The content of the original printed edition, along with some updated and new entries, will be the starting point for DEUMM Online, to be offered as one of RILM’s suite of reference works. RILM plans to launch DEUMM Online in winter 2023 on RILM’s platform Egret, which offers advanced search and browse capabilities. DEUMM Online will be an essential electronic resource for music scholarship world-wide.
The founding editor of DEUMM, Dr. Alberto Basso, said “I feel particularly honored and therefore happy to have been included among the initiatives that RILM is proposing to the world in the context of scholarship and musical history. The fact that DEUMM has been taken into consideration satisfies me in a particular way and certainly would have satisfied the management of the former UTET that is unfortunately no longer present on the market. I hope that the work I have done creating DEUMM some forty years ago will continue and that DEUMM will be updated.” (The original interview with Dr. Basso may be heard below.)
Plans for the publication of a bibliography of writings concerning art history were announced in the summer of 1974. The project’s vision was born much earlier, in large part influenced by the publication of RILM Abstracts of Music Literature in early 1967.
RILA (Répertoire International de la Littérature de l’Art) borrowed the model for its name from RILM, as well as the concept of international cooperation first proposed at the conference held in Paris under the auspices of the Centre National de la Recherche Scientifique in 1969 and then confirmed in Washington, D.C., under the sponsorship of the College Art Association of America in October 1971. RILA was conceived to provide substantial abstracts and detailed subject indexes of art-historical scholarship concerning post-classical European art and post-conquest American art published in periodicals, books, Festschriften, congress reports, exhibition and museum catalogues, and dissertations.
The project took off in 1973 as the bibliographic pilot project of the American Council of Learned Societies, with the RILM office at the CUNY Graduate Center initially providing editorial and technological support. RILA was intended to be the first addition to a proposed interdisciplinary group of bibliographies in the humanities, initiated with RILM. In the Demonstration issue (above) , which tested RILM’s bibliographic models applied to art-historical literature, the editor Michael Rinehart wrote “Continued regular publication of RILA will depend on response to this issue, and particularly on two factors essential to its long-range success: the willingness of authors to contribute abstracts of their work, and the extension of international participation through a free exchange of materials among existing and future organizations and publications.”
RILM’s founder, Barry S. Brook, spent the summer of 1965 pursuing research in Brussels, Paris, and Vienna; midway he attended the IAML congress in Dijon, held on 1 through 6 July. Among the 14 letters that he sent to his wife Claire back in New York City, the letter of 8 July 1965, which he wrote immediately after his return to Paris, describes his participation in the Dijon congress and his social activities around it. The letter reveals the young Brook, who was still unaccustomed to the attention he received from his older colleagues. Every dinner and every conversation was making an impression on him.
On Saturday 3 July he was particularly busy. At a round table at 11 am he explained his idea about notating music using the ordinary typewriter, known as the Plaine and Easy Code. After lunch he was the principal presenter in a round table from 2 to 5 pm titled Utilisation of data processing techniques in musical documentation. Here he made public for the first time his idea about founding an international bibliography of music literature, which he was already calling RILM. Brook’s emphasis in the session was on the possibilities of using computers for the control of music documentation, and he showed a film about IBM called Once upon a punched card (1964; the film may be viewed at the bottom of this post). In an earlier letter, from 2 July, Brook described how he and Françoise Lesure loaded up the back seat of their car with a carton of IBM brochures in three languages that he obviously distributed in the session.
Finally, on Sunday, 4 July, he presented a paper in the session on tempo in 17th- and 18th-century music, organized by the Société française de Musicologie and presided by Mme la comtese de Chambure, who would be a his key partner in founding the Répertoire International d’Iconographie Musicale (RIdIM) a few years later. This may have been his first meeting with Mme Chambure, since in this otherwise very detailed letter, full of names of people with whom he was working and dining, her name was not mentioned.
His paper was Le Tempo dans l’exécution de la musique instrumentale à la fin du XVIIIe siècle. Other presenters in the session was Mme de Chambure, Denise Launay, Charlese Cudworth, André Verchaly, and Claudie Marcel-Dubois.
A fragment of the letter concerning his engagements during the conference:
The congress, which was originally supposed to be more relaxation and wine gobbling than work and business meetings. turned out to be mad whirl. Many meetings—too many—and the “relaxed” part too filled with official receptions, dull speeches by [Député-]Maire [of Dijon, Chanoine Félix Kir], etc. and guided tours of museums and churches (separated by buses) that each lasted too many hours and too many miles. The food at the Cité Universitaire was cheap but dull and could be eaten only after a long wait in line. Despite all this, the congress itself has been a pleasant affair, which I enjoyed because of the people, the concerts, and small amount of wheeling and dealing, the spotlight which was on me more than anticipated since everyone kept referring to my big speech in later meetings.
Also we would drive into town for meals, even breakfast when the line was too long and that was the pleasantest of all—“we” included François [Lesure], Fritz Noske, Paule Guiomar, Nanna Schiødt from Denmark, Rita Benton, Nanie and Fredric [Bridgman], etc. Fredric has a big international job in Geneva where he lives; he & Nannie get together every weekend whether in Geneva or Paris; he took us out to dinner in a wonderful restaurant in the country 15 km outside Dijon on the way to Beaune, chez Jeanette (François, Nanna S., and me). Paule had to return to Paris to start her vacation with Michel so she couldn’t come). Also had breakfast with André Jurres of Holland who succeeds Fédorov as président [of IAML] & spent time with [John Howard] Davies of the BBC, who is good friend of Herman, [Enrich] Straram of French Radio, Sven Lunn of Denmark, spoke to [Friedrich] Blume at some length about R.I.L.M.
Now to the speeches, which as usual were down to the wire. Despite the complete lack of cooperation from Simone Wallon in charge of arrangements (projections etc.) everything was led smoothly with François [Lesure] & Paule’s [Guiomar] help. The first one on the code was changed by François at my request to 11 am instead of 9 on Saturday so as not to conflict with a round table & a RISM meeting starting then. I demonstrated the code and recent improvements with the aid of slides (made for Dallas) distributing French + German translations (Xeroxed by Elvood’s friend). The interest was very high & it was the best attended business meeting of the congress since other meetings stopped in time for those who wished to attend it.
The Round Table on Automation in Music Documentation was, according to François, the hit of the Congress. (I had missed the 1st while preparing for Code mtg, no.s 3 & 4 were very dull). I spoke for 1 ¼ hours, showed a 10 min IBM film, then followed by a German ([Walter] Reckziegel), Dane (Nanna Schiødt in English) and a Swiss ([Raymond] Maylan in French). It went very well. The Tempo meeting in a cold Abbey [de Fontenay] during a guided tour after a large winery lunch was ill conceived from the beginning and was not a success as a whole. Six speakers! 4 French who mainly spoke too fast and too low to be heard, [Charles] Cudworth who spoke charmingly as usual in English and me who spoke extempore—from careful notes—in French and did very well.
After all the intense work & preparation there was much relief and less letdown than anticipated. As indicated, the after round tables were not good, except for Vincent Duckles who was excellent and except that I was constantly being greeted or asked questions.
The letter continues by informing Claire about his research in Paris, his daily activities, the invitation to Vincent Duckles to use their New York apartment on the way through New York, and asking her to send him $150 to Vienna by special delivery.
Although the production of RILM Abstracts has always heavily relied on computing technology, the computers of the 1960s and 1970s were not able to support the complexities of its multilingual and multicultural mission. Even the most powerful IBM mainframe System/370, used in the production of RILM Abstracts from 1970 to 1988, had limited possibilities for rendering different fonts, writing systems, and diacritical signs. For RILM, displaying names and terms in their most accurate representations—including rendering them in their original writing systems—was an imperative since its inception in 1967.
RILM’s Soviet national committee, headed in the 1960s and 1970s by Grigorij Mihajlovič Šneerson (1901–82) and Ûrij Vsevolodovič Keldyš (1907–95), was prolific, contributing a large number of records for publications issued in the Russian language. As the S/370 was unable to render their authors and titles in Russian Cyrillic, early RILM editors used another, much simpler IBM machine: the Selectric typewriter. The Selectric’s changeable typeball made possible it to render different fonts and scripts. For RILM editors it was like an automated transliteration machine, since its typeball with Cyrillic letters enabled printing Russian texts by typing on a standard roman-letter keyboard.
IBM introduced the Selectric typewriter on 31 July 1961, 60 years ago today!
Répertoire International de Littérature Musicale (RILM) is excited to announce its collaboration with Smithsonian Music for its 2019 Year of Music. This initiative aims to increase public engagement, advance understanding, and connect communities by highlighting and sharing the Smithsonian’s vast musical holdings. RILM, which documents and disseminates music research worldwide, supports this by drawing on its comprehensive digital resources to create blog posts, right here on Bibliolore, on a selection of the Year of Music’s Objects of the Day. Each post is enhanced with an expertly curated bibliography.
The bibliographic references stem from one of the richest and most exhaustive resources of global music research, RILM Abstracts of Music Literature with Full Text™, which contains over a million bibliographic records from relevant writings on music published from the early 19th century to the present in 178 countries and in 143 languages.
Dr. Atarthi has already added over 1000 new records into our
database—records for publications that are otherwise unavailable to us. He is
able to work fluently in his native Bengali, as well as in Hindi and English,
and we look forward to our continuing association with him!
Above, Dr. Zdravko Blažeković, RILM’s Executive Editor, and Dr. Shubha Chaudhuri, Director of the Archives & Research Center for Ethnomusicology; below, a brief documentary about ARCE.
Cowdery, Senior Editor, RILM Abstracts of Music Literature
Sometime in the summer of 2009, Zdravko
Blažeković, RILM’s Executive Editor, casually said to me “You know, we
should have a blog.” He was thinking about how simply by virtue of what we do,
RILM editors have a unique perspective on music literature, and how others
might enjoy our insights along with us.
I agreed, and started looking into how we
might make that happen. We weren’t sure exactly how our blog would turn out,
but we decided to start with some news about RILM. Our
first blog post was published ten years ago this week!
The reviewer, Raymond Ericson, noted that the volume “looks, hopefully, like the first permanent attempt to describe regularly what is being written about in the world’s significant literature on music” and that it “obviously fills a great need in musicological circles.” He also included summaries of six of the volume’s 497 entries.
Below, something else that happened a couple of days later.
IPM combines index, bibliography, series, and names databases into a highly comprehensive resource for searching and identifying individual pieces of music printed in standard scholarly music editions. Currently the database includes 22,975 entries for individual volumes, an authority file with 25,889 personal names, 1133 entries for series and sets, and an index to 538,354 individual pieces of music. It provides superior access to this content for scholars, performers, teachers, and other researchers, including powerful searching capabilities for finding information on specific performing forces and repertoire. Many of the sets and series indexed in IPM are adding volumes continuously, and new editions appear on the market. Therefore, IPM grows every year to be as comprehensive and up-to-date as possible. IPM is curated by a team of experts and is available on EBSCOhost and via the EBSCO Discovery Service.
IPM is a natural addition to RILM’s suite of music resources. Since 2016 RILM has been expanding its resources for music researchers beyond its flagship publication, RILM Abstracts of Music Literature, adding RILM Abstracts with Full Text; RILM Music Encyclopedias; and, in partnership with Bärenreiter and J. B. Metzler, MGG Online. With the addition of IPM, RILM is entering the world of printed music. RILM’s authority lists—including names, work titles, publishers, and terms—as well as RILM’s proven database capabilities and subject expertise will contribute to the further development and enhancement of IPM.
The founder of the Index to Printed Music, Dr. George R. Hill, states: “We are pleased that with RILM’s acquisition of IPM, its continuation, properly supported by an established leader in providing databases related to music, is assured. Over the years, IPM has largely depended on a dedicated group of musicologists and librarians devoted to its survival and growth. They include Joseph M. Boonin, Garrett Bowles, Lenore Coral, Mary Wallace Davidson, Elizabeth A. Davis, Vincent Duckles, Paul Emmons, Robert A. Falck, Virginia S. Gifford, Irving Godt, Ruth B. Hilton, Barton Hudson, Richard E. Jones, Sterling Murray, Barbara A. Renton, John H. Roberts, Gordon S. Rowley, Norris L. Stephens, Susan T. Sommer, and Eric Western.”
Dr. Barbara Dobbs Mackenzie, the Director of RILM, adds, “IPM is an indispensable resource for anyone looking for scholarly, reliable editions of individual musical works. RILM is delighted to be able to take ownership of this resource, and to bring our experience to bear to ensure IPM’s reputation for accuracy and comprehensiveness, and to bring new digital capabilities to enhance the database and its search and discovery potential.”
James Adrian Music Company, Bergenfield, NJ, a non-profit entity, supports and guides the creation, development, and distribution of the several databases collectively known as IPM. Components of IPM include digital files for name authorities, series, bibliography of editions indexed, and, most centrally, the index to music contained in the various editions. By adhering to established standards for bibliographic scholarship, JAMC is committed to providing a reliable and useful tool for musicians and researchers throughout the world. A hallmark of IPM has been the accuracy of index data, gathered directly by an examination of the printed music itself, not from secondary sources.
Répertoire International de Littérature Musicale (RILM), New York, facilitates and disseminates music research worldwide. It is committed to the comprehensive and accurate representation of music scholarship in all countries and languages, and across all disciplinary and cultural boundaries. RILM’s flagship publication, RILM Abstracts of Music Literature, is a comprehensive international bibliography of writings on music covering publications from the early 19th century to the present. RILM Abstracts of Music Literature with Full Text includes the bibliography as well as full text articles from over 200 journals linked from the bibliographic records. RILM Music Encyclopedias is a full-text repository of over 40 seminal music encyclopedias. In partnership with the publisher Bärenreiter and J.B. Metzler, RILM publishes MGG Online, which comprises the 2nd edition of Die Musik in Geschichte und Gegenwart along with new and substantially updated content. RILM is a joint project of the International Association of Music Libraries, Archives, and Documentation Centres (IAML); International Council for Traditional Music (ICTM); and the International Musicological Society (IMS). RILM is housed at The Graduate Center of the City University of New York. For further information, please visit http://www.rilm.org.
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