PUBLIC LIBRARIES COMMISSIONAuthor(s): Eric CooperSource: Fontes Artis Musicae, Vol. 27, No. 1 (Januar-März 1980), pp. 21-22Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23505540 .

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I A ML Annual Conference 1979 in Salzburg 21

PUBLIC LIBRARIES COMMISSION

The Public Libraries Commission held four meetings with a total attendance of 141 people. One of the meetings was extended to accommodate a joint meeting with the Commission of Libraries in Con

servatories, Academies and Colleges of Music on shared problems with copyright. Joint meetings with the IASA Record Libraries Commission are a thing of the past since this commission amalgamated into

a new 1AML/IASA Commission on Music and Sound Archives. The Commission on Education and

Training held their seminar at Munich, which excluded the possibility and desirability of arranging a

joint discussion with others on the proposed statement concerning qualifications for music librarians. In reply to a request of the Board the commission had prepared a paper on 'Work in progress and

plans for the next three years'. These were discussed with the participants and approved of. The commission aims at furthering international cooperation amongst public music librarians through:

a) discussions on current and other practical matters concerning public music libraries, b) the compilation of publications designed to serve as tools for music and record librarians, including,

amongst others, basic lists on literature of music, musica practica, professional literature, records; standards and a systematic index of music publishers' catalogues,

c) establishing a good working relationship with music publishers at every IAML/IASA annual meet

ing venue.

Unfortunately a fourth communication line, our quarterly journal Musikbibliothek Aktuell edited

by Hans Vetterlein and created to serve public music libraries with relevant information, was cut, due to a lack of contributions. That this is no uncommon problem with IAML journals was emphasized by Rita Benton in her reply to a complaint that Fontes publishes so little that interests public libraries. It is up to the public librarians to provide the relevant articles and information. Thor Wood's impressive History of the Public Libraries Commission - all 25 years of it - will remedy this shortcoming.

More interesting reading material will be found in Daphne Kennard's inspired and stimulating account on the joys of participating in music despite physical, visual or mental handicaps. Miss Ken nard very aptly took her cue from our Public Libraries Act in which it is stated that public libraries are

open to all, thereby gently reminding us of our duty to provide music services to the handicapped or at least cooperate with those who work with the handicapped (occupational therapists, medical

schools, etc.) and individuals or organizations in the field of music (publishers, musicians, instrument

makers, etc.) to leave no stone unturned in giving full information on possibilities in music open to the

handicapped. Miss Kennard illustrated her talk by tape recordings of what really happens to a person growing deaf and handicapped taking active part in making music. It opened many a participant's eyes (and ears). A display of pictures, books and materials on and for music and the handicapped and some

very useful lists published by the Disabled Living Foundation completed the lecture. In this Year of the Child a start was made exchanging information on music services for children in

various countries. Britta Carlsson will collect further information from national branches to pursue the

topic in Cambridge. Another current topic was introduced by Sune Hofsten who presented the results of an inquiry

into the proportions of different types of (recorded) music in public libraries in Sweden. The question posed was, 'Should librarians include all types of music or exclude some in their collections?' A tricky question that will, we hope, be solved when the International basic list of sound recordings is compiled.

The Copyright Act and its implications for music in various countries was the subject expertly introduced by Anthony Hodges, chairman of the commission with the longest name (Libraries in Con

servatories, etc.) during a joint meeting with this commission. This delicate matter prompted the

representatives of music publishers who had been invited as part of our policy to maintain good rela tions with music publishers, to say something in their own interests (and that of the music libraries). Particularly Wolfgang Rehm delivered a fine speech on the importance of protecting publishers' interests in abiding by the copyright act. Some pressing questions from the floor as well as their replies got sadly lost due to language barriers.

Language barriers were solved in the final session only to make room for other barriers: two differ

ent systems of classification for open access to record collections were presented by Huib Deetman and

Brian Redfern. This provoked a lively side-discussion on the uses of a catalogue by the public and the

duty of the librarian to guide them. Instead of choosing either the broad system for large collections

or the narrow system for smaller ones and turn it into an international one, thereby risking the wrath

and rejection of record librarians with a firmly established different system, it was generally decided to

list the advantages and disadvantages of both systems and leave the responsibility of the choice to the

record librarians themselves.

A slight misunderstanding on the purpose of the German Grundbestandsliste fir Musikalien (basic

list of music scores) was settled amiably. Unfortunately Karl Nicol was not present to show the results

of his work on the "basic list of musica practica: national basic lists", nor could Cheryl Osborne be

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22 RISM

present to give a report on the progress of the "standards" for music-collections. We hope this will be done in Cambridge.

Further subjects to be discussed in Cambridge will include: - the universal availability of records, - music library furniture and equipment, and possibly, - music therapy.

Eric Cooper, President

RESEARCH LIBRARIES COMMISSION

The Commission held its one meeting on Monday, the 2nd of July, from 11 to 13 h., with 64 par ticipants.

The final draft of the report on the use of microfilm (prepared by Richard Andrewes) was accepted by the Commission and approved by Council as an official statement of the Association. It will be published in Fontes after translations into French and German are prepared.

Contributions from members of the Commission will be incorporated into Malcolm Turner's report on "Conservation in Music Libraries" and the whole paper will later be published in Fontes.

The Commission noted that the drafts for ISBD (PM) (Printed Music) and ISBD (A) (Antiquarian Books) had been circulated during the previous year. It was thought unlikely that IFLA would accept a separate ISBD for early printed music. Time was too short to make a full study of the two draft documents in order to make recommendations to satisfy the requirements of early printed music before the documents are accepted and published by IFLA. It was agreed to set up a Project Group in conjunction with the Cataloguing Commission to investigate the possibility of preparing an appendix to the ISBD (PM). The Project Group under the chairmanship of Richard Andrewes is also composed of Lenore Coral, Yvette Fédoroff, Kurt Dorfmüller, Heinz Lanzke and Oliver Neighbour.

A short discussion concerning problems of non-book materials led to a decision to have a session in Cambridge devoted to the treatment in different libraries of concert and recital programmes. Contri butions on this topic will be prepared by Joachim Jaenecke, Neil Ratliff, Simone Wallon and Ruth Watanabe.

Following recent developments in musicological research, problems have arisen in the larger re search libraries concerning the reading and reproduction of watermarks. Catherine Massip gave a brief account of her experience with watermarks and was invited to prepare a survey of current technical de velopments. It was also suggested that Alan Tyson be invited to give a paper in Cambridge on the im

portance of watermarks in musicology. Rudolf Elvers, President

RISM

In Salzburg fanden zwei RISM-Sitzungen statt: Eine öffentliche, die der gegenseitigen Information und der Diskussion zwischen den Mitarbeitern und der Zentrale gewidmet war (Vorsitz Kurt Dorf

müller, Hauptreferent Helmut Rösing), und eine geschlossene Sitzung des Vereins RISM, der sich aus den Mitgliedern der Commission mixte und des Advisory Research Committee zusammensetzt (Vor sitz Kurt von Fischer).

Nach dem Tode des bisherigen Vorsitzenden Vladimir Fédorov wurde Kurt von Fischer zum Vor sitzenden des Vereins RISM und der Commission gewählt. Vizepräsident ist François Lesure, Schrift führer und Schatzmeister blieben wie bisher Harald Heckmann und Wolfgang Rehm.

Die Finanzierung der RISM-Zentrale in Kassel und damit des Handschriften-Projekts A/II (Leitung Helmut Rösing) erschien in den letzten Jahren unsicher. Sie wird nun aller Voraussicht nach in ein

langfristiges Finanzierungsprogramm der Bundesrepublik Deutschland übernommen, wodurch die künftigen Arbeiten und Planungen ein sicheres Fundament erhalten. Die Ford Foundation und die

Stiftung Volkswagenwerk, die bisher den größten Teil der Arbeit finanziell getragen haben, werden sich ab 1980 (Ford) bzw. 1982 (Stiftung VW finanziert bis dahin die Abschlußarbeiten der Serie A/I) nicht mehr beteiligen.

Das Manuskript für den Alphabetischen Katalog der Einzeldrucke (ReiheA/I) ist abgeschlossen. Die Reihe wird nicht wie vorgesehen acht, sondern neun Bände umfassen. Es schien im Interesse der Be

nutzung richtiger, den letzten Band, der ca. 1000 Seiten umfaßt hätte, zu teilen. Der Preis für die Abonnenten erhöht sich nur um die Bindekosten für Band 9. Band 8 soll um die Wende 1979/80 er

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