RILM’s Facebook page now has over 1000 followers! These people have instant access to all RILM news and each new post on Bibliolore, RILM’s blog. Do you prefer updates on Twitter? No problem—just follow our Twitter feed.
Tag Archives: RILM news
RILM Music Encyclopedias comprises nearly 80,000 pages with approximately 165,000 entries. It provides comprehensive encyclopedic coverage of the most important disciplines, fields of research, and subject areas, among them popular music, opera, musical instruments, blues, gospel, world music, recorded sound, and women composers. Its content spans multiple countries, cultures, and languages (including English, German, French, Italian, Dutch, and Greek). It is designed as an extensive global resource that meets the teaching, learning, and research needs of the international music community.
New titles will be added annually, ensuring that RILM Music Encyclopedias is musicology’s reference shelf of the future, comprising every aspect of lexicographical writings on music. RILM Music Encyclopedias is available via EBSCOhost®, which brings its expertise to bear on the design of the online database with a user-friendly and familiar platform. RILM Music Encyclopedias is fully equipped with the most advanced search and browse capabilities, allowing for cross searches in multiple languages. It is the only multilingual cross-searchable collection of music encyclopedias in the world.
For trials, sales, and subscription terms please contact your EBSCO Sales Representative or email email@example.com.
Working with a top collector and specialist in the field, RILM has created a new document type abbreviated JZ, standing for Journal Zine—zine being the recognized short version of fanzine, which refers to the self-published fan magazines that proliferated in the 1980s, 1990s, and early 2000s (when the Internet made them largely obsolete).
Much like the thriving music-journal culture that developed in 19th-century Europe, these low-circulation publications were produced and consumed by key players in the music cultures they took as their subject; today they serve as primary sources that provide valuable insights into the subcultures that shaped the sound of the late 20th century (in the case of punk rock, it was the New York-based zine Punk that provided the name for the nascent musical movement).
We are in the first stage of entering JZ records that give bibliographic information and detailed summaries of key zines in popular music history. A growing number of universities have begun acquiring collections of these important documents.
The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.
Here’s an excerpt:
Madison Square Garden can seat 20,000 people for a concert. This blog was viewed about 63,000 times in 2014. If it were a concert at Madison Square Garden, it would take about 3 sold-out performances for that many people to see it.
Balázs Mikusi, the chair of RILM’s Hungarian committee and the head of the music collection at the Országos Széchényi Könyvtár in Budapest, was recently leafing through one of the library’s folders of unidentified manuscripts when he encountered four pages of what looked to him like Mozart’s handwriting.
He soon realized that he had stumbled upon the original score of the piano sonata in A, K.331—one of Mozart’s most beloved sonatas, with the famous “alla turca” finale! The finding has additional significance because the score clears up long-standing questions regarding certain passages.
Congratulations to RILM’s own Balázs Mikusi! Below, Olga Jegunova performs the work in 2012.
In 2014 Bärenreiter and J. B. Metzler, the publishers of Die Musik in Geschichte und Gegenwart (MGG), entered a long-term partnership with RILM. MGG Online will include the content of the 1994–2008 print edition of MGG as well as future updates, revisions, and additions.
Regular updates will guarantee that MGG remains musicology’s foremost reference work. All entries from this widely consulted and cited encyclopedia will be accessible to users through the new online database beginning in 2017.
Bärenreiter and J. B. Metzler will remain responsible for MGG’s content and will ensure that MGG Online continues to offer up-to-date and authoritative articles. RILM will bring its expertise to bear on the design of the online database and the creation of a user-friendly platform that will be fully equipped with the most advanced search and browse capabilities.
With its broad international experience, RILM will also be responsible for the worldwide marketing of MGG Online. Subscription details for libraries and other users will be issued soon.
An assistant editor at RILM just accessed our 750,000th record, bringing our database to (and now beyond) three-quarters of a million bibliographic entries!
The milestone record is “Pierre Boulez: ‘One cannot refer to the biography to explain the music’”, an interview included in Gustav Mahler: The conductors’ interviews (Wien: Universal Edition, 2013, pp. 38–47).
Editor’s note: While this retrospective collection is still available to subscribers, it is no longer offered as a separate product; we have decided to let this post remain online for its historical interest.
EBSCOhost has just launched . Retrospective Abstracts of Music Literature
Reflecting myriad currents of thought—the twilight of Romanticism and the dawn of Modernism, the rise and fall of Marxism, and the advent of multiculturalism, to name just a few—RILM Retrospective offers a fascinating window on intellectual history through the prism of music. This constantly updated database documents an ever-expanding intellectual universe, not a straight line of progressive development. Looking back across the arc of history, we can begin to see how outlooks were formed, and we can assess the roles of the various currents and sidetracks that have shaped the disciplines that we pursue. The unique place of music in human life is salient at every turn.
When Barry S. Brook founded RILM in 1966 he set the cutoff date for coverage at 1967; however, he recognized the importance of similar coverage of earlier materials. He therefore initiated a retrospective series and commenced work on a volume that would cover conference reports published before 1967; this book was finally published by RILM in 2004 thanks to a grant from the Andrew W. Mellon Foundation, and its contents, and updates to it, are part of RILM Restrospective. Another project that Brook envisioned, a volume covering Festschriften, was partially completed with a book published by RILM in 2009 thanks to a grant from the ; that book’s contents, along with over twice as many additional records, are also part of this database. RILM is now focusing on retrospective coverage of scholarly journals, adding at least 350 records each month.
Papers presented at conferences represent the cutting-edge research of their day, giving a snapshot of that moment in the development of their fields. Further, the changing nature and frequency of conferences over time can be tracked through this database; for example, The only 19th-century conferences devoted solely to music focused on Gregorian chant, and were held under the auspices of the Roman Catholic Church; otherwise, musical topics arose only in conferences devoted to history, folklore, psychology, or questions of public and private property. The first conferences devoted to studies in musicology were held in 1900, in Paris.
Festschriften enact visions of order in both synchronic and diachronic domains. In the synchronic realm, they depict order within, and among, disciplines and institutions. They represent diachronic order in their images of history—also within disciplines and institutions, as well as within the overarching history of music. For example, by 1966 postmodern irony had not yet become fashionable, nor had the new-music world splintered completely. The narrative of contemporary music still related it directly to a salutary evolution from antiquity to the present. Some of the rhetoric of the serialists was downright utopian, and, especially after they had Stravinsky on board, many people assumed that they indeed represented the wave of the future. The academy was also more unified, and while ethnomusicologists were not universally welcomed into music departments, the cutthroat culture wars were yet to be fought.
Journals, particularly those devoted to specific disciplines or subdisciplines, allow similar tracking of intellectual developments, including the differentiation of particular scholarly streams. For example, before World War II papers on non-Western and traditional Western musics largely came from the field of folklore—a rather woolly domain at that time, whose denizens ranged from wide-eyed dilettantes to rigorous collectors and cataloguers—or from the young sciences of ethnology, anthropology, and psychology. In the 1950s attempts to synthesize the particular challenges and insights involved with all of these studies began to coalesce under the term ethno-musicology (the hyphen was soon abandoned), and beginning around that time several of the scholars involved were using journal articles to try to define their field and its dynamics.
Above, the back and front covers of RILM’s first publication (click to enlarge).