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RILM and the computer

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.

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How RILM began

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.

RILM’s founder Barry S. Brook.

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.

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Happy 2026! RILM’s 60th anniversary begins

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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