This post inaugurates “RILMiniscences,” a series in which long-time RILM staff members share their recollections. The first installment features retired RILM editor Jim Cowdery, who joined RILM in the summer of 1998 after earning his PhD in ethnomusicology from Wesleyan University in 1985. Before arriving at RILM, he held a succession of part-time college teaching positions. Hoping to move beyond academia, he realized that the skills he had developed while serving as editor of the journal Ethnomusicologymight prepare him for an editorial role elsewhere. When he spotted a New York times advertisement for an editor with an ethnomusicological background at RILM, he applied—and was hired, despite never having heard of the organization before.
That Fall, Cowdery became part of what RILM Executive Editor Zdravko Blazekovic called “the class of ‛98”, the only time that RILM had hired five editors simultaneously. According to Cowdery, “At first, we actually were trained all together as a class—Zdravko taught us how to navigate the computer database that had been designed for RILM, Carl Skoggard and André Balog taught title and abstract editing, and Risa Freeman and Andrea Saposnik taught indexing. At that time RILM was based in the Graybar Building, adjacent to Grand Central Terminal. There were more editors than computer stations, so several of us needed to stagger our hours and use whatever computer happened to be available when we arrived. Only one of these computers was connected to the Internet, and there was a sign-up schedule for any research that couldn’t be done through our in-house reference collection or via interlibrary loan. Google did not exist then, nor did Wikipedia.”
Jim Cowdery (second row, farthest right) with RILM colleagues in 2002.
Editors at the time worked with “batches”, RILM’s term for file folders containing paperwork for 100 records. These batches were stored in a multi-drawer filing cabinet, and editors checked them out and returned them by recording the date and their initials on a clipboard log. Inside each folder, documents were ordered by accession number rather than subject, so editors had to sift through multiple folders to find a reasonable number of records in their areas of expertise. Once an editor signed out a batch, they assumed responsibility for all 100 records it contained, no matter how far those records lay outside their academic comfort zone.
Cowdery recalls that, although his RILM colleagues were friendly and helpful, seeking their advice on unfamiliar topics was considered a last resort, as editors were expected to possess enough research expertise to edit and index any record on a music-related subject. He notes, “I will never forget that my first batch included a large collection of articles about the Trent Codex, thereby initiating me into the arcane world of RILM’s medieval manuscript indexing.”
During his tenure at RILM, Cowdery also published the first edition of How to write about music in 2005, a widely praised manual that tackles many of the specialized challenges faced by writers on music—challenges that general writing guides rarely address. The book brings an international perspective to issues often treated piecemeal and from an ethnocentric standpoint, including work titles, manuscript sources, transliteration, non-Western theoretical systems, opus and catalogue numbers, and pitch and chord names. A second edition followed in 2006, a third in 2023, and a fourth edition—no longer attributed to Cowdery—that substantially updates the work with new discussions of AI tools, digital content, and inclusive language related to culture, gender, and disabilities is slated for publication in 2026.
Cowdery looks back on his years at RILM with genuine affection, noting that, despite rumors of warring factions, tribunal-like meetings, and acrimonious departures, his own 25-year tenure “bore no trace of such feelings.” Instead, he cherishes “many fond memories of mutual respect among colleagues and lively exchanges on esoteric topics.”
**Special thanks to Jim Cowdery for coining the term “RILMiniscences”.
International Peace Gardens in Jordan Park, Salt Lake City, Utah
Situated about three miles away from the Hilton Salt Lake City Center, site of the 2026 annual meeting of the Music Library Association attended by RILM staff, Jordan Park contains a heritage setting that is uniquely global in character: the International Peace Gardens. The grounds feature 26 country-themed sections, each reflecting a nation’s culture and landscape, that are designed to foster peace and friendship.
The locale’s spirit of international cooperation recalls the global initiatives of UNESCO that inspired the organizational structure of RILM 60 years ago. It is rooted in the conviction that authoritative and incisive knowledge on human creativity can only be attained collectively, by embracing a multitude of perspectives. Today, as RILM continues to collect and amplify every voice in music research as a UNESCO-accredited NGO, the Peace Gardens remind us of the importance of embracing a global sensibility towards interdisciplinary research.
With the approach of Voicing Innocence (7-8 April 2026)—a conference that accompanies the performance of Kaija Saariaho’s opera Innocence at the Metropolitan Opera in New York from several different fields of inquiry—the picturesque area of the park designated to represent Finland (Saariaho’s homeland and that of many of the speakers and illustrious guests) seems particularly prescient and appropriate. It immediately calls to mind the surfeit of writings on Finland’s lands, history, music and instruments, musicians and artists, and so much more that RILM has documented across all of its resources over the last six decades.
Below is a sample of this collecting effort of just some of the holdings dedicated to, and to some extent produced by, Finland. We hope that it serves as an entry point into research on the country’s artistic production and appreciation for its incredibly rich cultural heritage.
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Those interested in research surrounding Finland will encounter a plethora of writings in RILM Abstracts of Music Literature. The country itself is indexed in 8126 records (1493 available in full text). Over 2200 of these writings are in the Finnish language, and writings on Finland exist in 47 languages, attesting to the global musicological interest in the country. These publications reveal a broad and well-developed field that spans historical research, contemporary analysis, and documentation of musical life. Much of the focus lies in music history and musical life, alongside strong contributions from musicology and ethnomusicology, reflecting an interest in both institutional and lived musical practices. Scholarship covers a wide range of genres, including traditional music, popular music, jazz, and religious music, while also addressing pedagogy, performance practice, and musical instruments. These studies are often supported by extensive documentation such as discographies, catalogues, and bibliographies, underscoring a commitment not only to analysis but also to preservation and reference. Geographically and culturally, the material highlights both regional diversity and cultural specificity within Finland. Major urban centers such as Helsinki, Turku, and Tampere emerge as key hubs of musical activity and scholarship, while smaller localities like Kaustinen are especially prominent in the context of folk traditions and festivals. At the same time, research engages with Finland’s multilingual and multicultural fabric, particularly Finnish-Swedish, Sámi, and other minority communities, as well as immigrant groups. Overall, writings on music in Finland situate musical practices within broader cultural, social, and political frameworks, reflecting how music intersects with identity, regional heritage, and cultural policy.
Additional writings are concerned with “Finnish music outside Finland”, highlighting a diaspora-oriented perspective, where references are relatively sparse and spread across a small number of countries. Mentions appear in contexts such as Canada, Estonia, France, Norway, Russia, Sweden, and the U.S., along with broader regional references such as North America. Finnish music outside its country of origin is studied primarily in terms of diaspora presence and reception rather than in large volume, with modest attention distributed across neighboring Nordic and Baltic countries as well as select global contexts.
Content related to Finland in the RILM Index to Scores and Collected Editions reflects the country’s outsized contributions to the production and development of Western art music. Finland appears in 203 indexed records, encompassing detailed bibliographic information for 94 full scores, 58 parts, and 27 works for solo instrument or voice, alongside 45 records in Finnish and 20 associated with the historic Finnish publisher Fazer. The scope of available material is further demonstrated by major editorial projects such as Documenta musicae Fennicae, a 20-volume series presenting works by Finnish composers from the 18th and 19th centuries, and the 27-volume edition of Jean Sibelius’s complete works, underscoring both the depth of archival resources and the international significance of Finnish musical output.
Oxford anthology of Western music. III, ed. Robert Rau Holzer and David J. Rothenberg (New York: Oxford University Press) 591–597 [RILM Index to Scores and Collected Editions, 2013-44897]
The RILM Archive of Popular Music Magazinesmentions Finland 383 times across 18different zines, attesting to international interest. Discourse on Finnish pop often centers on heavy metal and its stylistic offshoots. Finnish groups like Amorphis (blending death metal with local folk influences), Sentenced, and Stratovarius established a style characterized by melodic, atmospheric, and sometimes melancholic metal. By the 1990s, Finland’s reputation as an incubator for metal became solidified with the global success of groups like Nightwish, Children of Bodom, HIM, and Apocalyptica, partially defining subgenres like symphonic metal and melodic death metal.
“Finnish Line: Pagan Prog Rockers AMORPHIS defy death” by Michael Moynihan in Seconds no. 29, 1994
Finland has also produced a rich punk scene documented by several non-Finnish zines. Embracing the subversive potential of the music (and the zines themselves), writings from the 1980s sometimes situated music criticism and review within the context of the Soviet presence. Given its geographic proximity, history of conflict (e.g., the Winter and Continuation wars), perceived enforced capitulations surrounding so-called Finlandization policies, and Cold War threats, the Soviet Union as a reference point is rather unsurprising. Articles in zines offer a unique window into the agency and activities of subcultures eager to deploy text, image, and music, some as a response to perceived misunderstandings from outsiders about the Finnish situation, particularly in the country’s major cities.
Content related to Finland in the RILM Music Encyclopedias underscores the country’s rich and multifaceted musical heritage as represented across a wide range of reference works. The collection includes information on 464 Finnish musicians, 74 Finland-related topics, and 21 instruments associated with the country, alongside full encyclopedia entries dedicated to Finland in several major sources. Notable among these are Timo Leisiö’s entry in The concise Garland encyclopedia of world music, which situates Finnish music within its geopolitical, linguistic, and cultural contexts while also addressing traditional music, instruments, and developments such as jazz, and the collaborative article by Liv Greni, Miep Zijlstra, Dilkka Kolehmainen, and Rina Barbier in the Algemene muziek encyclopedie, which traces Finland’s musical history from liturgical and secular traditions through to postwar developments, including education, ballet, and key genres.
Earlier and complementary perspectives are provided by the Finland entry in Hugo Riemann’s Musik-Lexikon, which documents sacred, secular, and traditional music in a historical framework from the late 19th and early 20th centuries. Together, these sources are further enriched by specialized scholarship such as The historical dictionary of the music and musicians of Finland by Ruth-Esther Hillilä and Barbara Blanchard Hong, the only comprehensive English-language reference devoted entirely to Finnish music and culture. Spanning a broad historical range from antiquity to the late 20th century, these encyclopedic resources collectively highlight the depth of Finnish musical life, its historiography, and its continued relevance within both national and international contexts.
Kalevala-style song (soloist and choir): Timo Leisiö, Kalevalaisen kansanlaulun ulottuvuuksia, 1976. Liv Greni, Miep Zijlstra, Dilkka Kolehmainen, and Rina Barbier, “Finland”, Vocale muziek, Algemene muziek encyclopedie, eds. Jozef Robijns and Miep Zijlstra (Haarlem: De Haan/Unieboek, 1979–84). Article published 1980.
Finally, the articles dedicated to Finland in the standalone encyclopedias—DEUMM Online and MGG Online—provide a thorough inspection of the county’s vocal and instrumental traditional musics, art music from the Middle Ages to the contemporary era, and modern musical life, including the music industry, concerts, opera, and festivals. Valuable bibliographies accompany both as well.
Beyond this, both resources contain many entries that center on Finnish musicians across several genres. In MGG Online, the researcher will encounter 62 Finnish composers, 14 conductors, and eight pianists, for example. Additionally, both encyclopedias cover not only the nation’s artistic production, but its scholarly output as well, with entries on prominent Finnish musicologists and music critics.
The jouhikko player Juho Vaittinen (d.1916) from East Karelia, in playing position. Ilkaa Oramo, “Finnland”, Volksmusik, Die Instrumente und die Instrumentalmusik, MGG Online, ed. Laurenz Lütteken. (New York: RILM; Kassel: Bärenreiter; Stuttgart: Metzler, 2016–) Article published November 2016.
One of the initial challenges RILM faced in 1967 was developing a numbered classification system that would allow for a logical and effective organization of abstracts within each issue. In addition, it was crucial to establish a method for creating see-references and cross-references to help readers find related information across different sections. After extensive investigation, comparison, and consultation, the RILM classification system was established and proved to be highly effective, particularly for Western literature. Early RILM classification numbers were paired with the RILM number itself, providing essential information for indexing and referencing. For example, a number like 67/177ap26 indicated that the abstract was from 1967 (67), with 177 referring to the specific entry, “ap” denoting the type of item (in this case, an article in a periodical), and the superscript number (26) signifying the RILM classification, which in this example, related to the Classical period.
The classification number allowed early users of RILM Abstracts to quickly assess whether they were interested in a particular record. However, by the time the fourth issue of RILM Abstracts was published, it became clear that the subject index needed to be based on a more structured intellectual framework. The computer-generated indexes of the early 1960s were overly simplistic, took up too much space, and often wasted the reader’s time. To address this, RILM set out to create an efficient and user-friendly index that merged both authors and subjects into a single alphabetical list, providing enough detail to help users quickly locate the information they sought. In doing so, RILM effectively combined human expertise with machine-assisted techniques, striking a balance that leveraged automation while retaining the flexibility and nuance of human editorial control.
A 1987 search form for Dialog Information Services, an information retrieval service established in 1966 as the first global system of its kind. It was designed for and used primarily by researchers. The form was designed to create a search strategy.
RILM Abstracts of Music Literature is a leading music bibliography that provides comprehensive citations, abstracts, and subject indexing, serving as a flagship publication in the field of music studies. It offers an expansive international scope, with content representing publications in approximately 150 languages and from countries around the globe. The titles of works are translated into English, and many records feature English abstracts, alongside abstracts in their original languages. This multilingual approach ensures accessibility while also maintaining the integrity of the original texts. The database includes both Roman and non-Roman scripts, making it truly global in its representation.
What sets RILM Abstracts apart is the network of international committees that contribute to its richness. These committees, based in various countries, are responsible for gathering and processing local records and abstracts, ensuring that scholarship from around the world is included. In addition to their role in curating and entering data into the database, these committees play a critical role in safeguarding and fostering music scholarship within their own regions.
RILM Japan has been one of the most active national committees, curating annual bibliographies of music literature published in Japan, known as Ongakubunken Mokuroku. This publication laid the foundation for Japan’s contributions to RILM Abstracts of Music Literature and is now available through Japan’s own digital database. The committee’s long-time dedication, particularly by Dr. Tatsuhiko Itō, who sadly passed away in September 2025, ensured its prominence and success. Dr. Itō played a crucial role in establishing RILM Japan as one of the first and most influential committees in Asia, contributing bibliographic records and abstracts to the RILM database consistently since the 1960s. Under Dr. Itō’s leadership, the Japanese committee was instrumental in advancing the categorization of Japanese music within the global framework of music studies. Their pioneering efforts in this area have had a lasting impact on how Japanese music is represented in scholarly literature. Notably, the current RILM classification system owes much to Dr. Itō and his committee’s advocacy for a more nuanced and comprehensive approach to cataloging Japanese music, ensuring its inclusion in the broader global music discourse.
Dr. Tatsuhiko Itō, the long-time leader of the RILM Japan committee. Photo courtesy of IAML.
Other important examples include Greece’s highly active committee, led for the past 25 years by Stephanie Merakos, the director of the Music Library of Greece, and the resourceful committee from Malta, chaired by Philip Ciantar, Associate Professor of Music at L-Università ta’ Malta. These, along with other national committees, play a vital role in ensuring that all significant writings on music published within their countries or regions are represented in RILM Abstracts of Music Literature. The contributions of these committees are essential to the continued success and expansion of the database. Without this global network of dedicated committee members, spanning countries and regions, RILM Abstracts would not be the comprehensive and internationally respected resource that it is today.
Stephanie Merakos, the director of the Music Library of Greece and leader of RILM’s Greece committee.
Philip Ciantar, Associate Professor of Music at L-Università ta’ Malta and chair of RILM’s Malta committee.
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The RILM International Center in New York City serves as the organizational hub for the world’s largest music bibliography. One of its strengths is its diverse team of experts, representing various disciplines, languages, and geographic regions. The staff includes music specialists from countries across the globe, many of whom hold doctoral degrees, and are multilingual and are actively involved in a wide range of musical activities.
Bibliographic records are received at the International Center in various formats. Some are entered directly by international committee members into RILM’s custom-built bibliographic database, iBis (Internet Bibliographic Indexing System), or sent in other forms, such as paper, specially tagged digital flat files, or MARC-formatted records downloaded from library catalogs. In some cases, authors can also submit records for their publications via RILM’s online submission forms. RILM also has access to several hundred music journals, either through print copies delivered to the International Center or via online repositories. The journals are reviewed at the office, and relevant materials are accessed into the bibliographic database.
RILM’s editorial staff consists of Assistant Editors and Editors. Assistant Editors are responsible for verifying the accuracy of bibliographic information in records created by RILM committees and submitted by authors. They also enter new records from journals and books sent to the office. Editors focus on bibliographic records that have already been accessed, writing abstracts when necessary, translating abstracts received in other languages, and adding appropriate indexing. Both Assistant Editors and Editors adhere to highly detailed standards, ensuring a thorough verification process for all names, institutions, dates, and concepts included in the records.
RILM staff in 1994.
About one-third of the records are submitted by RILM’s national committees and authors, while two-thirds are produced at the International Center. The largest musicological outputs come from China, the U.S., Germany, and Russia. Chinese and Russian records are especially complex due to the need for bilingual information and varying transliterations of personal and institutional names in non-Roman scripts.
The CUNY Graduate Center in New York City. RILM’s current home.
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RILM has long been committed to documenting, safeguarding, and preserving the world’s knowledge about all musical traditions, and to making this knowledge accessible to research and performance communities worldwide via digital collections and advanced tools. RILM’s collections aim to include the music scholarship of all countries, in all languages, and across all disciplinary and cultural boundaries, thereby fostering research in the arts, humanities, sciences, and social sciences. In recent years, RILM has launched various full-text resources and developed the Egret platform, enhancing its technological capabilities. The recent addition of DEUMM Online to RILM’s suite of resources, as well as the RILM Archive of Popular Music Magazines (RAPMM) in the Summer of 2025, further solidifies its key position in the music research sector.
In 2024, RILM received accreditation from UNESCO to provide advisory services to the Committee of Intangible Cultural Heritage. The following year, it was further recognized as a civil society partner under the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. These distinctions confer upon RILM an expanded responsibility that extends beyond dissemination and documentation, emphasizing its role in safeguarding and preserving all forms of musical knowledge in written form. The UNESCO accreditation also creates new opportunities for the organization, which has already demonstrated its global reach and expertise through participation in the UNESCO World Conference on Culture and Arts Education 2024.
Partnerships with institutions such as the National College of Arts in Lahore, the Institut du monde arabe in Paris, and the Central Conservatory in Beijing underscore RILM’s commitment to inclusivity and diversity. These collaborations ensure that RILM’s collections encompass music scholarship from all countries, in all languages, and across cultural boundaries.
From its beginnings nearly 60 years ago, RILM modeled itself on a United Nations-like structure whereby international committees were established to provide the organization with the information it would need to make its bibliography truly international. This endeavor and the internationalization that has come with it, has been rare in the humanities then and now.
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The greater RILM organization is a global network comprising national, supranational, and regional committees responsible for ensuring that significant writings on music from their respective countries or regions are included in RILM Abstracts of Music Literature and RILM Abstracts of Music Literature with Full Text. These committees, made up of musicologists and librarians affiliated with major universities, national libraries, and research institutes, play a critical role in advancing RILM’s global mission.
From its inception, the core principle of the RILM project was to encourage authors, journal editors, and publishers worldwide to contribute abstracts. RILM’s founder, Barry S. Brook, recognized early on the necessity of having dedicated committees in major music literature-producing countries to gather, process, and forward abstracts to the International Center in New York City. To achieve this, hundreds of letters were sent out to solicit cooperation. Additionally, the project received invaluable advice and support from the International Association of Music Libraries, which helped establish 33 national committees by the time the first issue was published. At that point, however, many of these committees were still small, with some consisting of just a single person.
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In July 1965, RILM’s founder, Barry S. Brook, was conducting research in Europe when he attended the International Association of Music Libraries (IAML) congress in Dijon. During the congress, he introduced his ambitious idea of creating an international bibliography of music literature, which he had already named “RILM”. Brook emphasized the transformative potential of using computers for music documentation–an innovative concept at the time. According to Brook, even note-taking would become unnecessary as “any page passing . . . on the screen can immediately be reproduced in paper form or be recalled at will later. We may even dare dream of that famous little black box in which the entire contents of the Library of Congress or of the Bibliothèque Nationale, or both, are stored in speedily recallable form.” Brook envisioned a system where scholars engaged in specific research projects could request bibliographic searches from a computer database and receive automatically generated printouts in response. This forward-thinking approach laid the groundwork for what would become a foundational resource in music scholarship worldwide.
Barry S. Brook in Europe, mid-1960s.
Recognizing that RILM was too small an organization to carry out its ambitious goals alone, Brook reached an agreement with Lockheed Research Laboratory in Palo Alto–a division of Lockheed Missiles and Space Company–to assist in data distribution. Through this partnership, RILM’s bibliographic data could be transmitted via telephone lines, a remarkable innovation given that this took place more than 30 years before internet technology became commercially available.
IBM mainframe computer, 1964. Photo courtesy of IBM.
RILM employees at their computers in 1992.
Following the founding of RILM Abstracts, it quickly became evident that its production depended heavily on computing technology. However, the computing capabilities of the 1960s and 1970s were not fully equipped to handle the complexities of RILM’s multilingual and multicultural mission. Even the powerful IBM System/370 mainframe (pictured in the first image above)–used in RILM’s production from 1970 to 1988–had significant limitations in rendering diverse fonts, writing systems, and diacritical marks. Yet from its inception in 1967, RILM was committed to representing names and terms in their most accurate and original forms, including their native scripts. To meet this standard, RILM editors often relied on a much simpler tool: the IBM Selectric typewriter, which allowed for manual switching between typeballs to produce various fonts and writing systems that the mainframe could not yet support.
The idea for RILM, as its founder Barry S. Brook later reflected, originated in 1964 from the belief that “the alternative to automation was inundation”. The idea was first publicly presented at the American Musicological Society’s meeting on 10 April 1965. During this presentation, a broad yet clear proposal was introduced, suggesting the creation of an abstract journal that would catalog “significant musicological literature published worldwide”, envisioned as a collaborative effort across multiple countries and universities, supporting graduate-level musicology research. The abstracts would be stored in a computer, indexed, published, and made accessible for retrieval in various ways as needed.
A few months later, Brook unveiled a more comprehensive proposal at the Dijon congress of the International Association of Music Libraries. Years afterward, he expressed surprise at the proposal’s remarkably optimistic forecasts. Among its key points, the proposal envisioned RILM producing two main publication series–one focused on current literature and the other dedicated to retrospective material. It outlined a plan to release abstracts and indexes quarterly, with the long-term goal of compiling volumes of retroactive bibliographic records. It also anticipated the use of computer-based automatic indexing, enabling extensive cross-referencing and efficient information retrieval. It described a system in which cumulative indexes would be automatically generated, printed, and published on a regular basis. Additionally, it proposed that researchers could request computer-assisted bibliographic searches and receive printed results tailored to their inquiries. Finally, the proposal suggested that RILM would become financially self-sustaining through publication revenues and fees charged to institutions and individuals seeking specialized information services.
Brook playing an organ.
Brook later acknowledged that the 1965 proposal had been a product of wishful thinking–an idealistic vision of what might be possible. He admitted it was strikingly naïve in terms of the practical means by which RILM and its associated initiatives could be realized. Yet, in hindsight, he also recognized its uncanny prescience: nearly every element outlined in the proposal had, over time, become a reality within the history of RILM.
In 2026, Répertoire International de Littérature Musicale (RILM) proudly marks its 60th anniversary! Established in 1966 by Barry S. Brook, RILM has remained a global leader in documenting, preserving, and disseminating music research, offering scholars, educators, and enthusiasts an unparalleled suite of bibliographic resources.
From its earliest days, RILM has championed the international exchange of musicological knowledge, fostering accessibility and interdisciplinary dialogue across cultures. Over the decades, it has continually evolved, embracing technological innovation to better serve the needs of the music research community and expand its reach.
Join us in celebrating this remarkable milestone by exploring RILM’s rich array of resources and reflecting on the dynamic journey of music scholarship over the past 60 years. Here’s to six decades of harmonizing tradition with innovation–and to many more ahead!
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