Cataloguing Commission Author(s): Antony Gordon Source: Fontes Artis Musicae, Vol. 57, No. 4 (October-December 2010), p. 374 Published by: International Association of Music Libraries, Archives, and Documentation Centres (IAML) Stable URL: http://www.jstor.org/stable/23512257 . Accessed: 10/06/2014 20:23 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 188.72.96.104 on Tue, 10 Jun 2014 20:23:26 PM All use subject to JSTOR Terms and Conditions
Transcript
Cataloguing CommissionAuthor(s): Antony GordonSource: Fontes Artis Musicae, Vol. 57, No. 4 (October-December 2010), p. 374Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23512257 .
Accessed: 10/06/2014 20:23
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
This content downloaded from 188.72.96.104 on Tue, 10 Jun 2014 20:23:26 PMAll use subject to JSTOR Terms and Conditions
end of the Soviet Union came the rehabilitation of the Cossacks, a willingness to promote their
culture - including its education systems - and
a relaxation in hostility towards the Orthodox
Church which was an important element within
it. There are now around thirty websites de
voted to Cossack culture, its omission from "of
ficial" Soviet histories is being rectified, and Cossack music is once more being researched
and published. Our final speaker, Prof. Boris Shyndin of
Novosibirsk State Conservatoire, spoke about
the music of the Old Believers - those who re
tained allegiance to the older traditions of the Orthodox Church after the schism of 1653.
Their culture, taking its cue from the Byzantine
traditions of the tenth century, developed in iso
lation. Surviving material consists largely of sa
cred choral music and treatises on its perfor
mance, all of which date from the sixteenth
century onwards. The dissemination of Old
Believers' music was limited by their isolation ist stance, but there is evidence that some as
pects of it were imported from other centres
such as Siberia and that where the music did circulate it did so independently of other tradi
tions. Fieldwork undertaken by researchers at
Novosibirsk has revealed the importance of
oral transmission in disseminating the music
and yielded insights which could not be gleaned from written sources. Research is
cross-disciplinary, embracing areas such as
theology, architecture and sociology, as befits
the holistic approach valued by Old Believers.
Geoff Thomason Chair
Cataloguing Commission
One session only was held at the Moscow con
ference, given over entirely to a detailed expo sition of RDA and music by Daniel Paradis (Concordia University, Montréal). RDA (Resource Description and Access) is the suc
cessor to the Anglo American Cataloguing Rules (AACR2), probably due for implementa tion in major libraries in 2011/2012. After some earlier delays in the process,s RDA had just at
this stage been published as a web tool. Daniel
outlined in some detail the changes that would
affect music cataloguers. Following his presen
tation there was a lively question and answer
session during which concerns were expressed
that some rules and examples might be likely
to lead to ambiguity and confusion. In particu
lar there were thought be some conflicts with
the Consolidated ISBD as it applies to music.
Antony Gordon
Chair
Cataloguing commission: Sub-commission on UNIMARC
During the 59th IAML annual Conference in Moscow, the Sub-commission on UNIMARC
(Lyon), and Gabriele Gamba (Milan). The following are the most significant issues
that were discussed:
1) The decision of IFLA's Permanent UNI MARC Committee to accept the last draft
of new 146, Coded Data Field: Medium of
Performance, revised and re-submitted to
the PUC after the meeting with it in Milan of a representative member of the Sub
commission at 75th IFLA General Con
ference. The new 146, replacing 145, will
be included in the forthcoming 4th edi tion of the UNIMARC Manual, Biblio
graphic Format (see: 21th PUC Meeting, 2010 March 29-30, <http://www.ifla .org/files/uca/puc-meetings/21_PUC_ meeting%20report_ 2010.pdf>; Update on the UNIMARC Session at IFLA 2010.
