Music Archives

A manuscript kept in the Chapter Archives in Hvar (Dalmatia, region of Southern Croatia) contains a list of books and music material owned by the Chapter of the Hvar Cathedral in 1646/47. Although now lost, the recorded music titles bear witness to the quantity and quality of music in the town of Hvar (and generally in Dalmatia) during the 1st half of the 17th century. This (music) inventory testifies not only to the presence of contemporary Italian (mostly Venetian early-Baroque) music literature on the island; it also reveals two titles of Tomaso Cecchini’s to date unknown opuses, added here to the revised list of Cecchini’s works. Considering the importance of this source in the context of Croatian music historiography and (early) Baroque culture, a focal point of this article is an overview of the inventory’s musical content. It is pre sented here by way of a table containing transcribed titles and additional details on the authors and printed editions, which were formerly a part of the Cathedral Chapter’s music collection.

Resumen: El autor nos ofrece en homenaje a Juan Bautista Plaza como pionero de la musicología nacional, dos documentos fundamentales para el estudio de la música colonial venezolana: el fichero numerado del archivo de la Escuela  Superior de Música "José Ángel Lamas", realizado por Claudio García Lazo; y el catálogo correlativo de Juan Bautista Plaza, mientras se desempeñaba como archivero y bibliotecario de la misma en la primera etapa de sus investigaciones. Además de transcribirlo en su forma original, lo presenta ordenado alfabéticamente y por autor.

COELHO, Lucas de Lima. Gerenciamento de acervos para performance musical: a informação/documentação musical em instituições musicais. Orientadora: Cibele Araujo Camargo Marques dos Santos. 2019. Trabalho de Conclusão de Curso (Bacharelado em Música) — Departamento de Música, Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo, 2019.

O presente trabalho aborda, do ponto de vista conceitual e da prática profissional, os acervos para performance musical, setores comumente denominados como arquivo ou musicoteca, especializados na preparação de partituras em instituições musicais que desenvolvem atividades de performance como orquestras, bandas e coros. O trabalho tem como objetivo apontar que mesmo que esses setores sejam comumente denominados de maneiras que se refiram a termos de áreas como a Biblioteconomia e Arquivologia, eles desenvolvem atividades no âmbito musical sem se ater às ortodoxias metodológicas e conceituais dessas outras áreas. Para isso, utiliza da revisão de literatura sobre o tratamento documental de partituras e, em especial, de relatos de profissionais que atuam em acervos para performance musical. O trabalho apresenta as principais atividades desenvolvidas por esses setores, apontando sua importância para o funcionamento das instituições por se posicionarem como setores que lidam tanto com as áreas administrativas quanto as áreas artísticas. Apresenta questões relacionadas ao uso do termo arquivo e de seus profissionais como arquivistas para se referir a tais setores no Brasil, admitindo a ocorrência de problemas relacionados à aplicação de conceitos da área da Arquivologia para o tratamento dos acervos para performance musical. Defende que tais setores necessitam dos trabalhos de profissionais com profundo conhecimento musical e sobre a indústria musical para realização de suas atividades, tendo fundamental importância para o funcionamento das instituições musicais por lidar com a informação/documentação musical. Sugere a consideração dos estudos e da atuação profissional com o gerenciamento de acervos para performance musical dentro dos campos de estudo e atuação da Musicologia e, de maneira ampliada, da arquivologia musical.

Inventario de parte de la colección personal de 300 títulos de Jazz Argentino del siglo XX, con aportes de otras donaciones especificadas. Los archivos digitales fueron donados y están siendo catalogados en el Instituto de Investigación en Etnomusicología de la Ciudad de Buenos Aires.

The Musical Archive of the Cathedrals of Zaragoza possesses an interesting early source for
the study of the music of Georg Friedrich Händel (*1685; †1759). It is a manuscript volume,
carefully copied and professionally and luxuriously bound in parchment, containing
a copy of the Suites de pièces pour le clavecin, which the Anglo-German musician would
print for the first time in London in 1720. This copy, made in Rome on 26 March 1727,
only seven years after his editio princeps, and owned by Francisco Xavier Nebra, bears witness
to the early knowledge of the best European music of the time in Spain as well as the
fluid musical connections between Italy and Spain.

Feminist history comprises a myriad of movements and identities spanning generations of individuals. Its substance
is preserved and transmitted in innumerable ways, including through oral histories, independent bookstores, infoshops, school and community archives, and conferences — but how secure are that transmission and preservation?
Happily, there is now an established university archive at NYU for preserving and transmitting the history of one of those movements, the underground feminist punk movement known as Riot Grrrl, which emerged in Olympia in the early 1990s.

Hans Kramer (1911–2002) was important for two reasons: he owned the Home of Music, a unique music store in Cape Town, and he founded the Cape Town Concert Club, which hosted regular concerts by international artists. Rather than constructing a biographical narrative, the present article focuses on the contents of the Hans Kramer Collection at the National Library in Cape Town with the aim of uncovering and considering the importance of certain Jewish individuals’ contributions to music patronage in South Africa during the second half of the 20th century. Keeping music at the centre of the investigation, the archive allows a window into Jewish relational nexuses with different local communities and institutions, on the one hand, and international artists and organisations, on the other.

Speaking from an ethnomusicological standpoint, this paper elaborates on the use of recorded sound and audiovisual material for the purpose of documenting particular musical elements in Serbia, according to the concept of UNESCO intangible cultural heritage. There is a difference between contemporary field recordings for archival purposes, according to the ICH concept, and the employment of already recorded historical legacy. Through the example of music elements from Serbian national register of ICH, this paper will raise the questions of ethnomusicological politics of field recording and digitization of archived historical recordings, as well as analyze the politics of heritage management. Based on ethnomusicological and archival experience, the aim of this paper is to offer a model of application of sound archive for the future, which can effectively contribute to the concept of intangible cultural heritage in Serbia.

One largely accepted conviction about the Modern Greek Musical History is that the Art Music actually never took roots in Greece, as the so called Classical Music did not interest but the higher class of the society. Researching at the Athens Conservatoire Archives inevitably leads us to plenty of evidence that prove this conviction to be false. The foundation of Athens Conservatoire, in 1871, aimed to the musical cultivation of the middle and lower classes of the society, as one can deduce from the institution’s registries of the time: next to high-school pupils and university students one finds pupils originated from the middle and lower class (merchants, engineers, tailors, bookbinders, printers, land-surveyors, cabinet-makers, clock-makers, blacksmiths), who, thanks to the free of charge classes that the Conservatoire offered, could learn to play music. The musical activity of the Conservatoire gradually improved in quality and the Athens Conservatoire very soon became a musical centre of Greece. When Camille Saint-Saëns visited Greece in 1920, said that the Conservatoire’s orchestra could stand anywhere. Some years later, the musical activity of the orchestra, under Dimitri Mitropoulos’ direction (former student of the Conservatoire), proved to be pioneering, presenting modernist music quite early. The example of Stravinsky’s Soldier’s Tale, which made its Greek premiere on January 1926 (that is only a few years after the Swiss (1918) and French (1924) premieres) is quite significant, since its warm reception by the Athenian audience, can prove that Art Music actually took roots in Greece.

In Praise of Paul Weller…?
Reflections on Popular Music Studies

Symposium

Wednesday 23 March 2016
Birmingham Centre for Media and Cultural Research
Birmingham City University

‘What often passed the post-punk brigade by was Weller's musical subtlety: the allusions to Motown and Stax, the willingness to experiment. That really came to the fore when he started the Style Council, which disgruntled fans wrote off as soulboys. Nor did they welcome the later house-music direction. But not for nothing has Weller referred to himself as The Changingman – a restlessness and impatience that makes him a much more compelling artist. Nice line in knitwear, too.’ Guardian Leader, Friday 27 August 2010

An enduring fixture of popular music culture for almost 40 years, Paul Weller and his work has been the subject of relatively little academic scrutiny. In attending to Weller’s work, the purpose of this symposium is to consider his longevity, musical path and identity as ways of raising questions about the history, historiography, direction, range and operations of popular music culture and its scholarly study.

Ses kayıt teknolojisinin 19. yüzyılda ortaya çıkışı, etnomüzikolojinin bir bilim dalı olarak gelişimine önemli etki yapmıştır. Özellikle alan çalışmalarında ses kayıt cihazlarının kullanılması, günümüze kadar kültürel bir miras olarak gelen ses kayıt arşivlerinin ortaya çıkmasına neden olmuştur. Günümüzde tarihsel etnomüzikoloji yaklaşımıyla ele alınan tarihsel müzik kayıtları, kayıtların yapıldığı dönemin müzik icrası ve müzikle ilişkili diğer konuların çalışılması açısından önemli kaynaklardır. Bu makalede, Türkiye’de Cumhuriyet’in erken dönem resmî derleme çalışmalarında eserleri kaydedilmiş olan Koçgirili Alişer Efendi’nin müzik eserleri incelenmektedir. Taki mahlaslı bir “saz şairi” olan Alişer Efendi, aynı zamanda resmî belgelerde “eşkıya Alişir” olarak nitelenen, Koçgiri İsyanı’nın (1920-21) önderlerinden birisidir. Yazdığı müzik eserleri günümüzde de popüler olarak icra edilen Koçgirili Alişer Efendi, Türkiye’de farklı müzikal kimliklerin inşasında önemli rol oynamış tarihi bir figürdür. Tarihsel perspektiften ele alınan bu konuyla ilgili olarak dönemin etnografik çalışmaları, arşiv belgeleri ve Alişer’le bizzat görüşmüş kişilerin anlatımları incelenmektedir. Makalede, Koçgirili Alişer Efendi’nin eşkıyalık ile saz şairliği arasındaki hayatı ve eserleri, tarihsel etnomüzikoloji bağlamında değerlendirilmiştir.
______________________________________________________
The emergence of sound recording technology in the 19th century has had a major impact on the development of ethnomusicology as a discipline of science. The use of sound recorders, especially in field studies, has led to the emergence of sound recording archives, which have become as cultural heritage till today. Historical music recordings, which are considered by the approach of historical ethnomusicology in the present day, are important sources for studying music during the period of recording as well as other issues related to music. This article examines the musical works of Koçgirili Alişer Efendi, whose works were collected in the early official fieldworks of the Turkish Republic. Alişer Efendi was a “bard” with pseudonym Taki, as well as he was described as “the bandit Alisir” in the official documents as the leader of the Koçgiri Rebellion (1920-21). Koçgirili Alişer Efendi, whose music works are still popular, is a historical figure who played an important role in the construction of different musical identities in Turkey. The ethnographic studies of the period, archival documents and narratives of the people who personally met Aliser are examined in relation to this issue which is taken from historical perspective. In this article, Koçgirili Alişer Efendi’s life and musical works between being bandit and bard, have been evaluated in the context of historical ethnomusicology.

La pandemia da SARS-COV2 ha esacerbato la tendenza, già in atto, alla digitalizzazione totale dell'esistenza: foto e video continui, registrazione audiovisiva permanente, ogni attimo presente che diventa perpetuo, come in una specie di terrena, tecnologica, democratica “comunione dei santi”. L'abbagliante performance della nostra voce preferita che rimane per sempre, per tutti, anziché svanire… Rispetto a questo, i musei e gli archivi musicali digitali istituzionali, luoghi deputati della conservazione del patrimonio culturale dell'umanità, svolgono una funzione ambivalente: da una parte, sia volentieri sia costretti dalla pandemia, aderiscono alla generale tendenza alla virtualizzazione totale dell’esperienza; dall'altra continuano a compiere la sempre indispensabile opera di filtro e selezione, secondo criteri di giudizio estetici, storico-culturali, educativi.

Pandemic Resistance Museums è un progetto in corso, nato e cresciuto durante la pandemia. Il suo scopo primario è raccogliere informazioni per una mappatura dei Musei e delle Istituzioni culturali, italiani e internazionali, che tramite le piattaforme online hanno creato nuove opportunità di fruizione dell'arte e della cultura, reagendo all'emergenza sanitaria e alle conseguenti restrizioni e chiusure.
Il progetto nasce dall’Università di Lingue e Comunicazione IULM e si allarga a comprendere via via altre realtà accademiche nazionali e museali internazionali (Università degli Studi di Teramo; Università degli Studi di Milano; Università del Salento; Università di Bologna; Università di Macerata, Yad Vashem - The World Holocaust Remembrance Center; Fondazione Fossoli; Fondazione Museo della Shoah di Roma; Fondazione Memoriale della Shoah di Milano).
Un'estensione del progetto PRM è stato il ciclo di Conversazioni 2.0 con esperti nazionali e internazionali in streaming sui Luoghi della Memoria, Arte e Musei della Shoah; un secondo ciclo ha interessato i luoghi della marginalità.
Finora il progetto ha coinvolto docenti universitari, direttori di Musei e Fondazioni, giovani ricercatori (dottorandi), studenti in corso e appena laureati di vari Atenei, artisti, critici, direttori artistici di teatri e associazioni.

Bibliografía entorno a los últimos 25 años y los cambios operados en el tratamiento de los archivos de música. Las referencias están agrupadas en distintos apartados: El tratamiento documental: La profesionalización en los archivos y la investigación; Los archivos eclesiásticos; Los archivos personales; El redescubrimiento de los archivos de entidades musicales; Los archivos sonoros y audiovisuales; Entorno digital y archivos musicales, y por último, La consolidación de las áreas en la cadena de valor de la documentación musical. La bibliografía se completa con enlaces a una serie de normas de descripción archivística, así como a los principales organismos y directorios vinculados a los archivos musicales// Bibliography about the last 25 years and the changes in the treatment of music archives. The references are grouped into different sections: Documentary treatment: Professionalization in archives and research; The ecclesiastical archives; Personal files; The rediscovery of the archives of musical entities; Sound and audiovisual archives; Digital environment and music archives, and finally, the consolidation of the areas in the value chain of music documentation. The bibliography is completed with links to a series of archival description standards, as well as to the main organizations and directories linked to music archives.

Complete thematic catalogue of the manuscript and printed works of music conserved at Durango Cathedral, Mexico (16th-20th centuries).
Introductory study posted here.
Volume available from the Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México
http://www.esteticas.unam.mx/publicaciones

co-authored by Lauren Thompson In: Students in Twentieth-Century Britain and Ireland, edited by Jodi Burkett, Jodi (2017).

As Paul Chatterton notes: ‘although it is clear that universities have a major cultural, as well as teaching and research, role in the community, few attempts have been made to specify these in detail’ (Chatterton, 2000:169). One area in which universities, and students in particular, have had a major role is in the field of popular music. Since the 1970s, the music industries have had a productive relationship with the National Union of Students and individual student unions and across the UK higher education sector. Music companies and promoters have been able to take advantage of an established culture and infrastructure of NUS co-ordination, subsidized venues and audiences deemed to be receptive to a variety of musical forms. In fact, student unions have constituted a coherent touring circuit for professional (and semi-professional) bands (Long 2011).
However, in scholarly and biographical literature about students, the music world, and indeed in music press reviews, the university or student union (the distinction is not always clearly demarcated) usually appears as little more than a taken-for-granted mise-en-scene. Rarely, if at all, is attention given to how such sites became important, why popular music has been performed in such places and their particular character.
Drawing upon official and unofficial archives, this chapter seeks to explore the role that students and union sites have played in popular music culture in the UK. It asks: how has activity in the HE sector played a part in national and local scenes? What has been the nature of relationships with promoters, non-student audiences and the wider popular music culture and economy? Indeed, how has the vibrancy of the engagement with music cultures amongst students played a part in ‘branding’ both institution and town, underpinning the appeal of universities for applicants as much as academic credentials?

RESUMO. Este artigo aborda as dificuldades de caracterização e descrição dos conjuntos documentais musicográficos, discutindo a aplicação, ao caso musical, das concepções, critérios e métodos convencionais usados em arquivos públicos e administrativos, apresentando algumas questões que evidenciam a necessidade de maior consideração das particularidades intrínsecas dos documentos e acervos musicais para aumentar a eficiência do seu processamento, e analisando alguns casos de difícil tratamento, frente à escassez de soluções seguras e suficientemente sistematizadas para tais problemas.

ABSTRACT: This article approaches the difficulties of characterizing and describing musicographic document sets, discussing the application, to the musical case, of conventional conceptions, criteria and methods used in public and administrative archives, presenting some questions that highlight the need for greater consideration of the intrinsic particularities of musical documents and collections to increase the efficiency of its processing, and analyzing some cases of difficult treatment, in the face of the scarcity of safe and sufficiently systematized solutions to such problems.

Projekt sređivanja i katalogizacije arhiva Oratorijskoga zbora sv. Marka (1920-1946) završen je u godini kada nasljednik toga poznatoga vokalnoga ansambla, Oratorijski zbor crkve sv. Marka Cantores sancti Marci (1988), slavi 30. obljetnicu postojanja. Glazbena građa što ju je Zbor primio u nasljeđe sada će po prvi put biti predstavljena javnosti.
Projekt je iniciralo Oratorijsko društvo crkve sv. Marka, a financijski su ga potpomogli Ministarstvo kulture Republike Hrvatske i Grad Zagreb. Sređivanje i katalogizacija realizirani su većim dijelom u okviru kolegija Glazbena arhivistika na Odsjeku za muzikologiju Muzičke akademije Sveučilišta u Zagrebu.
Sačuvane muzikalije svjedoče o izvrsnoj djelatnosti zbora na području crkvene glazbe u razdoblju od početka 20. stoljeća do Drugoga svjetskog rata, u punome zamahu cecilijanskoga pokreta, što je u Zagrebu bio naišao na osobito angažirane poklonike. Uz povijest djelovanja Oratorijskoga zbora sv. Marka te pokušaj rekonstrukcije glazbovanja u crkvi sv. Marka prije osnutka Zbora, glavni će dio predavanja biti posvećen predstavljanju načina katalogizacije glazbene građe Arhiva te analizi sređenog fonda, iz koje će proizaći dosad nepoznati podaci o količini građe i njezinoj provenijenciji te o zastupljenim skladateljima i glazbenim vrstama što su se izvodile.

In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography––and the related application of new technologies––impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the U.S. describe the opening of new theoretical approaches and methodologies for research on global music history.

This book offers a detailed description of new developments in global music historiography, including techniques applicable to historical research across an array of music specializations: ethnomusicology, historical musicology, jazz studies, popular music studies, early music performance practice, and music education history. It presents a unique perspective, informed by recent technological developments as well as interdisciplinary application of new theories from such fields as philosophy of history and historical sociology.

The main research field of this study is the coastline of Eastern Black Sea Region of Turkey. However, it is an inevitable necessity to analyze the relations of that culture with surrounding environments and present cultural bonds which have been established up to now in order to understand that culture. The most needed material for determining such relations is sound records as well as written sources. It is one of the most important reasons for accessing these sources, especially the sound records located in Berlin Phonogramm-Archiv, Germany, because the local written sources of the literature established by local cultural elements compiled in the Eastern Black Sea Region are small in number and most of these records are unusable due to they keep in original wax-cylinder or band and not digitized.
In this paper, I will discuss Adolf Dirr 1909-1914, Prussian Phonographic Commission 1915-1918, Kurt Reinhard 1963, 1968 and 1972, Felix Hoerburger 1965, 1970 and 1972, Christian Ahrens 1972, Ursula Reinhard 1983 and Susanne Ziegler 1991 collections, which I examined in the archive.
The purpose of this paper is to present an overview about many data and sound recordings from the Black Sea Region and its surroundings which were found in Berlin Phonogramm-Archiv and bring them into focus. The results of this paper will contribute to develop research activities, increase cooperation in international fields and create background in terms of producing joint projects.

Public Discussion // Exhibition // Live Music

You are invited to a special celebration of two of Liverpool’s most exciting cultural collections: The Institute Of Popular Music Archive & Open Eye Gallery’s Photography Archive

The Institute of Popular Music, University of Liverpool, in conjunction with Open Eye Gallery and Liverpooljazz, is proud to host a public talk, informal exhibition and live music inspired by the ongoing “Music, Photographs, and Stories from the Archives” project.

Running from 12 noon until 3pm on Saturday June 18, the event includes an exhibition of items from two of Liverpool’s hidden archives, the Institute’s Popular Music Arhcive and Open Eye Gallery’s archive, selected and curated by project participants. Live jazz from the Martin Smith Quartet will soundtrack the afternoon, along with new remixes from our IPM vinyl archive by DJs Adam Sadiq and Ben Riley. The event will close with a public discussion on the meaning of music, photography and materiality in the digital era. All welcome.

The event is free however booking is recommended.
To reserve your place please email Dr Áine Mangaoang aine.mangaoang@liv.ac.uk

MUSIC, PHOTOGRAPHS & STORIES FROM THE ARCHIVES
SATURDAY 18 JUNE
OPEN EYE GALLERY, LIVERPOOL
12PM-3PM
FREE // Drop In

Hasta el momento, diversas publicaciones han tratado el mundo de los archivos,bibliotecas o centros de documentación de música de forma aislada, exponiendo o presentando casos concretos en lo concerniente a ellos: colecciones y fondos,figuras relevantes, centros documentales, repertorios y bases de datos o tecnologías concretas aplicadas a la Documentación Musical.

En esta ocasión nos encontramos ante la primera monografía en español que compendia aquellos aspectos esenciales relacionados con la gestión de la Documentación Musical desde un enfoque académico y profesional, acotando su campo, definiendo los perfiles laborales y ofreciendo una amplia selección de recursos útiles para el desempeño de esta disciplina y actividad profesional.

XV Aniversario del SEMINARIO DE MÚSICA EN LA NUEVA ESPAÑA Y EL MÉXICO INDEPENDIENTE y del sistema Musicat en el marco del X Aniversario de la inscripción en la lista del patrimonio mundial del Campus Central de la Ciudad Universitaria de la UNAM

Em 12 de julho de 2014, Alexandre Marcos Lourenço Barbosa lançou a proposta de criação de um Museu da Música do Vale do Paraíba (MMVP), durante as discussões da sessão de encerramento do XXVIII Simpósio de História do Vale do Paraíba, promovido em Cunha pelo Instituto de Estudos Valeparaibanos (IEV), cujo tema era, justamente, “Música no Vale do Paraíba”. A ideia nasceu da necessidade de uma instituição que pudesse tratar, custodiar, conservar e viabilizar a pesquisa de arquivos e coleções musicais do Vale do Paraíba ou a ele relacionados, além de centralizar informações, bibliografia, catálogos e bancos de dados sobre acervos musicais de outras regiões brasileiras, porém relacionados à história e à prática musical do Vale do Paraíba, desde o século XVIII ao presente. Participaram, no entanto, dessa proposta de criação do Museu da Música do Vale do Paraíba alguns outros fatos importantes ocorridos a partir desse ano de 2014, especialmente o reencontro, em Pindamonhangaba, do arquivo musical de João Antônio Romão (1878-1972), a criação do Laboratório de Conservação, Arquivologia e Edição Musical da UNESP (Labor Carmine) em 15 de dezembro de 2014, e a atuação do Núcleo de Musicologia Social do Instituto de Artes da UNESP (NOMOS) - responsável pela criação do Labor Carmine - no tratamento do arquivo musical da família Lorena, da cidade de Aparecida, constituído de obras de Raldolpho José Lorena (1843-1913), José Raldolpho Lorena (1876-1961), Maria Annunciação Lorena Barbosa (1907-1996) e outros. O Labor Carmine, fundado no campus de São Paulo da UNESP, será instalado, estruturado e equipado durante todo o ano de 2015, mas os pesquisadores nele envolvidos já estão trabalhando no arquivo musical de João Antônio Romão, com a colaboração da família Romão em Pindamonhangaba, e no arquivo musical da família Lorena, em Aparecida. O objetivo do Labor Carmine é receber provisoriamente e tratar (em São Paulo ou em suas cidades de origem, dependendo de cada situação) arquivos e coleções musicais históricas (o que inclui sua higienização e desinfecção, organização, arranjo físico, acondicionamento, catalogação e digitalização) para devolve-los em segurança às suas instituições custodiadoras, ou mesmo para intermediar sua doação ou transferência para instituições do gênero, quando for o caso. Por essa razão, o jornal O Lince e o Labor Carmine uniram-se, em fins de 2014, juntamente com outros colegas de Aparecida, para estudar as bases de criação do Museu da Música do Vale do Paraíba nesta mesma cidade, que já se encontra virtualmente em funcionamento, por meio do tratamento dos referidos arquivos musicais.

Ambroz (Ambro) Novak (1899-1947) from Hvar was a prominent intellectual, musician, composer, music publicist and critic, jurist by profession. He was involved in a wide range of (public) music activities quite successfully, however only for a short period, during the time of his youth (between 1916 and 1925). Although once shared the stages with prominent Croatian musicians and composers of the so-called interwar period, Novak was completely erased from the cultural memory of Hvar, and generally omitted from the works of Croatian music historiography. The sources that might shed some light on Novak’s engagements in different music fields are today preserved among his legacy, kept in the Hvar Heritage Museum (in the city of Hvar). Based on its content (music manuscripts, articles, published concert programs, letters etc.) - previously arranged, catalogi zed and digitalized by author of this article within the current musicological pro ject of acronym GIDAL (financ. by the Croatian Science Foundation) - Novak’s biography, but also his interests and activities in performing and writing (about) music are introduced preliminary in this article. List of archival sources from Novak’s legacy is extensively represented here as well, not only as a chronological, quantitative and qualitative review of his musical and literal heritage, but also as a starting point for some future research focused on his life and work.

Abstract
The discipline of musicology, which was systematized in the final quarter of the 19th century
in Europe, attaches importance to archiving with its content including data collection,
classification and saving. Music archiving is important in terms of maintaining cultural
sharing and tradition along with preserving and conveying musical sound. In addition to
visual and audial material such as photographs and videos, note archives and printed
publications are enriching musical elements. In the world, studies on folk culture and music,
as well as instruments, notes and sounds especially in Vienna and Berlin have been
institutionalized with archives established in various countries especially since the 1900s.
Efforts of compilation for the identification and preservation of folk music has started since
the 1920s in Turkey and some of these studies have been published in print. The transferof
printed resources, visual materials and note archives into digital domain is as important as
the creation of them. The aim of this study is to address the current resources related to the
studies on the archiving and digitization works at the I.T.U Turkish Music State Conservatory
Professor Dr Ercüment Berker and Prof. Ş. Şehvar Beşiroğlu Library Archive and
Documentation Unit and the introduction of the process planned for future.

This article describes an experience in creating two different kinds of ethnographic products in the realm of visual ethnomusicology in Peru. The first one was a set of short programs for educational purposes edited by a team of anthropologists and ethnomusicologists using ethnographic archival recordings from the Institute of Ethnomusicology of the Catholic University of Peru. The second one was a made-for-television set of documentaries produced jointly with the national television channel and its team of professional filmmakers. Here we explain the similarities and differences of both types of production processes, attempting to answer a main question: What are the differences between making ethnographic videos and made-for-TV documentaries? This article addresses the issue of audiences, filming techniques, the practice of anthropological methods in recording visual data, the use of the camera, and the final editing process. Despite the contrasts between both types of visual products, we conclude that both of them share the attempt to communicate an " ethnographic truth, " which we here define as a sequence of events that is designed to be conveyed as found in its original context. In video production, this means using neither recreations of ritual performances , nor any technique of fictional filmmaking. In this article I will attempt to describe my experience while producing two kinds of ethnographic products in the realm of visual ethnomusicology in Peru. The first of these productions dealt with ethnographic archival recordings obtained by researchers in the field with a handheld camera, which were later edited into short documentaries for easier consultation and screening (Ethnographic Videos, Lima, 1993). The second one was a made-for-television set of programs produced by a team of professionals following a script and edited as documentaries (TV Documentaries, Lima, 2013). Each of them was created in a different historical context: the first videos were filmed in the 1990s, and the second set in the period 2010-2012, using different video formats and, as we shall see, contrasting methodologies. Both of these endeavors took place in the framework of my institutional duties at the Institute of Ethnomusicology of the Catholic University of Peru. In this article we will explain the similarities and differences between the two types of production processes involved, even though both projects focus on the history of Peruvian traditional and popular music. In:  Ethnomusicology and Audiovisual Communication, Enrique Cámara de Landa/Leonardo D´Amico/Matías Isolabella/Terada Yoshitaka, editors. Valladolid: University of Valladolid.

"La musicología en América Latina y el Caribe ha tenido muy valiosos precursores, donde trabajadores de esta rama del conocimiento se han proyectado hacia la búsqueda de nuevas interpretaciones, donde han incorporado, de manera creativa, otras teorías y puntos de vista. Sus obras han de ser nuestro punto de partida. Las que seleccionemos ahora para su premiación han de tener la capacidad de situarse proyectivamente en la línea de continuación que aquellas iniciaron. No hemos de erigirnos en repetidores, sino en propulsores de nuestra historia" (Argeliers León, 5 de noviembre de 1979).

Con la perseverancia del carpintero que horada el tronco fecundo hasta descubrir los secretos del árbol; con el tesón de quien sabe que sembrar escuela es una obra que debe encontrar en las generaciones siguientes la posibilidad multiplicarse; con la certeza de que solo el trabajo cotidiano puede abrir la brecha que el conocimiento demanda para develar los complejos procesos de la cultura; con una obra ejemplar y probado magisterio, Argeliers León (1918-1991) sentó las bases de este Premio que la musicología latinoamericana y caribeña ha sabido fomentar desde la Casa de las Américas. La decimosexta edición del Premio de Musicología y su X Coloquio Internacional, a celebrarse del 12 al 16 de marzo, dedicará sus acciones al centenario del Maestro Argeliers y, una vez más, será espacio para reflexionar sobre la contribución teórica y pedagógica de su legado.

Concurren en esta ocasión diecinueve libros de autores de nueve países de la América Latina y el Caribe que serán valorados por el jurado integrado por los reconocidos investigadores Yael Bitrán Goren (México), Egberto Bermúdez (Colombia), Javier Marín (España), Christian Spencer (Chile) e Iván César Morales (Cuba). Al decir de Argeliers León en el discurso que inauguró el Premio en 1979, a ellos corresponde constituirse «en estos días de ardua labor, en un equipo de trabajo que maneje, si, concienzudamente, cada obra en particular, pero también será necesario que trabajemos con nuestra historia. Las obras a premiar no deberán ser seleccionadas de las llamadas ‹escuelas›, no deberán ser las obras que ‹encajen› en un criterio personal, sino aquella en que podamos ver nítidamente reflejado un hombre de nuestra América…».

El Coloquio Internacional de Musicología, luego de dos convocatorias anteriores en que el evento cedió espacio a la primera Conferencia ARLAC (2014) y al X Congreso IASPM-AL (2016), regresa a su cauce natural. Esta décima edición contará con la participación de musicólogos, pedagogos y otros especialistas de catorce países que, en un intenso programa de conferencias, ponencias y paneles temáticos, debatirán sobre las perspectivas teóricas, enfoques y resultados de la disciplina en sus diversos espacios de gestión del conocimiento.

Conciertos, presentaciones de libros, discos y revistas signarán la colaboración de las instituciones de la música cubana a este encuentro que también festeja el aniversario cuarenta de la fundación del Centro de Investigación y Desarrollo de la Música Cubana (CIDMUC). De igual modo, el Museo Nacional de Bellas Artes, la Iglesia de Paula, los Estudios de la EGREM y la Fábrica de Arte Cubano, abrirán sus puertas a este X Coloquio Internacional de Musicología.

Por otra parte, el gesto solidario de la Fundación Rosa Luxemburgo permitirá que nuestro Fondo Editorial realice la primera entrega del libro Identidades en proceso: cinco compositores cubanos de la diáspora (1990-2013) de Iván César Morales Flores (Cuba), Premio de Musicología Casa de las Américas 2016.

En la noche del viernes 16 de marzo, cuando el jurado haya dado a conocer su dictamen, la comunidad musicológica latinoamericana y caribeña celebrará al colega premiado, un nuevo libro entrará a la colección del Premio, el grupo Síntesis sellará con buena música las emociones de la jornada y, una vez más, el propósito trazado por Argeliers León y Haydee Santamaría habrá quedado cumplido en esta, su Casa.

As the first director of the International Institute for Comparative Music Studies and Documentation (IICMSD), Alain Daniélou edited the UNESCO Collection and published widely on musics from around the world. Most of the material used for these publications is today preserved at the Department of Media of the Ethnological Mu- seum in Berlin. In this article, I discuss Daniélou’s role in relation to the IICMSD archive and Indian music. I re-contextualise and re-evaluate the French musicologist’s work and his stances on different musics by critically examining how this archival collection was assembled and later scattered among various institutions through different figures working at the institute. I do this particularly by analysing the institute’s classification system and investigating Daniélou’s actual role in making the UNESCO records on Indian music.

Internet database about history of music in Piedmont.

Curato dall'Istituto per i Beni Musicali in Piemonte con il supporto della Regione Piemonte e della Compagnia di San Paolo, il portale ISTAMPIE riunisce le diverse basi di dati utilizzate dall’Istituto per i Beni Musicali in Piemonte per descrivere e tutelare il patrimonio musicale della regione, visto nella sua più ampia dimensione storica e artistica.
Le attività si svolgono all'interno della cornice del Progetto di Censimento e Catalogazione delle Fonti Musicali (CCFM) in Piemonte, che comprende:
- un censimento sistematico delle raccolte di musica possedute dalle istituzioni pubbliche e private, provincia per provincia;
- l’inventariazione dei fondi musicali conservati prevalentemente presso le Biblioteche Capitolari delle Diocesi attraverso il software Guarini Archivi
- la catalogazione in SBN Web delle raccolte bibliografiche più prestigiose, a tutt'oggi prevalentemente fondi di libretti d’opera.

Oltre ai dati del Progetto CCFM, in ISTAMPIE sono confluiti i dati dell'informatizzazione del volume di Mario Dell'Ara, Editori di musica a Torino e in Piemonte (1999), con i successivi aggiornamenti, e le schede iconografiche del progetto Images of Music.

This course, run in partnership with the School of Music and National Film and Sound Archive (NFSA), utilises both ANU School of Music facilities and specialist locations and equipment at the NFSA, to equip students with the theoretical and practical underpinning of audio preservation. Using the School of Music's own tape archive of performances, recitals and events as source material, students will prepare these recordings as digital files for an open source, publicly accessible database.

This course will introduce students to sound archiving, and explore the historical, philosophical and ethical implications of audio archiving, as well as preservation needs assessment and planning. Students will tour the NFSA , and the School of Music's tape collection, and have the opportunity to gain hands-on, practical experience of equipment and processes such as analogue tape recorders and magnetic tape; tape machine technology and operation; the handling of tape, tape deterioration, maintenance and restoration techniques; the practicalities of digitisation: preparation, recording, software, editing, file creation, and metadata management and storage.