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.
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.
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!
Comments Off on Happy 2026! RILM’s 60th anniversary begins
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
Comments Off on RILM acquires and relaunches the Hofmeister XIX database
RILM Abstracts with Full Text will add eight more titles to its full-text journal collection this summer. The new titles are:
Българско музикознание [B”lgarsko muzikoznanie/Bulgarian musicology]. Sofiâ: B”lgarskata Akademiâ na Naukite, Institut za Izkustvoznanie, 1977–. ISSN 0204-823X
The only academic periodical dedicated to music and musicology in Bulgaria, this journal was established in 1977 as a musicological series and has been published quarterly since 1981. It features scholarly articles that explore phenomena and developments across both Bulgarian and international musical cultures.
Canadian winds/Vents canadiens: Journal of the Canadian Band Association/Revue de l’Association canadienne des harmonies. Toronto: Canadian Band Association/Association Canadienne de l’Harmonie, 2002–. ISSN 1703-5295
The professional journal of the Canadian Band Association, this publication was first issued in the fall of 2002. It features a broad range of articles related to wind band activity, interpreted in an inclusive and expansive manner. Striving to balance scholarly inquiry with pedagogical relevance, the journal is designed to be accessible to all instrumental music educators. While its primary audience is Canadian and many articles address issues specific to the Canadian context, the journal maintains an outward-looking perspective, aiming to foster dialogue and engagement with the international wind band community.
Fontes artis musicae. Madison: A-R Editions, 1954–. ISSN 0015-6191
The journal publishes articles aligned with the aims of IAML, with a particular focus on international music librarianship, documentation, bibliography, audiovisual materials, and musicology.
関渡音樂學刊 [Guandu yinyue xuekan]/Kuandu music journal. Taibei: Guoli Taibei Yishu Daxue/Taipei National University of the Arts, 2004–. ISSN 1814-1889
Named after Guandu, the area of Taipei where the university is located, the journal has been in publication since 2004, and is published by the School of Music at Guoli Taibei Yishu Daxue (Taipei National University of the Arts, TNUA). It features scholarly articles on a range of topics, including musicology, ethnomusicology, compositional techniques, music theory, and music psychology.
Journal of Christian musicology. Ilé-Ifẹ̀: Obafemi Awolowo University, 2020–. ISSN 2782-8433
Published annually by the Christian Music Research Forum in collaboration with the Christian Music Institute and Research Centre–an academic NGO based in Nigeria–this journal responds to the growing need for a systematic study of Christian music in all its diversity and distinctiveness. It advances global scholarship and practice in Christian music by publishing research on its various forms, disseminating theoretical perspectives across genres, and promoting the performance and application of Christian repertoire in a range of social and cultural contexts.
– Liuteria, musica e cultura: Organo ufficiale dell’Associazione liutaria italiana. – Cremona: Associazione Liuteria Italiana, 2006–. ISSN 1825-7054
The official publication of the Associazione Liutaria Italiana (Italian Violinmaking Association), this journal supports the Association’s mission to promote and preserve the culture of violin making. It welcomes contributions from scholars whose research interests intersect with the field of violin making, as well as the broader domains of organology and musical scholarship. Membership in the Association is open to individuals engaged in these areas of study.
– Studi musicali. Firenze: Leo S. Oschki, 1972–2009. ISSN 0391-7789 and eISSN 2037-6413
The official publication of the long-established Accademia Nazionale di Santa Cecilia, dedicated to the field of music culture. While the journal leans toward historical musicological studies–particularly those related to Rome–it also encompasses a range of other disciplines, including music criticism, sociology, ethnomusicology, and analysis. Given its international circulation, the journal accepts submissions in widely used scholarly languages within the cultural and academic spheres.
– Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich. Wien: Hollitzer Wissenschaftsverlag, 2017–. ISSN 0930-9578
Founded in 1913 by Guido Adler, this journal features studies closely related to the volumes of the Denkmäler der Tonkunst in Österreich (DTÖ), along with methodological reflections on musical philology, articles on the history of music in Austria, and editions of relevant textual sources.
These additions exemplify RILM’s commitment to providing full-text content that is truly international in scope, with coverage that embraces a diversity of languages, nations, subject matter, and approaches to music research. RILM Abstracts of Music Literature with Full Text is a comprehensive bibliography of writings on music, featuring citations, abstracts, and indexes. It covers over one million publications from the early 19th century to the present on traditional music, popular music, jazz, classical music, and related subjects, enhanced with full text.
If you do not already subscribe to RILM Abstracts with Full Text, please reach out to your EBSCO sales representative, or email information@ebsco.com.
Comments Off on New titles for RILM Abstracts with Full Text in 2025
The Schoenfeld International String Competition is a prestigious event that challenges musicians to deliver exceptional performances, often requiring deep cultural and historical understanding of the pieces they play. One such piece, “陕北民歌-山丹丹开花红艳艳(编曲:薛澄潜;配器:朱彬 (Shǎn běi míngē-shān dān dān kāihuā hóngyànyàn biān qǔ: Xuēchéngqián; pèiq: Zhū bīn [Shanbei folk song–Red and bright lilies])”, arranged by Xue Chengqian and orchestrated by Zhu Bin for the 2023 violin competition, demands a nuanced interpretation rooted in the rich traditions of Chinese folk music. The song, as indicated by the competition, features a strong Chinese folk style, with sound effects imitating the morin huur (horse-head fiddle) and a timeless, beautiful melody. Using RILM Abstracts of Music Literature with Full Text can provide invaluable resources for better understanding and preparing this piece.
Researching Shanbei folk music
To begin, it is crucial to understand the cultural and historical context of Shanbei folk music. Shanbei, or northern Shaanxi province, is known for its distinctive folk songs, characterized by unique melodic structures and singing techniques. Articles like “陕北民歌演唱技巧探究 (Shanbei min’ge yanchang jiqiao tanjiu [Singing technique in northern Shaanxi traditional song])” by Wang Xinhui (Yuefu xin sheng: Shenyang Yinyue Xueyuan xuebao/The new voice of yue-fu: The academic periodical of Shenyang Conservatory of Music 1:75 [spring 2002] 54-59; RILM Abstracts of Music Literature 2002-23054) provide an excellent starting point. The abstract indicates that the article delves into the vocal techniques specific to Shanbei folk songs, such as the use of pingqiang (平腔, “flat singing”) and gaoqiang (高腔, high-pitched singing), as well as the balance between true and falsetto voices. Accessing the full text allows for a deeper understanding of these techniques, which are essential for delivering an authentic performance.
Additionally,“从合唱<陕北民歌五首>看陕北民歌合唱队的历史影响 (Cong hechang “Shanbei min’ge wu shou” kan Shanbei Min’ge Hechangdui de lishi yingxiang[History and influences of Shanbei Min’ge Hechangdui: Shanbei min’ge wu shou as an example])” by Liao Jianbing Jiaoxiang: Xi’an Yinyue Xueyuan xuebao/Jiaoxiang: Journal of Xi’an Conservatory of Music 2:140 [summer 2013] 85-90; RILM Abstracts of Music Literature 2013-8124) offers insights into the historical significance and adaptation of Shanbei folk songs. The abstract and full text discuss how these songs were arranged for choral performances, providing context that can inform the interpretation of Shanbei folk song–Red and bright lilies.
Analyzing the composition and arrangement
Understanding the specific arrangement and orchestration by Xue and Zhu requires examining the compositional techniques they employed. Articles that discuss the arrangement and orchestration of similar pieces can offer valuable parallels. For example, examining how traditional elements are maintained or transformed in contemporary settings is crucial.
The article “从陕北民歌同源变体关系看苦音宫调的构成 (Cong Shanbei min’ge tongyuan bianti guanxi kan kuyin gongdiao de goucheng [An exploration of the form of the kuyin mode in terms of the homologous variant relationship in northern Shaanxi folk songs])” by Yang Shanwu Jiaoxiang: Xi’an Yinyue Xueyuan xuebao/Jiaoxiang: Journal of Xi’an Conservatory of Music 3:137 [autumn 2012] 17-24; RILM Abstracts of Music Literature 2012-18701) is particularly relevant. It discusses the kuyin mode, a modal system characterized by slightly sharped fourth and flatted seventh degrees, which is prevalent in Shanbei folk music. This modal understanding can be directly applied to the analysis of Shanbei folk song–Red and bright lilies, aiding in grasping its melodic and harmonic structure.
Synthesizing information for performance
Having gathered detailed information on the cultural context, vocal techniques, and compositional structure, the next step is to synthesize this knowledge into a cohesive performance strategy. This involves integrating the historical and theoretical insights into practical applications during practice sessions.
For instance, incorporating the singing techniques discussed in“从合唱<陕北民歌五首>看陕北民歌合唱队的历史影响 (Shanbei min’ge yanchang jiqiao tanjiu)” can enhance the authenticity of the performance. Practicing the transitions between pingqiang and gaoqiang will help in achieving the characteristic sound of Shanbei folk music. Additionally, understanding the kuyin mode from the article by Yang Shanwu can guide the interpretation of the melodic lines, ensuring they resonate with the traditional Shanbei sound.
In a similar way, instrumental musicians and performers can leverage the extensive resources available through RILM Abstracts of Music Literature with Full Text to deepen their understanding of the pieces they play. By accessing scholarly articles that provide historical context, technical analysis, and cultural insights, musicians can enrich their interpretations and performances. This scholarly approach not only enhances their technical proficiency but also allows them to connect more deeply with the music’s heritage and artistic intentions, ultimately leading to more informed and compelling performances.
–Written by Laurentia Woo, a RILM intern and currently a junior at Columbia Preparatory School. Laurentia also studies violin with Professor Li Lin at the Pre-College division of the Juilliard School.
Below is a performance of Xue Chengqian’s Song of praise by South Korean violinist Bomsori Kim at the 2016 Schoenfeld International String Competition.
Comments Off on Preparing for concerts and competitions using RILM Abstracts of Music Literature with Full Text: A performer’s perspective
The manual addresses a multitude of special problems faced by writers on music—problems rarely solved by general writing guides. It applies an international perspective to matters often handled piecemeal and in ethnocentric fashion: work titles, manuscript sources, transliteration, non-Western theoretical systems, opus and catalogue numbers, and pitch and chord names, to name just a few. Detailed guidelines are provided for the bibliographic handling of standard print, audiovisual, and electronic sources, as well as specialized ones such as program notes, liner notes, and music videos. A chapter on indexing is also included. Throughout, abundant examples illustrate each point.
The first edition (2005) reflected many years of experience and thought, working with a wide variety of terms and concepts from around the world; the second edition (2006), roughly one-third larger than the first, included both revisions and new material. This third edition incorporates numerous updates, many of them reflecting developments in writing and publishing over the past 17 years—not least, those involving the online environment. Unlike the earlier printed editions, it is an electronic edition that will be continuously updated.
“Students, scholars, librarians, critics, and performers will find this third edition of the manual indispensable. It takes into account a bibliodiversity hardly found in similar such ventures and is reflective of RILM’s global mission,” writes RILM Executive Director Dr. Tina Frühauf.
How to Write About Music is available through EBSCO’s eBook Collection, on EBSCOhost. For questions and purchase, please contact information@ebsco.com or your EBSCO sales representative.
Comments Off on RILM releases 3rd edition of How to Write About Music
It’s now easier than ever to get the latest news from RILM’s blog, Bibliolore. Just enter your email and hit the subscribe button on the right so you won’t miss out on our continuously expanding content. From highlights in RILM Abstracts of Music Literature enhanced by Web-based media, to our “Instant Classics” series of reviews, to annotated bibliographies on international current events sourced directly from our products, you’ll hear all about it—without delay. The world of writings on music awaits you inside our pages—see you there!
Comments Off on Be the first to know: Subscribe to Bibliolore
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
