Jahrestagung der IVMB in Bologna / IAML annual Conference in Bologna / Réunion annuelle de l'AIBM à Bologne

Jahrestagung der IVMB in Bologna / IAML annual Conference in Bologna / Réunion annuellede l'AIBM àBologneAuthor(s): Harald Heckmann, André Jurres, Folke Lindberg, Kurt Dorfmüller, Thor E. Wood,Karol Musiol, Claes M. Cnattingius, Rita Benton, D. W. Krummel, Barry S. Brook and R. L.SchuursmaSource: Fontes Artis Musicae, Vol. 20, No. 1/2 (1973 Januar-August), pp. 1-25Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23506733 .

Accessed: 15/06/2014 05:53

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaboratingwith JSTOR to digitize, preserve and extend access to Fontes Artis Musicae.

http://www.jstor.org

This content downloaded from 195.34.79.20 on Sun, 15 Jun 2014 05:53:31 AMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=iaml

http://www.jstor.org/action/showPublisher?publisherCode=iaml

http://www.jstor.org/stable/23506733?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


Jahrestagung der IVMB in Bologna IAML annual Conference in Bologna

Réunion annuelle de l'AIBM à Bologne

Zur Jahrestagung 1972 der IVMB versammelten sich vom 9. bis 15. September 1972 170 Mit

glieder aus 25 Ländern in Bologna. Die Tagung stand ganz im Schatten der Nachricht vom Tode unseres Präsidenten John H. Davies. Vorstand und Direktorium bestimmten bis zur Neuwahl des neuen Präsidenten bei dem für 1974 geplanten Kongreß in Jerusalem für je ein

Jahr die Vizepräsidenten Thor Wood, New York, und Mercedes Reis Pequeno, Rio de Janeiro,

dazu, die Geschäfte des Präsidenten zu führen.

Vorstand und Direktorium beschäftigten sich eingehend mit der zukünftigen Gestaltung von Jahrestagungen und Kongressen. Es wurde kritisch vermerkt, daß die Arbeit in einzelnen

Arbeitsgruppen unter der an sich so begrüßenswert großen Zahl der Teilnehmer litte, von

denen einige nicht hinreichend vorbereitet teilnähmen. Insgesamt wurde der Wunsch nach

Konzentration der Arbeit geäußert, und es wurde auch die Möglichkeit diskutiert, in größeren Abständen als alljährlich zu tagen, dies um erstens Geld zu sparen und zweitens längere Zeit

für die intensive Vorbereitung der Tagungen zu gewinnen. Als Alternative dazu wurde erwogen, alljährlich nur noch das Direktorium und die großen

Arbeitsgruppen zusammenzurufen, die an einem größeren, kontinuierlich fortschreitenden

Projekt arbeiten, wie RISM, RIEM, RIdlM etc., die Sitzungen der übrigen Kommissionen

aber auf die dann um so gründlicher vorzubereitenden alle drei Jahre stattfindenden Kongresse zu konzentrieren. Parallel dazu wurde empfohlen, den Zugang zu Arbeitsgruppen, die nicht

eine bestimmte Berufssparte repräsentieren (wie die der öffentlichen Bibliotheken, der Rund

funkbibliotheken etc.), sondern der Lösung einer bestimmten Aufgabe dienen (wie die Katalog kommission oder die Commission for Bibliographical Research und andere), auf die wirklich

für diese Aufgabe bestimmten Mitglieder zu beschränken, um auch von dieser Seite her eine

Konzentration der Arbeit zu ermöglichen. Diese Fragen müssen weiter diskutiert werden, und

es bedarf in dem Zusammenhang möglicherweise auch noch einmal einer Revision der Satzung, um die korrekte Vertretung der verschiedenen Arbeitsgruppen im Direktorium zu gewähr leisten.

Da von den in Bologna behandelten Fragen viel für die fruchtbare Arbeit der AIBM in

Zukunft abhängt, werden die interessierten Mitglieder der AIB M auf diesem Wege gebeten, dem Generalsekretär ihre Meinung dazu mitzuteilen und insbesondere zu schreiben, ob sie es

vorziehen, daß wie bisher alljährlich oder in größeren Abständen Versammlungen gehalten werden.

Die bemerkenswerte Initiative, eine Kommission für die Behandlung von Tonträgern in

öffentlichen Bibliotheken zu gründen, soll unter dem Aspekt untersucht werden, ob deren

Arbeit nicht eventuell in der Kommission der Phonotheken oder der der öffentlichen Musik

bibliotheken mitbehandelt werden kann. Ein nicht minder bemerkenswerter Vorschlag, daß

die AIBM sich des „Music Library Service for the Blind" annehmen solle, bedarf ebenfalls

noch der gründlichen Diskussion. Die Frage, ob für wissenschaftliche Musikarchive eine eigene Kommission zu gründen sei, soll zwischen der Kommission der wissenschaftlichen Bibliotheken

und den Music Information Centres erörtert werden.

Die ungarischen und polnischen Mitglieder konnten die vollzogene Gründung einer eigenen

Ländergruppe melden.

Die Jahrestagung 1973 wird in der Zeit vom 27. bis 31. August in London stattfinden, der

nächste Kongreß wird im August 1974 in Jerusalem unter dem Thema „Die Bibliothek und die

mündliche Tradition der außereuropäischen Musik" stehen. Für 1975 liegt eine Einladung nach

Kanada vor.

Die Bologneser Tagung war von Sergio Paganelli mit großer Intensität vorbereitet worden.

Eine Ausstellung im Archiginnasio über „Giambattista Martini, Oracolo dell'Europa", ein



2 JAHRESTAGUNG DER IVMB IN BOLOGNA

Orgelkonzert in der Basilica di San Petronio, ein Konzert im Conservatorio di Musica G. B.

Martini und eines im traditionsreichen Teatro Comunale bereicherten sie ebenso wie eine

Exkursion nach Cesena mit der eindrucksvollen Biblioteca Malatestiana und nach Ravenna.

Die generöse Gastfreundschaft, die die Amministrazione comunale, das Governo della Regione

Emilia-Romagna, die Amministrazione provinciale, die Universität von Bologna und andere

Behörden der Stadt der AIBM in so reichem Maße offerierten, wird schwerlich zu übertreffen

sein. Harald Heckmann, Generalsekretär *

170 membres de l'AIBM venant de 25 pays se sont réunis à Bologne du 9 au 15 septembre dernier pour les séances annuelles de notre Association. Ces séances furent, hélas, assombries

par la nouvelle de la mort de notre président John H. Davies.

Le Bureau et le Conseil décidèrent de confier l'exercice de la présidence, en attendant l'élec

tion d'un nouveau président au futur Congrès qui devrait se tenir en 1974 à Jérusalem, pour un an à chacun de nos deux vice-présidents: Thor Wood, New York, et Mercedes Reis Pequeno, Rio de Janeiro.

Les principaux sujets de délibération du Bureau et du Conseil concernèrent la future orga nisation de nos réunions annuelles et de nos congrès. On avait remarqué en effet que le

travail de certaines de nos Commissions était alourdi par un nombre trop important, en soi

très encourageant, de participants qui, souvent, n'étaient pas suffisamment au courant des

problèmes examinés. D'où le souhait d'un travail plus concentré et, peut-être, la possibilité

d'espacer nos séances actuellement annuelles. Cela permettrait d'une part de faire des écono

mies, d'autre part de donner le temps à ces Commissions de mieux préparer leurs ordres

du jour. Ceci mènerait au plan d'organisation suivant: le Conseil et les grandes Commissions de

travail chargées de projets de longue haleine se réuniraient tous les ans; les autres Commis

sions ne siégeraient que durant les congrès trisannuel et auraient ainsi le temps d'examiner à fond leurs programmes de débats. Il fut également suggéré de réserver l'accès des Commis

sions, surtout celles qui ont des buts de travail et précis et limités (catalogage, recherches

bibliographiques, etc.) aux seuls spécialistes de la matière, pour encore une fois, permettre une plus grande concentration du travail.

Ces importants problèmes demandent à ce que l'on continue à peser le pour et le contre de tel ou tel système et que l'on procède, éventuellement, à une nouvelle révision de nos Statuts

qui permettrait une plus adéquate représentation de ces différentes Commissions au Conseil.

Comme ces questions examinées à Bologne peuvent être d'une grande importance pour le

succès de nos travaux futurs, nous profitons de la présente occasion pour demander aux

membres de l'AIBM que le sujet préoccupe, d'informer le Secrétaire général de leur point de vue et de dire surtout, si au rythme annuel actuel de nos réunions ils préfèrent une moins

grande fréquence. Créer une Commission qui s'occuperait des archives sonores dans une bibliothèque publique

est une idée intéressante qui sera examinée à nouveau, avec toutefois l'éventualité de laisser aux Commissions des phonothèques ou des bibliothèques publiques le soin d'en discuter. On réexaminera également la non moins intéressante suggestion de faire prendre en charge par l'AIBM le «Music Library Service for the Blind». Enfin, ce sont la Commission des biblio

thèques musicales scientifiques et les Centres d'information musicale qui auront à décider si la création d'une Commission spéciale des archives musicales s'impose.

Les membres hongrois et polonais de l'AIBM ont pu annoncer la formation définitive de leurs Groupes nationaux.

La réunion annuelle de l'AIBM en 1973 se tiendra à Londres du 27 au 31 août. Le prochain Congrès est prévu pour août 1974 à Jérusalem et aura pour thème: «La Bibliothèque et les traditions orales de la musique des pays non-européens». Pour 1975, nous avons déjà reçu une invitation du Canada.

Harald Heckmann, Generalsekretär



JAHRESTAGUNG DER IVMB IN BOLOGNA 3

La réunion de Bologne avait été préparée avec le plus grand soin par Sergio Paganelli,

qui y a mis tout son coeur. Une exposition consacrée à « Giambattista Martini, oracolo del

l'Europa » a eu pour cadre d'Archiginnasio. Un concert d'orgue à la Basilica di San Petronio, un autre au Conservatorio di Musica G. B. Martini, un troisième au Teatro comunale, si

riche de traditions, une excursion à Cesena avec la visite de la magnifique Biblioteca Malatesti

ana, les trésors de Ravenne furent vivement appréciés. Il sera difficile à l'avenir de surpasser la chaleureuse hospitalité offerte si généreusement à l'AIBM par l'Amministrazione comunale, le Governo délia Regione Emilia-Romagna, l'Amministrazione provinciale, l'Université de

Bologne et d'autres organismes de la ville. *

The annual meetings of IAML for 1972 took place in Bologna from 9 to IS September 1972,

with 170 participants from 25 countries. The meeting was overshadowed by the news of the

death of our President, John H. Davies. The Bureau and the Council decided that the Vice

presidents, Thor Wood of New York, and Mercedes Reis Pequeno of Rio de Janeiro, should

discharge the duties of President each for one year until the election of the new President at

the Congress planned for 1974 in Jerusalem. The Bureau and the Council went into the question of the form of the yearly meetings and

the Congresses in great detail. There had been some criticism about the work of the working

groups. Certain of them had suffered from the excessive number of participants (welcome as

this was in itself), some of whom were not sufficiently prepared in advance. In general it was

felt that the work should be concentrated, and the possibility was discussed of holding

meetings at longer intervals than annually, first, to save money, and secondly, to gain longer time for the intensive preparation of the meetings.

Alternatively, it was considered whether only the Council and the large working groups should be convened every year, namely, those concerned with the work on the larger, con

tinually progressing projects such as RISM, RILM, RldlM, etc., whereas the sessions of the

other committees should be concentrated within the Congresses, which would take place

every three years, and could thus be better prepared. Simultaneously it was recommended

that the meeting of the working groups which do not represent a definite category (such as

the public libraries, the radio libraries, etc.) but were concerned with a particular task (such as the catalogue commission, or the commission for bibliographical research, and the like) should be limited to the members concerned specifically with this task in order, again, to

enable their work to be concentrated. These questions would have to be discussed in more

detail, and it might be necessary for the Constitution to be revised in order to guarantee the

correct representation of the various working groups on the Council.

Because much of the fruitful work of IAML depends in future on these questions which

were discussed in Bologna, the members concerned are asked to express their opinion in

writing to the Secretary, and especially to say whether they prefer that the meetings should

be held annually as hitherto, or at longer intervals.

The noteworthy proposal to found a Commission to deal with sound-recordings in public libraries should be examined to see whether its work could ultimately be handled by the

Commission of Record-libraries or by that of the Public Music Libraries. A not less important

proposal that IAML should undertake a "Music Library Service for the Blind" certainly needs

detailed discussion. The question as to whether a special commission should be established

for scholarly music archives is to be discussed between the Commission of Research Libraries

and the Music Information Centres.

The Hungarian and Polish members reported that they had completed the foundation of

their own national groups. The Annual Assembly for 1973 will take place in London from 27 to 31 August; the next

Congress will be in August 1974 in Jerusalem, with the theme "The library and the oral

tradition of non-European music". For 1975 there is an invitation from Canada.




The meeting in Bologna was prepared by Sergio Paganelli with great care. There was an

exhibition in the Archiginnasio on "Giambattista Martini, Oracolo dell' Europa", an organ recital in the Basilica of San Petronio, a concert in the Conservatorio di Musica G. B. Martini, and another in the Teatro Comunale, a place rich in tradition. All these enhanced the occasion, as did also an excursion to Cesena, which included the impressive Biblioteca Malatestiana and

Ravenna. It will be hard to surpass the generous hospitality which the Amministrazione

comunale, The Governo della Regione Emilia-Romagna, the Amministrazione provinciale, the

University of Bologna and some other authorities of the town provided so abundantly for

I AML.

Music Information Centres

Fifteen member-countries attended the 1972 MIC meeting in Bologna, i.e. Austria, Belgium, Canada, Czechoslovakia, Denmark, Finland, France, Great Britain, Holland, Israel, Italy,

Norway, Sweden, Switzerland and the USA.

A new aspect of our annual meetings has been the audition of recordings by the various

Centres, accompanied by an exhibition of scores, catalogues, etc. Both the auditions and the

exhibition were open to all participants of IAML. The success, though modest, was such that

MIC will certainly renew this policy in London.

The MIC commission is busy editing a brochure containing the addresses of persons, ensembles, organizations etc. in the various countries, so far these are instrumental in aiding the cause of contemporary music.

We also discussed the ways to arrive at more up to date and more reliable information in

the many encyclopedias concerned with music. This information is often of a deplorable standard, though a slight improvement has been discernible lately.

For the first time we had a special session entirely devoted to the problems concerning the editing and publishing of modern music. We felt that this should be an integral part of

our annual discussions.

We decided to leave the material of our joint exhibition in Bologna, to be brotherly divided

between Firmino Sifonia, leader of the Italian MIC, and our host Sergio Paganelli. A telegram

signed by the presidents of both IAML and MIC was sent to the Ministry of Culture (the Flemish as well as the Walloon section) with the request to do the utmost to help the

Belgian MIC in finding new housing, since they have to leave their present premises before the end of the year. It is sincerely hoped that the CeBeDeM, one of our most active Centres, will overcome their present difficulties. André Jurres, President

Radio Commission

The meeting of the Commission took place on 11 September 1972. Eleven members and three observers were present. In the chair: the Vice President Mr. Folke Lindberg.

The chairman recalled the recent and tragic death of the Commission's beloved President Mr. John H. Davies. The chairman expressed the members' deeply felt gratitude to Mr. John H. Davies for his great contribution to the Commission's activities and for his wealth of creative ideas.

1. Mr. Folke Lindberg was unanimously elected new President of the Commission. The election has later been confirmed by the Board of the IAML.

2. A letter from Mr. John Davies to the Secretary, Mme Doignies, was read by Mr. Clifford

Bartlett, BBC. This letter concerned proposals for future activities. The meeting decided that the proposals should be studied by the President, the Secretary and Mr. Bartlett prior to the next meeting in London 1973.

3. Central catalogue of orchestral materials. Mme Doignies gave a report on the activities of the Music Documentation Center, established at the Music Library of the Belgian Broad

André Jurres,




casting Organization. Information is available there to all Broadcasting Music Librarians

concerning orchestral materials—often rare ones — existing in other Broadcasting Music

Libraries. Catalogues from fourteen Music Libraries have been incorporated in the Documenta

tion Center. There are still many catalogues missing due to shortage of staff and other dif

ficulties. Catalogues have been established on the basis of the information at the center con

cerning orchestral materials of the following composers: Rossini, François Couperin, Berlioz,

Beethoven, Händel and Schütz. Others are under preparation.

4. The drawing up of a Directory on Broadcasting Music Libraries was discussed. Such a

Directory should facilitate contacts and provide information as to contents, organization etc.

5. A Report was submitted concerning the publication of orchestral materials of non

protected works which are not available for sale via the normal commercial channels. The

Broadcasting Music Library in Hilversum is the center of these activities and an editorial

board has been appointed by the European Broadcasting Union. A number of orchestral

materials have been published hitherto and are on sale via the Broadcasting Music Library

in Hilversum. They can also be ordered by non Broadcasting Orchestral Societies.

Folke Lindberg, President

Katalog-Kommission

Die Kommission hielt zwei Sitzungen ab über das Thema „How to adapt the International

Standard Bibliographic Description to Music". Die ISBD wurde von einer IFLA-Kommission

im Laufe der letzten Jahre ausgearbeitet. Sie bildet ein Schema zur Beschreibung von Büchern,

das international austauschbar und für Computersysteme geeignet ist. Aus Gründen der

Einheitlichkeit sowie der Benützbarkeit bestehender Computerschemata ist es wünschenswert,

die Katalogisierung von Notendrücken und Schallplatten der ISBD möglichst anzunähern.

Zur Diskussion kamen folgende Punkte, die in der ISBD Berücksichtigung finden müßten:

Angabe der musikalischen Darbietungsform (Partitur, Stimmen, etc.); Bestell-, Platten- und

Matrizennummern; Bedeutung von Etikett und Hülle bei Schallplatten im Vergleich zum

Titelblatt; Interpreten bei Schallaufnahmen; Musikspezifische Ergänzungen im Titel; Behand

lung von Frühdrucken.

Die Kommission wird der zuständigen IFLA-Kommission eine Reihe von Empfehlungen

und Fragen vorlegen und das Ergebnis des Kontaktes 1973 in London weiter diskutieren.

Eine kleine Arbeitsgruppe beriet in zwei außerplanmäßigen Besprechungen über das Kate

gorienschema zur Handschriftenkatalogisierung, das Nanna Schiodt in St. Gallen erläutert

hatte. Es wird angestrebt, dieses Schema möglichst eng den von der AIBM erarbeiteten Hand

schriften-Katalogisierungsregeln sowie der ISBD anzunähern. Das Schema ist bedeutsam für

Gesamtkataloge (z. B. RISM), und besonders für den Gebrauch von Computern geeignet.

Neben den Kommissionsmitgliedern und ständigen Mitarbeitern Virginia Cunningham,

Kurt Dorfmüller, Cari Johansson (schriftlich), Folke Lindberg, Maria Prokopowicz, Nanna

Schiodt, Simone Wallon (zugleich in Vertretung von Yvette Fédoroff), Liesbeth Weinhold,

Emilia Zanetti trugen Bathja Bayer, Barry Brook, Heinz Lanzke, Oldrich Pulkert, Herbert

Rosenberg und andere zu den genannten Diskussionen bei.

Mrs. Virginia Cunningham, die seit der Gründung der Kommission zu ihren aktivsten Mit

gliedern gehörte, trat im Herbst 1972 in den Ruhestand und beendete zugleich ihre Mitarbeit

in der AIBM. Sie verfaßte die Rules for Full Cataloging und wirkte durch Anregungen, Kritik

und Übersetzungstätigkeit intensiv an allen übrigen Kommissionsarbeiten mit. Mitglieder und

Vorsitzender danken „VC" für ihre bedeutende Leistung und ihre liebenswürdige Kollegialität

und wünschen ihr alles Gute für die Zukunft.

Die Subkommission für Klassifikation hielt drei Sitzungen ab. Hauptthema

war die Beratung eines von John T. Overbeck in Zusammenarbeit mit Virginia Cunningham

erarbeiteten „Proposed Code for Classification of Music Literature". Es wurde eine Reihe von

Veränderungen beschlossen mit dem Ziel, in weitestmöglichem Maß Hilfsschlüssel zu ver

wenden und damit die Flexibilität des Systems zu erhöhen.

Folke Lindberg,



6 JAHRESTAGUNG DER IVMB IN BOLOCNA

Die Ergebnisse der Subkommissions-Arbeit sollen in einer Fortsetzung der Reihe Code de

Catalogage... erscheinen. Zunächst ist die Veröffentlichung einer Abhandlung von Ivan

Pethes über die Grundlagen der Klassifikationssysteme vorgesehen. An den Beratungen nahmen teil: Virginia Cunningham, Kurt Dorfmüller, Egon F. Kenton,

Anders Lönn, Karol Musiol, Ivan Pethes (Secretary), Thor Wood. Außerdem lagen zwei schrift

liche Beiträge von Lisbeth Thew vor. Kurt Dorfmüller, Vorsitzender

Public Libraries Commission

The plenary session was attended by 25 people from 13 countries. It considered first libraries

and music services for the blind, then reports from the three subcommissions, followed by miscellaneous topics of particular interest.

Miss Annie Willemsen of the Netherlands had prepared an inventory of institutions which

make braille music available for the blind. It was found that only two general libraries have music services available for the blind (the Public Library of Amsterdam and the Library of

Congress); the others are connected with special libraries or institutes for the blind. This

inventory was discussed, and then there were several informal reports on the circumstances in particular countries. Members in various countries were asked to inquire into the situations in their countries and to amplify Miss Willemsen's inventory. She will then send her revised

inventory to braille music publishers and institutions for the blind with music services, and

thus encourage them to greater cooperation with each other. For referral purposes, such a

directory of braille music services will probably be useful to many music librarians, and so we hope it can be made available to the entire membership of IAML.

The Subcommission on Public Music Collections, led by Miss Charlotte van der Pot, report ed progress toward basic lists of standard works. These lists would be intended as guides, which for established music collections can serve as checklists for minimum standards, and for new collections can serve as starting points. The list of books about music, which includes about 500 titles divided into 15 categories, and which had been prepared during the last two

years, went through final selection in Bologna. Only final editing is needed before it will be

ready for publication. This subcommission has done very impressive work which will be of usefulness to our entire field of music in libraries.

The Subcommission on Reference and Community Services, under the chairmanship of Mr. Hans Vetterlein, had 17 participants who heard several very interesting reports on the services given by libraries in Denmark, DDR and BRD. A lengthy questionnaire has been

prepared, with a view toward knowing more about music in the public libraries and im

proving services in them. The questionnaire will lead to a directory of public libraries, in

dicating special facilities and collections, and special emphases and strengths. The directory will have both alphabetic and systematic ordering, and it is hoped that the information can be gathered by the national groups. A newsletter of concerns in public music libraries is also planned by this subcommission.

A large group from 14 countries met with the Subcommission for the Education and

Training of Music Librarians, under the direction of Dr. Hermann Wassner. A survey on the

present situation has been largely concluded, but information from additional countries is still desired before publication. Three special reports were given: "Public Relations as an Item of a Music Librarian's Work" by Dr. Ruth Watanabe, on the training of music librarians in Hungary prepared by Dr. Ivan Pethes, and on the question of the relationship between

general and subject knowledge in the daily work of music librarians. The subject of this latter study, made by Frau Dobler in Augsburg, will now be pursued for other cities and countries. It is clear that there is a great deal of interest in this subject of education, and it seems equally clear that if we in IAML are to be able to bring about any real changes or

progress, we are going to have to work together within IAML (especially with the Commission on Research Libraries) and with other organizations pursuing the same matter, especially the Music Library Association and the International Federation of Library Associations.

Kurt Dorfmüller, '




Many of the members of the Public Libraries Commission are concerned with problems in

the realm of circulating record collections, and we look forward to working with the Record

Library Commission, beginning with a program meeting next year in London; the Cataloging Commission will also cooperate in that joint session. Some of the members are interested in

exchange programs with other libraries, and would welcome the availability of lists of books

and scores for exchange; perhaps some of these can be brought to the London meetings. The

Commission also took note of a growing interest in collections designed especially for young

persons. Thor E. Wood, Acting President

Commission of Music College Libraries

During the Conference held in Bologna in 1972 the Commission met on the 12th and 13th

of September when forty-eight members attended, from Australia, Austria, BRD, Canada,

Czechoslovakia, Denmark, France, Great Britain, Hungary, Italy, Poland, the Soviet Union, Switzerland and the United States of America.

At the first meeting the following new members were elected for the Commission : Marcelle

Cucciniello (Marseilles), representing France; Dr. Agostina Zecca-Laterza (Milan), a second

representative from Italy; Ladislav Cernecky (Bratislava), representing Czechoslovakia; Dr.

Werner Galluser (Adelaide), representing Australia.

The President then gave a short report on the Directory of Libraries for Musical Education

and Performance which the Commission is preparing. Completed questionnaires have been

received from over two hundred libraries representing twenty countries. The task of collecting material should be finished by the end of 1972.

The Commission then discussed the content of a special issue of Fontes artis musicae to

be given over to articles on music school libraries in Australia, Austria, BRD, Bulgaria,

Czechoslovakia, Denmark, DDR, France, Great Britain, Hungary, Poland, the Soviet Union,

Switzerland, the United States of America and Yugoslavia. At the same session an exchange service was initiated for the mutual exchange of books,

printed music and discs including duplicate copies and publications of the music schools

participating. Those participating in the service undertook to prepare for the meeting in

London in 1973 lists of duplicate copies in their libraries; they were also to send regular in

formation and publications to cooperating libraries.

The next item for discussion was the report on the work and objects of the Commission

prepared by the President for the Congress of the Association européenne des Académies,

Conservatoires et Musikhochschulen to be held in Leipzig in November 1972. Members of the

Commission were able to add several supporting arguments to the report.

Finally, the Commission heard reports on the music school libraries in Czechoslovakia by L. Cernecky (Bratislava) ; on those in Yugoslavia by Dr. K. Kos (Zagreb) (given in absentia) ; on those in the Soviet Union by T. Lysenko (Moscow); and on those in Italy by Prof. G.

Barblan and Dr. Zecca-Laterza of Milan.

The second session of the Commission was devoted to presentation and discussion of the

various chapter subjects for the handbook, The Library in the Music School, jointly prepared

by the members of the Commission. Dr. H. Bogner of Graz reported on the subject of the

main chapter, "The Information Service in the Music School Library", Then Dr. R. Watanabe

of Rochester gave a summary of her chapter on "The General Organisation of the Music

School Library". In his absence a paper by E. Thompson of Glasgow was read, on "The

Technical Equipment of the Music School Library", Lastly the President read an abstract of

his chapter on "Other Activities of the Music School Library". A special international working

group was set up, with representatives from Italy, Czechoslovakia, Austria, the United States,

Hungary, Switzerland and Scandinavia, to work out a chapter on "The Historical Development

of the Library in the Music School".

Before closing the session the Commission outlined a programme for the London meetings to be held in 1973. Karol Musiol, President

Thor E. Wood,

Karol Musiol,




Record Library Commission (Wednesday September 13)

1. The relationship between research archives and broadcasting organizations.

The President of the Commission, Mr. Harold Spivacke, opened the meeting with a recapitulation of the achievements since the Salzburg meeting in 1967, when the question of access to the radio sound archives was first thoroughly debated, and reminded the members of the establishment of two sub-commissions: one for radio sound archives and one for

research sound archives. He also recalled the letter from the Scandinavian IAML group to the EBU and the joint letter to the EBU from the IAML Record Library Commission and IASA on these matters. Mr. Spivacke had also prepared a background paper on this subject which was read by Mr. Leavitt.

Mr. Eckersley, as the official representative of the EBU, thanked the President for his

presentation and referred to a letter from Mr. Anthony Dean reporting that the Radio Pro

gramme Committee had agreed that the access to radio sound material was important. It was, however, above all a national question but the Bureau recommended opening of the radio sound archives and that it should be made via an intermediary body, such as the BIRS in Britain. The Bureau furthermore recommended a study of the agreements between the BBC and the BIRS and the similar arrangement made in Holland between the Dutch radio and the "Foundation Film and Science". Mr. Eckersley spoke in favour of a slow approach, step by step, and the setting up of research archives which could deal with researchers' requests. In bigger countries, such as the US and Russia, a geographical distribution of archives might be preferred to a concentration in one single archive.

Mr. Spivacke suggested a code of practise, worked out jointly by the EBU, IAML and IASA, at least a minimum practise to handle the requests from the scholars. Mrs. Schiodt wanted a definition of the word "scholar": how can we exactly know who is a scholar? Mr. Spivacke replied that the word was used in a broad sense, rather meaning "scholarly purpose". The research archives must decide what is "scholarly purpose" and what is not. A more exact definition should be written down in the basic code of practise.

Mr. Schuursma remarked that in many countries there are several different institutions and that this may be taken into account in the discussions with the EBU. Mr. Spivacke agreed and suggested a joint committee to solve these problems. He also stressed that the practise of individual countries cannot be upset. Therefore a brief code of practise, or minimum standard, which could apply to any country should be worked out jointly by the EBU, IAML and IASA.

Mr. Lindberg pointed out that the practise in Britain is only one solution. Supplemen tary information is often needed. Other programmes, manuscripts, correspondence, etc. can be useful. This supplementary information must be presented to the scholar to give the whole picture. Mr. Lindberg therefore suggested research institutions within the radio archives themselves where all information can be presented. The TV archives should not be forgotten in this context.

Mr. Rosenberg remarked that it was too early to discuss how and where scholars should be served. The solution suggested by Mr. Lindberg might be ideal for Sweden but might not suit all countries. Mr. Lindberg suggested that the whole question should be brought to the Programme Committee for further discussions and later delegated to each individual radio corporation for detailed discussions about the status.

Mr. Ventresca stressed the need for an exchange agreement and pleaded for a drive to save at least unique material that will not be kept in the radio sound archives. He also wanted better contact with other archives and institutions for exchange of information, recordings, etc. Mile. Bloch told the participants that the Phonothèque Nationale had received 40,000 records from the ORTF only this winter, as part of an exchange agreement.

Mr. Eckersley once more pointed out that the initiative should come from the research archives, not from the EBU itself. Mr. Spivacke suggested that someone perhaps should write a preliminary draft for consent to be submitted to the different institutions involved.



] AHRESTAGUNG DER IVMB IN BOLOGNA 9

2. Relations between the Record Library Commission and the Public Library Commission.

Mr. Cooper pointed out that there is an overlap between the Record Library Commis

sion and the Public Library Commission. In the public libraries the problem of handling sound

recordings runs parallel with the lending of scores. He suggested the setting up of a new

sub-committee in order to overcome this duplication. Miss Bruhns asked for better com

munication among different commissions. Many commissions seem to be dealing with

similar or identical questions. Mr. Spivacke answered by suggesting a special session at next year's meeting in

London where different parts involved can come together, i.e. the Public Library Commission, the Cataloguing Commission, the Record Library Commission, etc. Mr. Cooper was asked — and agreed — to prepare an agenda for such a meeting.

3. Information and announcements.

Miss Csâszâr gave a presentation of the sound archives of the Hungarian radio. The collection consists of nearly 150,000 recordings and the annual growth amounts to some

13,000 units. A new cataloguing system has recently been worked out, together with an

adoption of Dr. Ivan Pethes' classification system for music. The necessary optimal distribution of all the the information can only be achieved by a computer storing and retrieval system. Work on such a system has already started. (An enlarged and revised edition of Miss

Csâszâr's presentation will be published in IASA's Phonographic Bulletin next year.) Mr. Lotichius announced that the meeting with the Radio Sound Archive Sub

committee had been cancelled. Instead of a meeting with several topics on the agenda Mr.

Lotichius spoke in favour of large projects, to be dealt with at some length, such as the one for the scheduled meeting (i.e. recordings made before 1940). He asked his colleagues to

supply information about remaining domestic (non-commercial) recordings of music made

before 1940, stating the technical quality of the recordings. A selection of the most important sound documents can be presented as tape copies at the London meeting next year. The BBC

agreed to be a collecting centre for these tape copies. The President thanked the participants and closed the meeting.

Claes M. Cnattingius, Secretary

List of participants:

Wolfgang Adler (SF Berlin), Ella Arntsen (NR Oslo), Clifford Bartlett (BBC London), Anton

de Beer (NOS Hilversum), Karin Beskow-Tainsh (SR Stockholm), Francine Bloch (Phonothèque Nationale Paris), Erich Breitwieser (ORF Salzburg), Bohumil Cernik (SR Basel), Claes M.

Cnattingius (SR Stockholm), Györgyi Csâszâr (HR Budapest), Joop van Dalfsen (NOS Hilver

sum), Adrienne Doignies-Musters (RTB Brussels), Timothy Eckersley (BBC London), Harald Heckmann (DRA Frankfurt/M.), Lou Hoefnagels (Theater Klang & Beeld Amsterdam), Antero Karttunen (Yle Helsinki), Bibi Kjaer (DR Copenhagen), Heinz W. Lanzke (Deutsches Musik archiv Berlin), Donald L. Leavitt (Library of Congress Washington), Jukka Lehesvirta (Yle Helsinki), Leo Levi (MIC Jerusalem), Derek Lewis (BBC London), Folke Lindberg (SR Stock

holm), Dietrich Lotichius (NDR Hamburg), Georges Manal (ORTF Paris), Erik Maschat (BR München), Maria Prokopowicz (Bibl. Narod. Warsaw), Joke M. S. Rijken (SFW Utrecht), Herbert Rosenberg (Nationaldiskoteket Copenhagen), Will Rosser (BBC London), Lucien

Royer (ORTF Paris), Dietrich Schüller (Phonogrammarchiv Vienna), Rolf L. Schuursma (SFW

Utrecht), Gudrun Snekkenes (NR Oslo), Sebastiano Ventresca (Discoteca di Stato Rome).

Commission of Music Research Libraries

The Commission met on Wednesday, 13 September, with thirty-one persons from fifteen

countries attending. Since the issue of Pontes artis musicae containing the account of the

1971 St. Gallen congress had not yet reached members, the report of the Commission's

activities during that congress was read aloud. The statement on "The Training and Respon

Claes M. Cnattingius, !




sibilities of the Librarian in Music Research Libraries" drawn up by a subcommittee (Yvette Fédoroff, Paris, chairman; Bernard Huys, Brussels; Pierluigi Petrobelli, Pesaro; Don L. Roberts,

Evanston; and the president ex officio) elicited many comments and some criticism, on both

substantive and terminological grounds. There was also discussion of whether the problems of training and responsibility are not sufficiently alike in various types of music libraries to

warrant joint issuance of such a statement by several commissions. The prevailing view was

that problems of research libraries are sufficiently unique to justify the continuance of

work on our own statement, even though some other commissions are also currently dis

cussing training and responsibilities. Nanna Schiadt (Copenhagen) distributed copies of the proposal (using the St. Gallen state

ment as a base) drafted by the Scandinavian IAML group during the past year; she also

explained the objections of the group to various features of the original, and gave details of

the procedures employed in order to insure that persons occupying a wide range of positions had the opportunity to express their views. Since Madame Fédoroff was not able to attend

the meetings, the various opinions and outlooks expressed at the session were later relayed to her, in the hope that she would (together with the other members of the subcommittee) be

willing to make such changes as would make the statement acceptable to a majority of the

members. However, at my subsequent meeting with her in Paris she expressed her view of

the subcommittee's work as already completed, and her desire to withdraw from the project. The subcommittee is therefore being reconstituted under a new chairman. It is hoped that

by August 1973, when the next IAML meeting will be held in London, a revised statement

will be ready for discussion by the entire commission.

The president's progress report on Part III of the Directory of Music Research Libraries revealed that it is in the last stages of page proofs and should be in print before the end of the year. Describing libraries in France, Italy, Portugal and Spain, the 340-page volume will have a selling price of $8.50. As editor of the Directory, the president also reported that

despite some promises of cooperation received during the St. Gallen meetings from colleagues in the countries of eastern Europe to be included in Part IV, no material has been received from any of them during the past year. It must be admitted that my preoccupation with the

preparation of Part III has prevented the sending of reminders during that period of time to the persons concerned. Now that contacts and promises have been renewed in Bologna, the prospects for cooperative activity in the near future seem more auspicious. Dorothy Freed (Wellington, New Zealand) should be singled out for praise for having already sub mitted the first draft of a complete directory for that country, comprised of eight research libraries.

Guy Marco (Kent, Ohio) gave a brief report on his recently completed preliminary survey of music bibliography courses as taught in library and music schools. Several members

responded with accounts of such courses in their respective countries. Don Roberts revealed the acquisition by Northwestern University of the private collection of Hans Moldenhauer,

especially rich in autographs and other documents concerning Anton von Webern. On Thursday afternoon the president met with representatives of the Scandinavian IAML

group (Dan Fog, Danish Music Information Centre; Anders Lönn, Swedish Music History Archive or Documentation Centre; Per-Olof Lundahl, Swedish Music Information Centre; Nanna Schiodt, Danish Royal Library), together with president André Jurres of the Commis sion of Music Information Centres. At a discussion on music information and documentation centers held last February, the Scandinavian IAML group had passed a resolution requesting that the Music Information Centres extend the scope of their activities to include music in formation and documentation centers working primarily in the historical field. At the Bologna meeting, Mr. Jurres explained that the Commission of Music Information Centres is restricted in its organizational make-up to one representative from each country. This fact automatically excludes the interested Scandinavian historical archives, since their countries already possess representatives on that commission.



1AHRESTAGUNG DER IVMB IN BOLOGNA 11

President Jurres also pointed out, however, that nothing prevents historical archives from

seeking collaboration with the national branch of MIC in their respective countries. All six

persons present agreed, furthermore, that the activities of music historical archives are in

fact more closely related to those of research libraries than to those of music information

centers, most of which function chiefly as distributors of publicity and information relative

to their country's music, with the emphasis strongly on contemporary music. The group therefore agreed that interested historical archives should affiliate with the Commission of

Research Libraries. The president urged the active participation of such archives and invited

Anders Lönn to arrange a program for the London meeting on some topic related to his work, in order to attract the interest of other archivists and researchers working in historical areas.

The group of Music Information Centres is also invited to participate in this session.

Rita Benton, President

Commission for Bibliographical Research

The Commission for Bibliographical Research met in Bologna on the afternoon of Thursday,

14 September 1972. Thirty persons were in attendance, representing fourteen nations : Belgium

(Bernard Huys), Brazil (Mercedes Reis Pequeno), Czechoslovakia (Oldrich Pulkert), Denmark

(Dan Fog, Lene Fog, Nanna Schiodt), France (Vladimir Fédorov, François Lesure), Germany

(Imogen Fellinger, Edith Peters, Friedrich W. Riedel, Liesbeth Weinhold, Ilse Charlotte Wolf), Great Britain (Clifford Bartlett, Miriam Hunt Miller, Albi Rosenthal, Will Rosser, Walter H.

Stock), Israel (Israel Adler), Italy (Mariangela Donà, Alessandro Olschki), Hungary (Istvan

Kecskeméti), Poland (Maria Prokopowicz), Sweden (Bengt Kyhlberg, Anders Lönn), Switzerland

(G. Birkner), and the United States (Otto Albrecht, Lenore Coral, Geraldine Ostrove, and

D. W. Krümmel). Upon the resignation of François Lesure after the St. Gallen meetings last

year, the present reporter has served as leader of the Commission, and was officially confirmed

as President. The change of the name of the Commission, formerly the Commission for Dating

of Music, was also approved. The remainder of the first hour was devoted to reports of various bibliographical research

projects now in progress. No less than thirty such projects were described or mentioned. The

second hour was devoted to a discussion of document "RISM—XIX", concerned with the pos sibilities of a project devoted to the bibliographical control of printed music of the nineteenth

century. The discussion is described in fuller detail below. D. W. Krümmel, President

Project "RISM—XIX": Bibliographical Control

of the Printed Music of the Nineteenth Century

With the approaching completion of RISM, we will be able to consider music before 1801

to be under a reasonable degree of bibliographical control. In general, however, music which

appeared after 1800, in manuscript or printed form, is still very badly covered. With this in

mind, the present author, as President of the Commission for Bibliographical Research of

IAML, prepared a memorandum suggesting a new project with the provisional name of

"RISM—XIX", and concerned with printed music which was issued between 1801 and 1860.

This memorandum served as the basis for a discussion at the meetings of the Commission in

Bologna on Thursday, 14 September 1972. Considering the formidable dimensions of this new

project, it seemed appropriate to make the basic points of it as negative and as discouraging

as possible. The seven basic points, along with a summary of the comments on them in

Bologna, are as follows:

1. "The quantity of printed music is larger. RISM includes about 5,000 anthologies, and

should contain about 60,000 Einzeldrucke. Roughly guessing, somewhat over 100,000 musical

editions appeared between 1800 and 1860."

The author's guess at a total is obviously much too low. A. Hyatt King suggested that at

least 200,000 editions were involved. Dan Fog agreed with him, and under the weight of such

Rita Benton,

D. W. Krümmel,




formidable doubting, the author confessed to having made an estimate from Hofmeister which

came to just under 200,000, and then reduced it in order to be on the conservative side. Dr.

Fellinger, however, reported that, in her experience, Hofmeister can be expected to have entries

for no more than forty per cent of the titles she works with.

Those who attended the Bologna meetings, surprisingly, were not noticeably dismayed by such facts. Why should the project stop at 1860? Why not 1900, or 1914, or 1940, or today? Each date has advantages, quite apart from the greatly increased quantity involved with each

successive few years. The year 1860 comes near the beginning of offset lithography of music:

at this time, and because of this event, the steady stream of new musical editions presumably turns into the mighty river which we have come to fear. The year 1860 is convenient in the

United States because of the Civil War, although the year 1870 is, as Miss Ostrove observed, used in the Library of Congress because of changes in American copyright regulations that

year. The year 1900 is a round number; and, as Mr. Fog observed, there is a strong current

interest in the nineteenth century. The World War in 1914; the resumption of normal

publishing around 1920 —both are logically possible. Generally, the preference at Bologna was for 1920.

The question of "trivia" was also raised several times. Does it deserve bibliographical control at all? Dr. Riedel offered several comments. First, what was regarded as "trivia" several

years ago —Offenbach, for instance —is now being taken seriously. Second, there are some

important examples of great composers writing "trivial" music (arrangements and "hack

work", for instance), as well as of bad composers writing important music. Third, "great music" was recognized by our great libraries with full cataloguing, good binding, and other

such optimum conditions, while "trivia" was given a minimal physical and bibliographical treatment, if it was accepted at all. Mr. King expressed the belief that any such project as we have considered here should attempt to be as comprehensive as possible, and not selective, but it is interesting to observe that the arguments for selectivity seem no less visionary than those for comprehensiveness.

At the same time, we must confess that we simply do not know the extent of the problem that we are dealing with. For books, we assume that about four-fifths of the output of the

early printing industry has survived. Does this general rule apply to the printed music of our

period? In any event, the beginning of the eighteenth century —the rise of cheap engraving, and the ephemeralization of music publishing—probably marks the time after which a higher proportion of the world's published music is now lost.

But we do not really know the answer to such general questions and the object of such

questions is to help us to place the music under better bibliographical control.

2. "Each edition might exist in a number of variant forms. We now know, thanks to recent

research, that it is very easy to change the content of an engraved or lithographed edition.

(While there are probably more press variants of typeset editions than we have imagined, we

suspect that alterations of engraved editions were even more common.) Any bibliographical study ought to be critical, in that it identifies all known of the relevant variant forms, and determines their priority and authenticity."

The general problem of variant forms of an edition was one which the group was not

particularly anxious to discuss. Mr. Fog brought to the fore the question of a terminal date for the study: do we include (1.) only those specific editions which are known to have

appeared (i.e., were engraved) before a given date; or (2.) issues which were offered for sale before the given date; or (3.) all variants of the same edition, regardless of date, provided that the first edition was published before the given date? This problem has been a complicated one for RISM, working with its terminal date of 1800; and it can be expected to be a serious one for a coverage of later music, because of the more flexible technology of music printing which was developed in the nineteenth century. The author pointed out that any well com

piled bibliography must necessarily come to terms with variants, whether it wants to or not.



JAHRESTAGUNG DER 1VMB IN BOLOGNA 13

3. "There is no prototype, such as Eitner was for RISM. Instead there are a number of

useful bibliographies: composer catalogues like Hoboken (Haydn), Kochel (Mozart), Kinsky Halm (Beethoven), Deutsch (Schubert), Hopkinson (Berlioz), Brown (Chopin), &c.; lists for

publishers such as Weinmann, and even a few national lists for some of the smaller countries

(Prokopowicz for early Poland, Wolfe for the United States); or for musical forms and

mediums, or the like. These lists vary considerably, in matters of intent, coverage, detail of

description, and concern for location of copies." There are, meanwhile, a number of special projects, complete and published or in card form

and being assembled, which include a considerable amount of nineteenth-century music.

Eitner, for instance, includes some material which was published as late as 1840, but "selec

tively." Similarly, the original plan for RISM was seen by some as extending well into the

nineteenth century, either comprehensively to 1825, or by way of providing complete coverage of composers whose works were first published before 1800. As a result, there are files of

"post-1800" holdings reported to RISM in Kassel, which for German libraries Frl. Weinhold

has also in Munich. Dr. Donà described briefly the extensive catalogue of Italian music which

Claudio Sartori and she have been assembling through the Braidense library in Milan, and

which includes a huge quantity of music by nineteenth-century composers such as Rossini

and Donizetti. Dr. Riedel mentioned his own files in Mainz, concerned with German, Austrian, and Swiss music. The author mentioned his "bibliographical index" to the music in the

Newberry Library in Chicago, which covers the period up to 1860. Dr. Pulkert also described

the cataloguing program which is managed through the National Library in Prague. Through this work, much of the music in Czechoslovakian libraries which was published after 1830

has been re-catalogued. In this regard, the British Museum's plans to issue its complete music

catalogue in published form is of great importance. Although the plans are still not very far

under way, the prospect of having available a single collection of nearly a million items

would indeed offer the present project a "prototype", such as Eitner was to RISM, a veritable

"port in the storm."

4. "Cooperation among individual libraries is practically impossible. Many libraries have

arbitrarily separated the music issued before 1801 from the later editions. In most collections, the whole general music catalogue would need to be searched, item by item, or the shelves

scanned in the same way. Few libraries could afford this."

The absence of dates, and the lack of concern for and expertise in dating in times past, have meant that for all practical purposes the present project would probably be best begun

by interfiling the complete music catalogues of all of the libraries of the world. Such was the

background for Dr. Adler7 s suggestion that our program could best begin with a melding of the catalogues of several of the largest libraries, such as the Bibliothèque Nationale in

Paris, the British Museum in London, and the Library of Congress in Washington (which, however, has not catalogued most of its "trivia"). To these would be added items from other

libraries as they were identified on the basis of a check against the master catalogue. In any event, the achievement of our plan through the voluntary help of cooperating libraries, such

as has been working so well for RISM, would seem to be inappropriate to our needs.

5. "We need more than a list. Advances in technology over the past few generations now

allow us no excuses for not having all of the world's resources available to scholars on very short notice. Compiling a list does only half of the job. While a photocopy cannot tell us

everything that an original copy can tell us, it can often tell us what we want to know, and

whether the original itself can be expected to tell us any more. Such copies can and should

be provided by a single system (or several complementary systems) involving such possible

techniques as micro-publishing, repository access, or tele-communication."

The author's point, I am sorry to report, was not well received. There was a general con

sensus that locations were quite necessary. But the prevailing attitude seemed to be that the

scholar should need to spend the required time (likely to run to at least two weeks, and

possibly half a year), expense (likely only a few dollars, to be sure, but likely also to be



14 JAHRESTAGUNG DER IVMB IN BOLOGNA / RISM

duplicated by second and later orders), and trouble (to the scholar, also probably to his local

music librarian, and above all, usually a great nuisance to the library that owns the material). This apathy toward an improved system of access, I might remark in passing, seemed not to

worry the several antiquarian book dealers who attended the session, as much as it boggled and frightened the librarians assembled. Nor did the bibliographical scholars seem terribly bothered, probably since they have come to know that strategic points can usually be verified

by correspondence once the general picture of an edition is seen; and also that future develop ments in bibliography depend on a comparison of copies by the human eye, which is im

possible when two libraries are involved which do not circulate their holdings.

6. "Various kinds of access are required. As a result of the growth of scholarship and the

accumulation of evidence, each edition ought to be available through a variety of entries, i.e., for such possible elements as (a.) composer, (b.) editor or arranger, (c.) author and translator

of the text, (d.) publisher, also if known, the printers and engravers, (e.) title, especially the

distinctive ones, also opus number, (f.) first and important words of text, (g.) references to

events and allusions, possibly also (h.) thematic elements, and (j.) some others as well."

The point seems obvious, and it evoked very little discussion in Bologna.

7. "Means should be devised for incorporating new material as it is discovered." There

seems little likelihood that, even if and when the funds are available, the project can be

completed in anything less than a generation. If scholarship continues to find new biblio

graphical techniques and fields to study, our information can be expected to be obsolete very soon. This is one reason why the format of a printed book would probably be unattractive for

the whole project. So there we are: what can we do? M. Fédorov agreed that the form appropriate to RISM

was entirely wrong for our needs: something "more practical" was required. Dr. Adler sug

gested a highly simplified program, based on the holdings of a few great libraries : topic no. 5

above in particular should be forgotten, and a computer should be used. Music cataloguers and computer specialists, not music specialists, are what we need. Dr. Albrecht and Dr. Riedel

favored the survey by composers. The author suggested an expansive system, beginning with

something in the nature of an "ISMN": a music counterpart to our International Standard Book Number, possibly developed out of the plate number when this would be practicable. This number would be correlated with various points of information access (i.e., those listed

in 6 above, as well as locations of extant copies, in libraries and in bibliographies, together with available films for loan or for photographic transmission). M. Fédorov suggested that the

project be continued, for the present, through a pilot study of several small aspects of the

whole, and a discussion at next year's meetings in London. Both of these will be taking place. D. W. Krümmel

Rism

Unter der Leitung seines Präsidenten, Professor Dr. Friedrich Blume, hielt das RISM in

Bologna zwei Sitzungen ab. Eine interne befaßte sich mit der komplizierten Finanzlage, die es wohl gestattet, die begonnenen Arbeiten fortzusetzen, kaum aber neue größere Projekte in Angriff zu nehmen, die zweite, öffentliche stellte die vollendeten und in Arbeit befindlichen Arbeiten vor. Karl-Heinz Schlager berichtete über den steten Fortgang der Bände der Serie A, in der in alphabetischer Reihenfolge der Autoren alle Individualdrucke vor 1800 verzeichnet werden. Bisher liegen zwei Bände mit 18 470 Nummern vor.

Harald Heckmann berichtete über die Reihe B, in der systematisch oder chronologisch geordnete Quellen verzeichnet sind. Bisher liegen hier elf Bände vor, drei weitere sind in Kürze zu erwarten. Israel Adler berichtete ausführlich über das weit gediehene Projekt einer

Bibliographie und Edition der jüdischen Quellen zur Musik, die in zwei Bänden schon bald erscheinen wird. Rita Benton berichtete über den Fortgang der Serie C mit einem Directory of Music Research Libraries, das zunächst als eine Art von Vorab-Edition bei der University Press of Iowa City erscheint. Die Arbeiten für den geplanten großen alphabetischen Katalog



JAHRESTAGUNG DER IVMB IN BOLOGNA / RILM 15

der Handschriften befinden sich in den einzelnen Ländern in sehr unterschiedlichen Stadien.

Es wurde die Anregung gegeben, daß die Katalogkommission und die Mitarbeiter des RISM

in den einzelnen Ländern bei der Arbeitstagung in London gemeinsam über die hier zu

leistende Arbeit diskutieren sollen. Harald Heckmann

Riim

Report No. 7: Bologna and Copenhagen, Septembe r—A ugust 1972

During the Bologna conference of the International Association of Music Libraries on

September 9th—13th, there were three sessions devoted to RILM: the general meeting focus

sing on the subject of inclusion/exclusion and abstract length; a meeting of the Thesaurus

Sub-Commission; and a joint meeting of the RILM Thesaurus Sub-Commission with the

IAML Classification Sub-Commission. In addition, the other international society sponsoring RILM, the International Musicological Society, included a session about RILM during its

11th congress in Copenhagen on August 20th—25th. The main topic of this meeting was how

RILM can better serve the musicologist. The following is a summation of the discussions and

decisions that occurred at both Bologna and Copenhagen.

Report by the President

At this time four complete volumes of RILM abstracts have appeared, and the four issues

of volume V, dealing with 1971 publications, are in varying stages of production. Computeriza tion difficulties have at last been overcome; the editorial staff has been enlarged; and support funds have been assured at least for this academic year. At the present rhythm of editorial

preparation, RILM will become current within approximately 14 months—that is October 1973.

All this has been possible because of the excellent cooperation of the 42 national com

mittees, the 92 editors of core journals, and of the 45 area editors in related fields. The

cooperation of authors in preparing their own abstracts has shown heartening improvement in both quality and quantity. We are now able to plan for a five-year cumulative index

covering 1967—1971, the first five volumes of RILM abstracts. It is therefore urgent that all

missing items from these years be sent in as soon as possible. Recent RILM developments include 1) the programming of a sophisticated cathode ray

tube editing device, which displays the data in upper and lower case in 4 different fonts and

with 18 different accents, thus permitting corrections and insertions to be made immediately without the need for typesetting, 2) the revision of the RILM Thesaurus, which simplifies

in-depth indexing of all musical documents, and the establishment of the RILM International

Thesaurus Sub-Commission, under the chairmanship of Anders Lönn (The sub-commission

will enlarge the RILM Thesaurus to include terms, dissimilar in English, in 9 other languages, starting with French, German, and Russian), and 3) the appearance of the first volume of

RILM Retrospectives, a series of annotated bibliographies. It is entitled Thematic catalogues of music (Hillsdale, N.Y.: Pendragon, 1972; 347 p.). Three further volumes are in preparation: Trench dissertations in music by Jean Gribenski et al.; The Iconography of music by Frederick

Crane; and Congress reports in music.

The success and eventual self-sufficiency of RILM depends on the cooperation of all IAML

and IMS colleagues — both in sending in abstracts of their books and articles, and in sub

scribing individually and institutionally.

Discussion

Among the questions dealt with was that of the completeness of RILM's coverage. In this

connection the Chairwoman for Italy, Emma Pirani, Director of the Biblioteca Braidense, told

how the efficiency and coverage of the Italian committee have been improved by a three-fold

division of labor, wherein one person is in charge of collecting abstracts for periodical literature, another for collected volumes, and a third for books. From Melva Peterson, Music Librarian,

City College of the City University of New York and a member of the United States com



16 JAHRESTAGUNG DER IVMB IN BOLOGNA / RILM

mittee, came a detailed written report on locating articles on music in non-music periodicals

by the use of indexes.

The major portion of the meetings was devoted to the subject of inclusion/exclusion and

abstract length, which may be codified in the following statement.

Inclusion/Exclusion and Abstract length

Preliminary guidelines for inclusion/exclusion, based on discussions at conferences held in

Salzburg and Ljubljana in 1967, were published in RILM Report No. 2 (Fontes, XV/1 [1968]

2—9). The point of departure during the Bologna and Copenhagen sessions was a 25-page document, copies of which are available at the International RILM Center. The principles and

decisions stated in the earlier report were emended, expanded, and refined.

General principles

RILM's policy is to include rather than exclude publications of uncertain significance. The

difficulty in assessing significance is obvious, especially when one is also concerned with

related disciplines. Moreover, RILM abstracts is only one facet of the RILM project; the

stored information will be the basis for computer compiled bibliographies and other informa

tion retrieval projects. All possible uses of this information cannot be foreseen.

Decisions concerning the inclusion or exclusion of specific items should in general be made

by the national committees, rather than by periodical editors, publishers or authors. The

RILM Center will make the final determination, consulting with the national chairmen where

necessary. The general policy concerning abstract length is to employ the greatest conciseness con

sistent with retaining information that could most help a reader determine the usefulness of

the publication for his particular need.

Specific inclusion/exclusion decisions

1) RILM must serve as a national bibliography of significant music literature for each

contributing country. It must include citations for all translations of such literature as well

as abstracts of the original item. As Klaus-Ernst Behne of the German BRD committee has

emphasized, RILM abstracts was planned as the continuation and expansion of the Biblio

graphie des Musikschrifttums, which will cease publication after its 1966 volume. RILM is

committed to maintaining the high level of coverage of that publication.

2) RILM's goal of abstracting all significant literature on music should not be interpreted to mean significant only to musicology and closely related disciplines, but to the study of

music generally. This position —in line with the general liberal policy regarding inclusion —

reflects the difficulty of determining what may become significant to these very disciplines in

the future. With respect to publications dealing with the social aspects of current popular music, studies on the sociology of this music should be included, but details of current popular concert life and recordings must be excluded, despite their possible usefulness to scholars interested in sociology.

3) Items generally excluded are a) newspaper articles, b) record jacket notes and booklets,

c) school and college texts, d) music instruction manuals, e) notices (of scholarly meetings, etc.) of limited interest, f) non-scholarly reviews of musical performances and recordings, and g) music books for children. Exceptions include unusually significant newspaper articles

unlikely to appear elsewhere, scholarly booklets accompanying major collected recordings, and texts or instruction manuals when these are the first of their kind to appear in a develop ing country.

A suggested procedure for determining inclusion by a numerical rating of treatment, subject, and author of item — Bathja Bayer's RILM selection filter — was extensively discussed at the 1972 RILM meetings. An outline of this procedure is available from the International RILM Center.



] AH RE S TAGUNG DER IVMB IN BOLOGNA / RILM 17

Specific abstract length decisions

1) Items in languages not widely used in our field may receive somewhat longer abstracts than similar items in more common languages.

2) The RILM Center will edit abstracts in line with the general policy of conciseness and

stylistic consistency. Substantial deletions of material from the abstract are indicated by the word abridged following the abstractor's name.

3) Translations of works receive a single sentence abstract giving the original title,

publisher, publication date, and the RILM number for the abstract of the original edition.

4) Reprints receive a single sentence abstract stating the place, publisher, and date of

publication of the original edition.

5) Brief abstracts may be provided for reviews if they contain new ideas or supplementary information.

6) If the title of a minor item sufficiently indicates its content, an abstract is unnecessary.

7) For an article of lesser importance in a collected volume of musical writings, a title

citation in the cover abstract for the volume may be sufficient.

8) In all cases — including translations, reprints, reviews, and items to be cited without

abstract — enough information must be given on the abstract form to classify and index the

item properly.

Report of the Thesaurus Sub-Commission (Anders Lönn, Chairman).

The topics considered at both Bologna meetings of the Thesaurus Sub-Commission were

1) the addition of foreign language terms to the RILM Thesaurus, and 2) possible revisions

and improvements to the present thesaurus.

Concerning the first topic, Professor Brook reported on his talk with Horst Leuchtmann, the editor of the forthcoming Polyglot Dictionary. As Dr. Leuchtmann suggested, it was

decided that during the first expansion stage the additional languages would be limited to

French, German, and Russian, representing the Romance, Germanic, and Slavic groups. It

was also decided to invite Dr. Leuchtmann to become a member of the sub-commission and

to be responsible for the German terms. François Lesure was requested to undertake the same

task with respect to French.

The question of what terms to include and in what form was discussed in connection with

the preliminary guidelines prepared by the chairman. A revised version will be worked out

before the next meeting. Much of the discussion centered around cultural and ethnic specifica, i.e. terms and concepts particular to a certain culture, language, or ethnic group. On another

level, there is the much more difficult problem of how to deal with fundamental conceptual and terminological differences between different ideologies or schools of thought. An example was provided by a list of Marxist-Leninist terms compiled by Galina B. Koltypina of the

Soviet Union, who unfortunately could not be present. In her absence and for lack of time, detailed consideration had to be deferred.

Among the points relating to possible revisions and improvements in the RILM Thesaurus, the following may be mentioned: the question of generic versus specific terms; the question of a suitable balance in indexing material from different musicological fields (should lit

erature on, for instance, music acoustics or music psychology be indexed as exhaustively as literature on music history, and if so, how should this best be insured?); and the question of term selection and definition in areas where scholarly terminology is undeveloped and

imprecise, and/or subject to a great deal of local variation (e.g. jazz and popular music, and to

some extent vocal music and song). It was agreed that a questionnaire should be distributed to all national committees and

area editors, asking them for supplementary terms from their fields and for their views,

criticism, and comments. Similarly, suggestions for changes or improvements should be col

lected from and circulated among the sub-commission members themselves.



18 JAHRESTAGUNG DER IVMB IN BOLOGNA / RIdlM

Participants in the RILM Meetings:

Australia: Graham Pont; Austria: Zoltan Roman; Belgium: Bernard Huys; Brazil: Mercedes

Reis Pequeno; Bulgaria: Lily Nikolaeva; Canada: Ingrid Buch; Czechoslovakia: Vladimir

Dvorak, Oldrich Pulkert; Denmark: Hanne Bruhns, Dan Fog, Lene Fog, Inge Henriksen, Nanna Schiodt, Torben Schousboe, Elizabeth Srandbygaard; France: Francine Bloch, Nanie

Bridgman, La Comtesse de Chambure, Vladimir Fédorov, Jean Gribenski, Beatrice Guillaume,

Egon Kenton, François Lesure, Simone Wallon; Germany (BRD): Kurt Dorfmüller, Imogen Fel

linger, Ruth Froriep, Harald Heckmann, Hermann Wassner ; Germany (DDR) : Karl-Heinz Köhler ; Great Britain: Clifford Bartlett, Mary C. Chester, Miriam Hunt Miller, Michael Short, Walter H.

Stock; Greece: Tassos Valavanis; Hungary: Magda Grâf, Istvan Kecskeméti, Ivân Pethes; Israel: Bathya Bayer, Edith Gerson-Kiwi; Italy : Mariangela Donà, Pierluigi Petrobelli, Agostina

Zecca-Laterza; Japan: Hiroko Kishimoto, Noriko Murai; Netherlands: Clemens von Gleich;

Norway: Arvid Vollsnes; Poland: Maria Prokopowicz; Rumania: Octavien Cosma, Romeo

Ghircoiaçiu; Soviet Union: Tamara Kostina, Zinaida Jukova, Tamara Lyssenko, Raissa Mam

lutova, Radda Sabadasch, Durdana Schamilova, Vera Siverinova, J. A. Witola; United States:

Eva Badura-Skoda, Rita Benton, Laura Boulton, Barry S. Brook, Lenore Coral, Virginia

Cunningham, Vincent Duckies, Bernard Frum, D. W. Krümmel, Kurtz Meyers, Geraldine

Ostrove, Thor Wood; Venezuela: Isabel Aretz.

Barry S. Brook, Chairman; Nanna Schiodt, Secretary

Ridim

Report No. 2, Fall, 1972

The second annual meetings of the Répertoire International d'Iconographie Musicale

(RIdIM) were held in Copenhagen on August 26, 1972, in conjunction with the Eleventh

Congress of the International Musicological Society, and in Bologna on September 11, 1972, in conjunction with the Annual Meetings of the International Association of Music Libraries. The following report summarizes the discussions that took place at both meetings.

In his opening remarks, the chairman, Barry Brook, reported that the directoria of RIdlM's three sponsoring organizations (ICOM, IAML, and IMS) are in the process of establishing the commission mixte, to be made up of four or five representatives from each organization. In addition, there will be a RIdIM advisory board composed of museum directors, art

historians, computer specialists, musicologists and representatives from related disciplines. Prof. Brook noted that since the inaugural RIdIM session in St. Gall in August, 1971, the

following progress has occurred. 1) The RIdIM master catalogue card, revised according to

recommendations made at St. Gall, has been distributed to interested scholars. After further

emendation at these meetings, the definitive card will be prepared, with international distribu tion anticipated for January, 1973.

2) RIdIM will co-sponsor (with RILM) the publication in the Fall of 1973 of an Annotated

Bibliography of the Iconography of Music by Frederick Crane; it is a compilation of relevant

catalogues, calendars, collections of prints and reproductions, illustrated histories, pictorial biographies and studies. The draft version, distributed at St. Gall to those requesting it,

produced a substantial number of additions and suggestions.

3) As a pilot venture in inexpensive photographic reproduction, the Inter Documentation

Company of Leiden has prepared, at RIdlM's suggestion, a set of 600 microfiches of prints and

drawings of European musical instruments from the Gemeentemuseum in The Hague. This set is now available from that firm, along with a descriptive catalogue of the contents.

4) A checklist of existing private and public collections of musically relevant original sources and photographic reproductions is in preparation. Questionnaires to help establish this checklist will eventually be distributed to private collectors and smaller public institutions

(major museums will have to be specially treated). Information about such collections is

Barry S. Brook, <



JAHRESTAGUNG DER IVMB IN BOLOGNA / RIdlM 19

welcomed and should be sent to the Research Center for Musical Iconography at the City

University of New York.

The chairman stated that the initial goals of RIdIM remain the establishment of a method

of cataloguing and collecting information on iconographical materials (the first step of which

has been achieved by the RIdIM card), and the setting up of national or regional working committees to explore, collect and catalogue the resources of each participating country.

Among the suggestions for how national committees might begin working, granted the

vast quantities of material available, are: cataloguing the musico-iconographical content of

specific museums; researching, in a joint international project, all the pictorial material

relating to (e.g.) a famous composer on his 200th anniversary; exploring intensively a specific

genre, medium, or period (e.g. Medieval church frescoes, eighteenth-century caricatures, etc.). Dr. Zoltan Fàlvy proposed that, wherever possible, the national centers be established in

museums. Dr. Irmgard Otto also stressed the importance of working with museums of fine

arts since the contact can be mutually beneficial. The sponsorship of ICOM will greatly facilitate such contacts.

In response to Prof. John Suess' question about the existence of collecting teams in various

countries, Mme de Chambure described her experience in France where the CNRS took an

interest five years ago. The team at the moment is comprised of a full-time director for the

center for musical iconography (located with the museum of musical instruments at the

Conservatoire) and a half-time assistant. The director, Frédéric Thieck, is presently making a musico-iconographical index of all the paintings and drawings in the Louvre (but not of

the sculpture or engravings) which should be finished in February, 1973. The half-time

assistant is making a catalog of the musical subjects in the engravings in the Cabinet des

Estampes in the Bibliothèque Nationale, a project which should take about five years. In

collaboration with the Musée des Monuments Français, the center is also studying the frescoes

in France.

Regarding West German team activities, Dr. Harald Heckmann reported that in early 1971

a small group was formed to work on object documentation, especially in the area of iconog

raphy and iconology. It would be too much to say that this is now an established organization, but the exchange of ideas has been helpful. For example, it has been proposed that musicolo

gists work with the various musical instrument museums to relate visual documentation to

the actual instruments. A report on the meeting of this team will appear shortly. Cooperation between museums, libraries, and musicologists is envisioned, as is the establishment of a

sort of national Arbeitsgruppe. Dr. Koraljka Kos remarked that in Jugoslavia one scholar is working on frescoes in Serbia

and Macedonia, another in Slovenia, and that she herself is studying musical subjects in

Croatian frescoes.

Prof. Brook noted that Brigitte Geiser seems to be a team-of-one cataloguing Swiss

materials.

Prof. Glahn brought into focus the problems of smaller countries' working groups. He

emphasized the importance of collaboration in order to obtain professional advice and noted

that the development of a cataloguing system with a scholarly base was essential. He warned

that the procedure must be realistic, taking into consideration the enormous difficulties which

might be encountered, 1) in establishing national working committees; 2) in finding com

petent people; and 3) in setting priorities for international endeavors, largely necessitated by

funding limitations and restrictions on the amount of time which can be devoted to such

projects.

Citing the need for close cooperation between musicologists, organologists, and art historians,

Mme de Chambure called attention to the problems which have been encountered in cat

aloguing the Bibliothèque Nationale's vast collection of Persian miniatures. In the sixteenth

and seventeenth centuries many were copied one from another, and an eighteenth-century

copy of a fifteenth-century miniature cannot be used as evidence that the same instruments

were used in both centuries. The inherent problems of working with such materials call for



20 JAHRESTAGUNG DER IVMB IN BOLOGNA / RldlM.

an interdisciplinary team of workers just for the Persian miniatures, especially to compare them with other extensive collections like the one in the Museum of Fine Arts in Boston.

Dorthe Falcon Moller reported on her inventory of musical instruments in Danish frescoes

before 1600. The inventory was compiled as part of her thesis for the University of Copen

hagen, the main part of which was a more thorough examination of the chordophones. She

is now inventorying and studying frescoes in Skâne (Sweden — until 1650 a part of Denmark). Prof. Brook noted that, while teamwork is often advisable, and no matter how extensive

the national or international cooperation may be, there will always be a place for the in

dividual who may prefer to work alone in a particular area.

Mme de Chambure observed that those attending were fortunate to have heard Miss

Moller's report, for they would not have learned of it otherwise. She suggested that students

who write theses on musico-iconographical topics send an abstract to RILM. Rocker T. Staton

III, a student in art history and musicology at the University of North Carolina, remarked

that he had just finished a study on music in the works of Albrecht Dürer, which will be duly abstracted. Prof. Brook noted that information received at RILM will be sent to Frederick Crane for his bibliography. Eventually it is hoped that RIdIM would have an annual bulletin or newsletter for such reports and other pertinent information.

With regard to the RIdIM catalogue card: Miss Moller pointed out that in frescoes one often finds four or five restorations for a single work and that it would be useful to be able to enter such information on the card. Mme de Chambure noted that the museum of musical

instruments at the Conservatoire maintains a separate folder for each instrument containing the details of its restoration, and also separate folders for works of art which have undergone restoration. Nanna Schiodt observed that if RIdIM undertakes a project which focuses on one small area with several specialists each contributing their expertise, we must be sure that the

catalogue card will accomodate information about restoration and other details. Prof. Brook

suggested that such complex and specialized documentation should be included on the back of the card, leaving the front free for the primary cataloguing data.

Other comments concerning the catalogue card suggested: that there was an insufficient amount of space alloted to the categories of Condition (Frau Dr. Otto), and Musical Notation

(Mme de Chambure); that too much space was provided for the small photograph, and that

pasting photographs on one portion of the card would produce a bulge and result in filing and storage problems (Mme de Chambure). In relation to this problem, Mary Remnant

suggested the possibility of using photographs identical in size to the card, which could be filed directly after each card, without actually being attached. Prof. Brook noted that ICOM

glues an envelope to the back of each main card for negatives, detail photos etc. Finally, various terms supplied with the instructions for filling in the card were found to be am

biguous and in need of clarification. It was agreed to incorporate as many of the suggestions as possible in the "final" revision

of the card with the understanding that we are dealing with a first-level of catalogue card to be used on an international scale, often by non-specialists. This card should not be confused with either the detailed interpretative data that scholars may develop as research proceeds on a particular group of art works, or a system of classification and storage of large photos, engravings, etc.

On the problems of detailed classification and indexing with which each national center will eventually be concerned several suggestions were made. For purposes of filing, Dr. Otto

reported that the Staatliches Institut für Musikforschung in Berlin employs colored cards: white for drawings and paintings, orange for prints, light red for sculpture, light blue for

facsimiles, etc. If the collection possesses the original, a photograph of it, a slide, or a post card, a separate card is maintained for each. Mme de Chambure expressed preference for a

system of colored tabs which can be attached to the top of filed cards; such a method has been developed by Mlle Yvette Oddon at ICOM.

Mme de Chambure cited the problem of naming instruments correctly, noting the plethora of terminology which can be applied to individual instruments. She noted the need for a simple



JAHRESTAGUNG DER IVMB IN BOLOGNA / RIdlM 21

repertory of terms, annotated to give the precise dates during which a given name should

be used, with quotations from authors to support the choice of terminology and its dates,

plus a simple drawing or woodcut illustrating the instrument. Frau Dr. Otto said that she has

made a list of specifications for instruments according to their visual characteristics. Prof.

Brook reported that Mary Rasmussen has been working intensively on this problem. An ad

hoc committee composed of Mme de Chambure, Dr. Kos, Dr. Otto, and Prof. Rasmussen was

formed to consider the matter.

At both Copenhagen and Bologna Henri de Mink exhibited examples from the set of 600

microfiches reproductions of prints and drawings from the Gemeentemuseum in The Hague, selected with the assistance of Dr. Clemens von Gleich. The hope was expressed that this

project would constitute the beginning of an extensive collection of microfiches reproductions of works of art of interest to musicologists.

At Copenhagen, Mrs. Luraine Tansey, Slide Librarian at the University of California at

Santa Cruz, discussed her interdisciplinary slide classification and its visual content file, and

discussed techniques of computerized slide classification. Mrs. Tansey said she prefers slides

to microfiches because the latter cannot easily be updated. The visual content file of the

collection at Santa Cruz includes a considerable quantity of musical iconography, which can

be supplied either by computer tape or printout to interested persons. She noted that her

book A Slide Classification System, written in collaboration with Wendell W. Simons, may also

be obtained by writing her (in care of the Library, University of California at Santa Cruz,

California 95060). Mrs. Tansey's kind offer to cooperate with RIdIM was accepted with thanks.

This cooperation will be especially valuable when RIdIM begins to computerize available data.

At Copenhagen, Prof. Emanuel Winternitz presented an illustrated lecture entitled "Two

Chapters in Musical Iconography. I: Open String and Stopped String Cultures. II: Improvisa tion in the Italian Renaissance." He pointed out that through visual evidence alone we are

made aware of the rather surprising phenomenon that no ancient Greek stringed instrument

made use of stopped strings, even though stringed instruments with stopped string technique

were well known to surrounding cultures. Likewise, visual evidence is virtually our only source of information concerning the construction, use and status of the lira da braccio in

Renaissance Italy. At Copenhagen it was possible to view two collections of particular iconographical interest;

one at the Musikhistorisk Museum, the other at the Royal Library. At the Bologna Archigin nasio an exhibition of iconographie documents relating to Padre Martini was prepared by

Vincent Duckies, with the collaboration of Anne Schnoebelen, Sergio Paganelli, and Giancarlo

Roversi. In the reading room of the Civico Museo Bibliografico Musicale, where the RIdIM

meeting was held, Dr. Paganelli had arranged a special exhibit of musical iconography in

volving a number of difficult-to-identify paintings and engravings. It was agreed that the in

ability of those assembled to identify the works in question demonstrated most forcefully the need for a well-catalogued, broadly based Répertoire International d'Iconographie Musicale.

Attending the meetings in Copenhagen and Bologna were Israel Adler (Jerusalem), Bathja

Bayer (Jerusalem), Norbert Böker-Heil (Oberhöchstadt, Germany), Laura Boulton (New York),

Nanie Bridgman (Paris), Barry S. Brook (chairman and co-president RIdIM, New York),

Ingrid Buch (Vancouver), Mme Thibault de Chambure (co-president RIdIM, Paris), Lenore

Coral (Madison, Wisconsin), Erik Dal (Copenhagen), Mariangela Donà (Milano), Vincent

Duckies (Berkeley), Zoltan Fàlvy (Budapest), Vladimir Fédorov (Paris), Imogen Fellinger

(Berlin), Ruth Froriep (Hannover), Edith Gerson-Kiwi (Jerusalem), Henrik Glahn (Copen

hagen), Magda Graf Gaborne (Budapest), Beatrice Guillaume (Saint Nom la Bretêche, France),

Harald Heckmann (co-president RIdlM, Frankfurt am Main), Bernard Huys (Bruxelles), Jean

Jenkins (London), Cary Karp (Stockholm), Istvân Kecskeméti (Budapest), Karl-Heinz Köhler

(Berlin), Birgit Kjellström (Stockholm), Koralja Kos (Zagreb), François Lesure (Paris), Anders

Lönn (Stockholm), Henri de Mink (Leiden), Dorthe Falcon Moller (Copenhagen), Geraldine

Ostrove (Baltimore), Irmgard Otto (Berlin), Jessie Ann Owens (Nyack, New York), Sergio



22 JAHRESTAGUNG DER 1VMB IN BOLOGNA / IASA

Paganelli (Bologna), Mercedes Reis Pequeno (Rio de Janeiro), Maria Prokopowicz (Warsaw),

Nancy Reich (New York), Mary Remnant (London), Nanna Schladt (Copenhagen), Boris

Schwarz (New York), Alexander Silbiger (Waltham, Mass.), Gian Silbiger (Boston), Rocker T. Staton III (Chapel Hill), Erich Stockmann (Berlin), John Suess (Cleveland), Luraine Tansey (Santa Cruz), Frédéric Thieck (Paris), Ruth Watanabe (Rochester), Emanuel Winternitz (New

York), Ilse-Charlotte Wolf (Bremen), and Emilia Zanetti (Rome). The address for RIdIM correspondence is: Research Center for Musical Iconography,

The City University of New York, 33 West 42 Street New York, New York 10036.

Barry S. Brook, Chairman; Mary Rasmussen, Secretary

Iasa

From 9 to 15 September, 1972, the annual meeting of the International Association of Music Libraries was held in the Istituto di Studi Musicali dell'Università di Bologna. Since several members of IASA are also a member of IAML the annual meeting of IASA was held during the IAML congress and IASA again enjoyed the kind hospitality of IAML.

There were three IASA sessions, the first of which was devoted to the election of a new board and to domestic business. During the second session International Discographic Controls and the joint IASA/IAML Inquiry were discussed, followed by a paper about the United Nations Sound Archive. The third session was mainly devoted to lectures about the use of sound recordings in the teaching of history and about the preservation of gramophone records. R. L. Schuursma, Secretary

First Session Donald Leavitt, chairman, Rolf Schuursma, secretary.

The chairman opens the meeting at 17.00 p.m. and welcomes 31 participants from 15 countries. The minutes of the last meeting (St. Gallen, August 24, 1971) as published in the

Phonographic Bulletin no. 2, January 1972, p. 24, are confirmed. The secretary delivers a short report on the activities since the St. Gallen conference,

1971. He mentions the following facts and figures. — The bureau sent out 111 letters in total. It received 123 letters. — Only after the publication of the first issue of the Phonographic Bulletin (summer 1971)

actions were undertaken to bring in members. The result per September 1, 1972 was: 49 in stitutional members and 41 individual members. Several sound archivists could not bring in their archives as an institutional member, but preferred to be a personal member for the time

being. This explains the relatively great number of individual members. Three issues of the Phonographic Bulletin were published between the St. Gallen and

Bologna conferences. They contained ten articles from five countries: Bundesrepublik Deutsch land, U.S.A., Australia, France and The Netherlands. In addition, Claes Cnattingius published a tentative List of Discographies and Record Catalogues. It was not possible to print a report about the meeting of the Radio Sound Archives held at the St. Gallen conference, because their committee is part of the Record Library Commission of IAML, so that their publications have to go first to Pontes.

The board prepared a letter to the European Broadcasting Union about broadcasting record

ings for scholarly research. This letter was amended by Dr. Harold Spivacke, chairman of the Record Library Commission of IAML, and then sent to the EBU on behalf of both this Commission and IASA. On July 26, 1972 a communication was received from Mr. A. M. Dean, Head of the Radio Programme Division of the European Broadcasting Union, stating that the EBU was willing to discuss our letter in forthcoming meetings.

The financial report of the treasurer is confirmed without any comment. Electi on of thenew board. As was communicated to the membership, a nominating

committee was appointed by the board, consisting of Philip Miller, chairman, Dietrich Loti chius, Derek Lewis, Herbert Rosenberg and Lou Hoefnagels, members. This committee nom inated a new board, consisting of:

R. L. Schuursma,



IAHRESTAGUN G DER IVMB IN BOLOGNA / IAS A 23

Timothy Eckersley, Head of Recording Services, Radio, BBC, London, president. Mlle Claudie Marcel-Dubois, Chef de la Phonothèque et du Département d'Ethnomusicologie

ATP, Paris, vice-president, Donald L. Leavitt, Assistant Chief Music Division of the Library of Congress, Washington,

vice-president, Claes M. Cnattingius, Head, Record Library, Sveriges Radio, Stockholm, treasurer, and Rolf L. Schuursma, Head of the Documentationcentre of the Stichting Film en Wetenschap,

Utrecht, secretary.

Apart from Mr. Eckersley all of them were already members of the first board. Mr. Patrick

Saul, who was a vice-presitend on the first board, expressed the wish not to be re-elected. The

recommendation of the nominating committee is accepted by the members present at this

meeting. The secretary did not receive any letter from members disputing the nominations. At

the meeting Herbert Rosenberg nominates Dr. Ivan Pethes from Budapest, Hungary as a vice

president. Mr. Pethes is elected by acclamation.

Second Session

International Discographic Controls. The chairman speaks about the

plan for an Inventory of Discographical Controls brought up first at the Leipzig Conference, 1970. At that moment a preliminary task was formulated, being the production of an inventory. Claes Cnattingius was to be the focal point for the collection of information. Thereafter Mr. Cnattingius reports about the activities up till the Bologna meeting. There is a lack of information especially as regards underdeveloped nations and some socialist countries. Mr. Cnattingius hopes to accomplish in the next two or three years a new and better list than the one published in the Phonographic Bulletin. He asks for help from the member

ship of IASA first of all.

The chairman expresses thanks for the job done already and brings up retrospective discographie controls, issued already in a wide variety of publications, sometimes monographs, sometimes periodicals like Recorded Sound. Does IASA have to do this or is it an utterly

impossible task? Mr. Eckersley proposes to co-operate with the British Institute of

Recorded Sound (BIRS). On a question from Mr. Marco the chairman replies that co

operation with RILM is not effective because RILM is not sufficiently up to date and does include only a small part of discographies. Mr. Eckersley would like to know more about the value of discographie controls. The chairman sticks to his opinion that everybody who is going to make a collection of sound recordings must have such controls at his disposal. This is especially true for research archives. Broadcasting archives will not have such a need for discographie controls. Mr. Lotichius, however, feels that discographie controls may contain discographies only for internal use, common in radio archives, but the chairman

objects stating that even the knowledge of recordings once existing is of primary importance. The same goes for discographies even if they are at the moment not open for external use,

whereupon Mr. Cnattingius proposes to mark such discographies in the discography control with a special code. Mr. Spivacke points out that there are great masses of records in South Asia. They ought to be included.

The joint IASA / IAML Questionnaire: The secretary reports briefly on the questionnaire. Per September 1, 1972, 50 completed forms from 16 countries were received and came from the following countries : Australia, Belgium, Canada, Denmark, Finland, Great

Britain, Hungary, Israel, Italy, Norway, Sweden, Switzerland, The Netherlands, United States, USSR (Lithuanian SSR), Western Germany.

They can be divided into categories like: Universitary Archives (11), National Libraries (8),

Broadcasting Archives (18), Private Foundations (13). Other interesting results of the questionnaire thus far:

The largest sound archive according to total numbers of sound recordings (physical units, not performance units) is the BBC, with 800,000 commercial records and 350,000 recordings in

the Recording Services Dpt. The smallest one is the National Library of Scotland (118 record



24 JAHRES TA CUN C DER 1VMB IN BOLOGNA / IASA

ings). According to the forms thus far received every archive contains music recordings. 12

Archives do not contain other recordings (spoken word) and several archives very few other

recordings. The above mentioned data are very fragmentary and provide only a very small part of what

has to be collected before a real report can be made. They are only meant as a kind of im

pression of what is going on. Much work has to be done in order to get information from as

many sound archives as possible. The secretariat will take care of this during the next year. The chairman then brings up a letter from the President of the American Association

for Recorded Sound Collections (ARSC), dated August 26, 1972. This letter explains that the

ARSC is conducting an inquiry into American and Canadian sound archives taking into

account, however, every kind of archive, including small town public lending libraries. The

chairman answered on September 5, 1972, that IASA concentrates on research archives.

On a question of the chairman Mr. Eckersley explains that there will not be a conflict

between the EBU inquiry and the undertaking of IASA, because the EBU report was meant

for internal use.

The United Nations Sound Archive. The chairman then reads a paper about the UN Sound Archive, prepared by Mr. Pierre G. Fürst, who is in charge of this

archive but unhappily could not attend the meeting. The paper is published in full in the

December 1972 issue of the Phonographic Bulletin.

Third Session

The chairman mentions that catalogues and even copies of some recordings of the UN Sound Archive are available.

Sound recordings and the teaching of history. Mrs. Joke R i j k e n de livers a paper about the use of recordings from the Utrecht sound archive in historical teaching in secondary schools. A large part of the spoken word recordings in the Foundation for Film and Science (SFW) are copies of records and tapes in the historical archive of the Netherlands

Broadcasting Foundation (NOS).

Copyright legislation on international basis. The chairman refers

briefly to an article by Abe A. Goldman, Copyright and Archival Collections of Sound Record

ings in Library Trends, July 1972, Vol. 21, no. 1, p. 147, being a most valuable aid for the discussion about copyright problems. He reads two paragraphs from the article concerning the Library of Congress, which is now the dépôt légal for US sound recordings, and the work done in Geneva to protect recordings internationally.

International Standard Record Numbering (formerly MIC). Mr. Cn a 11 i n g i u s, Mile Bloch, Mr. Lewis and Mr. Le avi 11 make a short report about the respective meetings in Hamburg, Paris, London and New York. MIC is called now ISRN (International Standard Record Numbering).

There will be another meeting about ISRN in The Hague shortly after the Bologna meeting, where Mr. Cnattingius will be a participant. After this meeting Mr. Cnattingius will try to prepare an article on ISRN for the Phonographic Bulletin.

Records and their preservation. After a short interval Mr. Bob Carneal, Chief Engineer of the Recording Laboratory of the Library of Congress, Washington DC, delivers a lecture about the preservation methods for gramophone records in use in the

Library of Congress. He showed several slides and played some interesting examples of recordings made before and after the preservation of records in question took place.

Tape cassettes. Mr. Cnattingius and Mr. Van Dalfsen report on the sound tape cassette for archival purposes. Broadcasting archives like to change over to the cassette because of the small proportions, the durability and handiness. The NOS has carried out some experiments which seem to be satisfying. Later on a more definite report can be expected.

Programming the sessions of IASA. The chairman requests the membership to announce some time in advance eventual contributions to the sessions of IASA during the



JAHRESTAGUNG DER IVMB IN BOLOGNA / IASA 25

London meeting, so that the board can better decide about the number and duration of the

sessions beforehand.

The outgoing board. Mr. Rosenberg, who contributed very much to the creation

and first steps of IASA, expresses thanks on behalf of the membership to the outgoing chairman. Don Leavitt not only prepared the draft of a constitution which was adopted

during the Amsterdam meeting of 1969, but also directed IASA during the first years with

great tact and wisdom. It is good to have him back as a vice-president for the next three years. Mr. Rosenberg also expresses gratitude to P. Saul, who together with I. Adler laid the

foundations of a really international association of research sound archives. It is very regret table not to have him in the board again during the next period. Mr. Rosenberg asks the

board to convey a letter of thanks to Mr. Saul. The chairman replies by thanking particu

larly Adler, Saul and Rosenberg for their support and friendship during the difficult start of

IASA. He also thanks his colleagues on the first board for their co-operation and goodwill and wishes his successor Timothy Eckersley good luck for the next three years.

The next annual meeting will be in London between the 27th and 31th August, 1973.

Attendance List:

Adler, Dr. I., The Hebrew University of Jerusalem, Jerusalem; Adler, Mr. W., Sender Freies

Berlin; Arntsen, Mrs. E., Norsk Rikskringkasting, Oslo; Barone, Mrs. A., Discoteca di Stato,

Rome; Bartlett, Mr. C., BBC Music Library, London; Bayer, Mrs. Dr. B., Jewish National and

University Library, Jerusalem; Beskow Tainsh, Mrs. K„ Sveriges Radio, Stockholm; Bloch, Miss F., Phonothèque Nationale, Paris; Breitwieser, Mr. E., ORF Radio Salzburg, Salzburg;

Briihns, Mr. H., Lyngby Music Library, Lyngby; Cernik, Dr. B., Phonothek des Radio-Studios

Basel; Chester, Miss M., Hannesmill Public Library, London; Cnattingius, Mr. C. M., Record

Library, Sveriges Radio, Stockholm; Csâszâr, Mr. C., Hungarian Radio, Budapest; Dalfsen, Mr. J. van, Nederlandse Omroep Stichting, Hilversum; Eckersley, Mr. T. H., Recording Services, Radio, BBC, London; Fonyo, Miss I., Debreceu, Zeuci, Ktruyota; Gerson-Kiwi, Mrs. E., Phono-Archives for Oriental Music, Jerusalem; Hagopian, Miss V. L., San Francisco,

California; Heckmann, Dr. H., Deutsches Rundfunkarchiv, Frankfurt am Main; Hoefnagels, Mr. L., Theater Klank en Beeld, Amsterdam; Juodis, Mr. E., National Library, Vilnius; Kart

tunen, Mr. A., Finnish Broadcasting Corporation (YLE), Helsinki; Kecskeméti, Dr. I., National

Széchényi Library, Budapest ; Kjaer, Mrs. B., Danish State Radio, Copenhagen ; Kummen, Mr. T., Norsk Rikskringkasting, Oslo; Leavitt, Mr. D. L., Music Division, Library of Congress,

Washington; Lehesvirta, Mr. J., Finnish Broadcasting Corporation (YLE), Helsinki; Lewis, Mr. D., British Broadcasting Corporation, London; Lotichius, Mr. D., Norddeutscher Rund

funk, Hamburg; Lyssenko, Mrs. T., Biblioteka Koncervatorii, Moscow; Manal, Mr. G., Office

de Radio Diffusion Télévision Française, Paris; Marco, Mr. G., Kent State University, Ohio; Maschat, Mr. E., Bayerischer Rundfunk, München; Miller, Miss M. H., Polytechnic of North

London; Mooney, Miss K., McGill University, Montreal; Myers, Mr. K., Denver Public

Library, Denver; Nikolaewa, Miss L., Nationalbibliothek, Sophia; Ostlund, Mr. C., National

fonoteket, Stockholm; Pethes, Dr. I., Budapest; Rebman, Mrs. E. H., Stanford University Libraries, Stanford; Roberts, Dr. D. L., Northwestern University, Evanston; Rosenberg, Dr. H.,

Nationaldiskoteket, Lyngby; Rouyer, Mr. L., Office de Radio Diffusion Télévision Française, Paris; Rijken, Mrs. Dr. J. M. S., Documentationcentre, Stichting Film en Wetenschap, Utrecht;

Schüller, Dr. D., Phonogrammarchiv der österreichischen Akademie der Wissenschaften,

Vienna; Schuursma, Dr. R. L., Documentationcentre, Stichting Film en Wetenschap, Utrecht;

Seaman, Mr. G., Music Conservatorium, Auckland; Short, Mr. M., Imperial College of Science

and Technology, London; Snekkenes, Mrs. G., Norsk Rikskringkasting, Oslo; Spivacke, Dr. H„

Music Division, Library of Congress, Washington; Ventresia, Mr. S., Discoteca di Stato,

Rome; Werner, Mr. H., Berliner Staatsbibliothek, Berlin, DDR.



Documents

Jahrestagung der IVMB in Bologna / IAML annual Conference in Bologna / Réunion annuelle de l'AIBM à Bologne