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Imogen Fellinger, Julie Woodward, Dario Adamo, Silvia Arena, Robert Balchin, André Balog, Georgina Binns, Yael Bitrn, Zdravko Blažeković, Marco Capra, Leandro Donozo, Johan Eeckeloo, Massimo Gentili-Tedeschi, Veslemöy Heintz, Anne Ørbaek Jensen, Masakata Kanazawa, Simon Lancaster, Claus Røllum-Larsen, Lenita W.M. Nogueira, Jill Palmer, Ingrid Schubert, Martie Severt, John Shepard, Pamela Thompson and Chris Walton

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Imogen Fellinger, Julie Woodward, Dario Adamo, Silvia Arena, Robert Balchin, André Balog, Georgina Binns, Yael Bitrn, Zdravko Blažeković, Marco Capra, Leandro Donozo, Johan Eeckeloo, Massimo Gentili-Tedeschi, Veslemöy Heintz, Anne Ørbaek Jensen, Masakata Kanazawa, Simon Lancaster, Claus Røllum-Larsen, Lenita W.M. Nogueira, Jill Palmer, Ingrid Schubert, Martie Severt, John Shepard, Pamela Thompson and Chris Walton

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Article

Laurence Libin, Arnold Myers, Barbara Lambert and Albert R. Rice

Musical instruments are collected for many reasons — for use in performance, as objects of veneration or visual art, to furnish ethnological and historical evidence, to illustrate technological developments and serve as models for new construction, for financial investment and sale, and merely to satisfy curiosity. Amateur and professional musicians, wealthy aristocrats, religious and municipal bodies, schools and museums are among those who amass instruments for one reason or another. Criteria distinguishing successful modern collections include not merely size, but also quality and accessibility of holdings, condition and documentation of individual objects, and integrity or coherence of the whole. This article outlines the history of instrument collecting with attention to the motives and conditions that influence collectors, and deals with assemblages of musical instruments gathered intentionally and more or less permanently. Instruments awaiting dispersal (e.g. in a dealer’s or maker’s shop) or accumulated apparently by chance are considered only in passing....

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A worldwide network of national organizations promoting new music. It was established in 1958, originally as a meeting of ‘National Music Centre Representatives’; IAMIC was then formed in 1962 as a constituent branch of the International Association of Music Libraries, Archives and Documentation Centres [IAML]. This affiliation continued until ...

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Organization founded in Amsterdam in 1969 to function as a medium for international cooperation between Sound archives. It has over 350 members in more than 52 countries, including representatives of the archives themselves, as well as other individuals involved with the collection, preservation and dissemination of recorded material. In addition to an annual conference, the IASA publishes the biannual ...

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Barbara Lambert and Albert R. Rice

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Laurence Libin and Arnold Myers

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Laurence Libin and Arnold Myers

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Article

Barry S. Brook, Zdravko Blažeković and Antonio Baldassare

An international project, founded at a meeting of the International Association of Music Librarians (1971), on the initiative of Barry S. Brook, Geneviève Thibault and Harald Heckmann with the assistance of Howard Mayer Brown, Walter Salmen and Emanuel Winternitz.

Its aim is, on the one hand, to develop methods, means and research centres for the classification, cataloguing, reproduction and study of iconographical material relating to music, and, on the other hand, to function as a framework for the scholarly interpretation of visual sources with musical subject matter by organizing and facilitating conferences. It is designed to assist performers, historians, librarians, students, instrument makers, record manufacturers and book publishers to make the fullest use of visual materials for scholarly and practical purposes....

Article

Barry S. Brook and Barbara Dobbs Mackenzie

An international bibliography of scholarly writings on music. It covers both current and older literature, provides abstracts for each entry, and has been published in three formats: printed volumes (updated annually), CD-Rom (quarterly) and online (monthly). It is the second of four such bibliographical ventures in music, the first being Répertoire International des Sources Musicales (RISM), founded in ...