CAML Review / Revue de l'ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux)
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Spotlight on Music Collections: Capital City Records: Edmonton Local Music
No full textIn the inaugural Spotlight on Music Collections column, Carolyn Doi interviews Raquel Mann, Digital Public Spaces Librarian at the Edmonton Public Library. In this interview, Mann speaks about the EPL's “Capital City Records: Edmonton Local Music” digital public space, as well as “Voices of Amiskwaciy”, a space for sharing and celebrating local Indigenous content, “Edmonton Stories: A Canada 150 Digital Storytelling Project” and “Open Data at EPL”
Listening to Music “in” the Library
Get PDFDigital and streaming audio and video (A/V) content have usurped the primacy of physical media materials and their playback technology within institutional music libraries, notwithstanding throwbacks to and resurgences of physical media in commercial and personal contexts. Music libraries are challenged with the conflicting responsibilities of maintaining legacy format materials that are not digitally available, continuing to collect physical resources that are not available either digitally or through institutional streaming subscriptions, and acquiring born-digital and digitized resources. They must also reconcile these responsibilities with the fact that many streaming A/V resources are freely available to individual consumers. In an era of dwindling resources and appreciation for curated music collections, how will libraries ensure that their A/V resources, in all formats, remain relevant to current and future users? This paper presents the results of an A/V usage survey administered to affiliates of the University of Alberta’s Music Department to learn about the attitudes, preferences and experiences of music library users’ practises for accessing recorded music
Why a Canadian Musicologist Would Catalogue One Thousand Mexican Music Manuscripts
Get PDFIt has been fifteen years since I started visiting religious and secular music archives across Mexico. From the beginning, one issue quickly became clear: unless cataloguing was done, the manuscripts might disappear from our memories, along with our understanding of four centuries of music practice. My work focussed specifically on the nineteenth century, an era of music practice that was almost unknown to us. As my research began, I had to request permission to enter archives, apply for financial support, then travel to organize and digitize manuscripts and to produce the catalogues. During part of this process, and to give my work a wider exposure, I contacted RISM. At that moment, their database had only 48 entries representing Mexico. Even now, with more than a thousand titles, there remains still so much music to document. This article highlights my fifteen years of work, and in particular, the last two catalogues that I have produced: “José Antonio Gómez y Olguín (1805-1876) y su Catálogo musical: Un acercamiento a la práctica musical del México decimonónico [English introduction included],” FONCA (México, 2016); and “Catálogo del Acervo Musical del Colegio de Vizcaínas (AMCV): La memoria sonora de los colegios femeninos en México entre los siglos XVI-XIX [Introducción en español y en inglés],” FONCA (México, 2019). These catalogues follow my personal ideas for improving accessibility and our understanding of our musical past. They are both online and in pdf format, and in addition to providing the same information found in RISM´s database, they include an image for each work to provide identity and depth.While access to and study of musical archives is still limited in Mexico, we are starting to have some first-hand knowledge of this vast and rich music tradition. --Cela fait quinze ans que j'ai commencé à visiter les archives de musique religieuse et profane à travers le Mexique. Dès le début, un problème est rapidement devenu clair : à moins que le catalogage ne soit fait, les manuscrits pourraient disparaître de nos mémoires, avec notre compréhension de quatre siècles de pratique musicale. Mon travail s'est concentré spécifiquement sur le XIXe siècle, un domaine où la pratique musicale nous était presque inconnue. Au début de mes recherches, j'ai dû demander l'autorisation d'entrer dans les archives, demander un soutien financier, puis me déplacer pour organiser et numériser les manuscrits et produire les catalogues. Pendant une partie de ce processus, et pour donner une plus grande visibilité à mon travail, j'ai contacté RISM. À ce moment-là, leur base de données ne contenait que 48 entrées représentant le Mexique. Même maintenant, avec plus d'un millier de titres, il reste encore tant de musique à documenter.Cet article met en lumière mes quinze ans de travail et en particulier les deux derniers catalogues que j'ai produits: «José Antonio Gómez y Olguín (1805-1876) y su Catálogo musical: Un acercamiento a la práctica musical del México decimonónico [introduction en anglais inclus] », FONCA (México, 2016); et «Catálogo del Acervo Musical del Colegio de Vizcaínas (AMCV): La memoria sonora de los colegios femeninos en México entre los siglos XVI-XIX [Introducción en español y en inglés]», FONCA (México, 2019). Ces catalogues suivent mes idées personnelles pour améliorer l'accessibilité et notre compréhension de notre passé musical. Ils sont à la fois en ligne et au format pdf, et en plus de fournir les mêmes informations que celles trouvées dans la base de données RISM, ils incluent une image pour chaque œuvre, pour fournir une identité et une profondeur.Bien que l'accès aux archives musicales et leur étude soient encore limités au Mexique, nous commençons à avoir une connaissance de première main de cette vaste et riche tradition musicale
Acquiring, Preserving, and Exhibiting a Comprehensive Collection of Vocal Music Recordings from Early- to Mid-Twentieth Century
Get PDFThe Stratton-Clarke collection consists of approximately 200 linear feet of 78 and 33 1/3 rpm records, and thousands of digitized recordings that represents a comprehensive history of early twentieth century recorded Western sound, specifically opera -- its artists, roles, and early legacy from 78 rpm to early long play records. Along with someephemera and several pieces of historic playback equipment, a large financial gift will offset the costs of processing, preserving and providing access to the various formats represented in the collection. As the largest music research collection in Canada, the University of Toronto Music Library is fortunate to have the capacity to manage a donation of this magnitude. Each of our four authors has an important role to play to make the project a success. In this article we present a history and background of John Stratton, Stephen Clarke, and the collection itself, and document the many facets of a library taking on a donation of this size: donor relations and collaboration with the University’s advancement team and other stakeholders; the project management involved in making space and designing workflow for cataloguing, processing, and storage; archival description of the 78s and ephemera; preservation of the digital objects and digitization strategies for the analog recordings; the challenges and opportunities of working with large financial gifts; teamwork and managing students; and future plans for physical and online exhibitions of the collection
