classical music,
and, as a representative of a major German record company. He identified the various types of materi
al in which a collector would be interested, namely, commercial recordings, radio broadcasts, film and
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