Tag Archives: music publishing

RILM acquires and relaunches the Hofmeister XIX database

01 December 2025

New York, NY / London, UK – RILM (Répertoire International de Littérature Musicale), a global organization dedicated to documenting and making accessible the world’s musical knowledge across all traditions, is proud to announce that it has acquired the Hofmeister XIX database from Royal Holloway, University of London, and King’s College London. This valuable resource is now hosted at hofmeister.rilm.org, continuing its mission under RILM’s stewardship to support musicological inquiry.

The Hofmeister XIX database provides comprehensive, searchable access to over 330,000 bibliographic records from the Hofmeister Monatsberichte, published between 1829 and 1900. These records represent a vital primary source for the study of music publishing, repertoire, and taste in the 19th century, and include bibliographic records for music scores, music-related books, periodicals, portraits, and other ephemera.

The database was created and developed at Royal Holloway and King’s College London (Department of Digital Humanities) by a team headed by Nicholas Cook (Director) and Liz Robinson (Project Manager), with support from the UK’s Arts and Humanities Research Council. Since 2007 the project has served music librarians, scholars, and others worldwide through an open-access model. RILM now assumes ownership with a firm commitment to preserving open access to the database, its quality, and its scholarly integrity. RILM will continue to credit the founding institutions prominently on the site and maintain the platform according to the high standards long associated with Hofmeister XIX.

“RILM is honored to take over this invaluable resource,” said Dr. Tina Frühauf, Executive Director of RILM. “As a UNESCO-accredited NGO under the 2003 and 2005 Conventions, we are committed to safeguarding intangible cultural heritage and promoting cultural diversity. Acquiring Hofmeister XIX aligns with this mission by preserving and disseminating a vital record of 19th-century musical life and publishing. We look forward to ensuring its continued accessibility for scholars and the public worldwide.”

Dr. Nicholas Cook, a former professor at Royal Holloway, commented: “At a time when digital resources in academia often struggle to keep up with the pace of technical innovation, RILM’s acquisition of Hofmeister XIX is the best possible guarantee of its long-term survival.”

Royal Holloway’s Director of Research and Innovation, Sue Starbuck, noted: “We are thrilled that Hofmeister XIX will thrive under RILM’s custodianship. Their infrastructure, global reach, and deep commitment to musicology ensure a strong future for this resource.”

Dr. Arianna Ciula, Director of the King’s Digital Lab, commented: “With the support of the Faculty of Arts and Humanities leadership at King’s College London, King’s Digital Lab has made every effort to sustain digital resources of value to the research community. The migration of this important resource to its new home is a great example of what trustworthy collaboration and a holistic archiving and sustainability programme can achieve.”

As of today, the original site can be accessed through the new URL https://hofmeister.rilm.org, marking a seamless transition for the academic community and general public.

For more information, please contact:

  • RILM
    Dr. Tina Frühauf
    Executive Director
    info@rilm.org
  • Royal Holloway, University of London
    Sue Starbuck
    Director of Research and Innovation
    Sue.Starbuck@rhul.ac.uk
  • King’s College London
    Dr. Arianna Ciula
    Director, King’s Digital Lab
    kdl-info@kcl.ac.uk

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Filed under Musicology, Resources, RILM, RILM news

Tin Pan Alley and early film music

From 1918 to 1928, Tin Pan Alley solidified its connection with the film industry. Although early films lacked sound, music played a crucial role in enhancing the viewing experience, often provided live by a pianist in theaters. Charles N. Daniels, writing under the pseudonym Neil Moret, teamed up with lyricist Harry Williams to compose the first commissioned title song for a film. The song, Mickey, was released by Daniels and Wilson in 1918 to coincide with the film’s debut, starring Mabel Normand, whose image was featured on the sheet music cover. Later that year, Mickey was acquired by Waterson, Berlin, and Snyder, who published it in two small editions, helping to launch the trend of title songs that remains popular to this day.

Many famous silent film stars, such as Charlie Chaplin, Mary Pickford, and Pearl White, graced the covers of sheet music as early as 1914. March of the movies by M. A. Althouse (1915) features an illustration of an audience in a nickelodeon, watching Chaplin in his tramp costume, accompanied by a pianist in the pit. Those Keystone comedy cops by Charles McCarron (1915) showcases a classic photo of Mack Sennett’s Keystone cops on the cover, with Ford Sterling on the phone and Roscoe “Fatty” Arbuckle eavesdropping on the conversation. Over the next twenty years, the film industry would become a powerful promoter of songs, with major studios even acquiring some of Tin Pan Alley’s most prominent firms to manage their musical needs.

The composer Ernö Rapée helped popularize the use of thematic music—stock melodies designed to accompany common silent film scenes—through two well-known collections he published in the mid-1920s. Many orchestra leaders in smaller towns and cities relied on these books as a guide to provide music for films. Rapée also composed several original scores, with his most famous being the 1926 What price glory? The theme song from the film, with lyrics by Lew Pollack, became a major hit under the title Charmaine.

Below is a recording of Charmaine performed by David De Groot and The Piccadilly Orchestra in 1927.

The advent of talking pictures made music’s role in film even more crucial. Broadway musicals were a natural fit for adaptation to the new medium, and film studios quickly realized the need to hire composers and lyricists to create both background music and songs for their films. Hit songs also served as excellent promotional tools to attract audiences to theaters, prompting studios to acquire music publishers to profit from their catalogs. Major studios like Warner Bros., MGM, and Paramount became heavily involved in music publishing.

The Great Depression had a significant impact on Broadway, forcing many writers who relied on the numerous revues and shows to turn to Hollywood for work. While some were dissatisfied with how their songs were often treated as mere commodities—added or removed from films at will—others found the medium creatively fulfilling. Over time, unique musical films emerged featuring songs that were just as memorable and well-crafted as the Broadway hits of the Tin Pan Alley era.

This according to Tin Pan Alley: An encyclopedia of the golden age of American song (2012). Find it in RILM Music Encyclopedias.

An example of the early use of music in film from One week featuring Buster Keaton (1920).

Related posts in Bibliolore:

https://bibliolore.org/2019/10/29/the-smithsonian-institutions-object-of-the-day-october-29-2019-fred-beckers-beale-street-blues/

https://bibliolore.org/2023/01/23/random-film-accompaniment/

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Filed under Film music, Mass media, Performers, Popular music