Archives and music documentation centres branch.
The second paper, delivered by Pauline Girard, provided an outline of the Russian archives of the Music Department of the Bibliotheque nationale de France. Pauline Girard gave further information about the collections concerning the Ballets Russes (manuscripts from Poulenc and Sauguet collections). She highlighted the importance of the archives from Russian composers in the Romain Rolland and Nadia Boulanger collections.
Pauline Girard's paper was followed by Christiane Kriloff from the Mediatheque Nadia Boulanger, Conservatoire de Lyon, speaking about the scores edited in Russia from Nadia Boulanger's library, which was bequeathed to the Conservatoire superieur de musique et danse de Lyon. These scores provide an insight into Russian music publishing of the time. A number of scores are of particular interest, especially Stravinsky's, because Nadia Boulanger had annotated them for their premiere. During the Soviet era, she was given music scores while staying in Moscow and Warsaw. Russian composers such as Kabalevsky and Khatchaturian dedicated their own works to her.
The final paper in the first session, entitled "The IRCAM-Moscow connections", was delivered by Michael Fingerhut of IRCAM. His talk presented an overview of the multiple connections between his institution and "Moscow" (the USSR and the countries that succeeded it) from the late 1970s to the present. These concerts at, or organized by, IRCAM, included the memorable 1977 series Paris-Moscou, dedicated to innovative and forgotten notable modernist Russian composers following Scriabine until the 1930s; the residencies of budding and established composers at IRCAM (such as Edison Denisov); and concert tours and conferences of IRCAM in Russia and neighbouring countries.
On 1st July, the second session Archives Lost and Found opened with a paper by Darius Kucinskas of Kaunas University of Technology, Lithuania. Darius Kucinskas presented his work and in particular the time he spent tracing the lost manuscripts of the most significant Lithuanian artist M. K. Ciurlionis. Some aspects of his research can be found in his publications: M.K. Ciurlionio fortepijonines muzikos tekstas (genezes aspektas) [The Musical Text of Ciurlionis' Piano Music (aspect of genesis)] (Kaunas: Technologija, 2004) and Chronologinis Mikalojaus Konstantino (Ciurlionio muzikos katalogas [Complete Chronological Catalogue of Ciurlionis' Music] (Kaunas: Technologija, 2007).
Attilio Bottegal, from ArtEZ Institute of the Arts in the Netherlands, followed with a paper on the Casagrande Collection at the Archivio di Stato of Terni. He described the composer's collection and exposed his method for the inventory. As the material is both of archival and bibliographical nature, four categories were identified: musical manuscripts (autographs and copies of almost all his compositions); the library (musical prints, books and periodicals about music); documents (correspondence, writings, posters, programme notes); and sound resources (tapes and vinyls).
The final paper "ILAM's Archival Revitalisation: The Past 10 Years at the International Library of African Music" was delivered by Fiona Still Drewett, Principal Librarian for the Humanities and Education Faculties at Rhodes University in Grahamstown, South Africa. Fiona Still Drewett first showed a video about the collections and the role of the International Library for African Music (ILAM, Grahamstown South Africa). Then she spoke about the efforts made during the past 10 years by ILAM to encourage traditional music making and ethno-musicology studies. Sound and image digitisation projects were launched. Current challenges include copyright issues, creation of an online catalogue for all holdings, digitisation of the film collection, practical support for incorporation of African music into school curricula, and growing the collection into the future. The paper also reported on the Digital Heritage Repatriation Workshop held at ILAM in December 2008. Fiona Still Drewett pointed out ILAM's positive role in archival practice that is most encouraging for other libraries and museums on the African continent. ILAM's digital archiving has been a success in project management, output measurements, sound financial resources, and ultimately global information sharing.
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|Title Annotation:||PROFESSIONAL BRANCHES|
|Publication:||Fontes Artis Musicae|
|Article Type:||Conference notes|
|Date:||Oct 1, 2010|
|Previous Article:||Ad-hoc committee on electronic Fontes.|
|Next Article:||Broadcasting and Orchestra Branch.|