Audio-Visual Commission Author(s): Antony Gordon Source: Fontes Artis Musicae, Vol. 47, No. 4 (October-December 2000), p. 296 Published by: International Association of Music Libraries, Archives, and Documentation Centres (IAML) Stable URL: http://www.jstor.org/stable/23509110 . Accessed: 10/06/2014 17:34 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaborating with JSTOR to digitize, preserve and extend access to Fontes Artis Musicae. http://www.jstor.org This content downloaded from 62.122.78.12 on Tue, 10 Jun 2014 17:34:07 PM All use subject to JSTOR Terms and Conditions
Transcript
Audio-Visual CommissionAuthor(s): Antony GordonSource: Fontes Artis Musicae, Vol. 47, No. 4 (October-December 2000), p. 296Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23509110 .
Accessed: 10/06/2014 17:34
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
.
International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaboratingwith JSTOR to digitize, preserve and extend access to Fontes Artis Musicae.
http://www.jstor.org
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this Conference, the Audio-Visual Commis sion found other models with taies to en
thrall us. I think particularly of the story of
Der Ring des IAMLungen. We spend our
lives deep in IAMLheim, hammering away to produce gold for our users—some of
whom seem quite unable to recognize it as
such.
By clever use of his Tarnhelm to assist
in the disguise, Antony Gordon chaired both sessions in the place of Thomas
Gerwin, who was unable to be in Welling
ton. At the first session on Tuesday we met
two Rhinemaidens, in the persons of Peter
Downes (a performing arts historian) and
Jonathan Dennis (a ffeelance producer).
They revealed to us some of their gold in
the shape of reissued treasures of New
Zealand recordings from the earlier part of
the Century, featuring the artists Rosina
Buckman, Francés Alda, Ana Hato, and The
Tahiwis. Following them, Antony Gordon, briefly casting off his mask, revealed some treasures of Australasian music in the
British Library National Sound Archive. The group photograph of delegates then
intervened, and the Tarnhelm proved itself
not entirely effective as a cloak of invisibil ity.
In the second session on Thursday,
Timothy Maloney from the National Li
brary of Canada displayed some Canadian
gold—freshly polished up and on display to the world at large in the National Library of
Canada's Virtual Gramophone digitization Project, which has placed digitized sound
and images of dise labels from early Berliner dises on the web for ail to hear and see. Following this, Mary O'Mara (Uni versity of Queensland) and Gordon Abbott
(University of Adelaide) showed us how to use the web to find lots more treasure, in a
very useful présentation describing how to
find sources of audio data on the web.
So, at the end of this week, it's quite clear that we have some gold, but... will it
be sufficient to build Valhalla? Perhaps next
year we shall see.
Antony Gordon, Chair
Bibliography Commission
In the first of its two sessions in Wellington on Monday morning (July 19), Hartmut Walravens (Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Germany) gave a
"Report from the Field: Update on the International Standard Music Number
(ISMN)."The still relatively new ISMN has
already been implemented in twenty coun
tries. There are also two music-in-print
publications that give an idea of how the
numbering system may be used as an
instrument for rationalization and
increased efficiency. The progress report
informed us of the latest developments.
As announced at the ISMN meeting in
London in March 1999 there are two new
members, Slovenia and Greece. Further
more, the Users' Manual has been trans
lated into Japanese. The International
Music Publishers' ISMN Directory, which was published in 1998, Covers about 11,000 music publishers from 72 countries.
Brian W. Pritchard (University of
Canterbury, Christchurch, New Zealand) spoke about "A Project for Documenting
New Zealand's Musical History." The
widely-ranging Canterbury Series of Bibli
ographies, Catalogues and Source Docu
ments in Music (established in 1984) at tempts to document diverse aspects of the
musical héritage of New Zealand including music in éducation, performance of music,
music in the domestic situation, repertoire,
the music profession, the music trade,
venues for music performance, and music
296 FONTES ARTIS MUSICAE 47/4
ranging from historical recordings on non
superscribed tapes and digital conversion, to the move to the new premises in the
former building of Radio New Zealand.
Ann Kersting-Meuleman, Chair
Stadt- und Universitätsbibliothek Frankfurt
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