IAML —IASA COMMITTEE ON MUSIC AND SOUND ARCHIVESAuthor(s): Derek LewisSource: Fontes Artis Musicae, Vol. 28, No. 1/2, TWELFTH INTERNATIONAL CONGRESS OFMUSIC LIBRARIES, ARCHIVES AND DOCUMENTATION CENTRES: CAMBRIDGE/ENGLAND(Januar-Juni 1981), pp. 111-112Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23505773 .

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RIdIM 111

Thieme-Becker and Benezit were still to be used as standards for artists' names, those sources' practice should be followed. As long as "see" references are used, this should create no problems.

It was noted that there is no provision for specifying the type of collaboration involved when there is more than one artist listed for a particular work. Since such a determination would be difficult for a

cataloguer and is beyond the bounds of primary-level cataloguing, it was decided merely to list collab

orating artists alphabetically. "See also" references should be used in RIdIM centers' "artist" files.

DATES - Sources were suggested for alternate dating systems, e.g., those used for RISM A II and for the Thesaurus der Form- und Gattungsbegriffe of the IAML Thesaurus Sub-Commission.

SCHOOL - It was decided to use a geographical term only to identify the artist's school - whether it be the artist's country of origin or that in which he worked. Stylistic designations (i.e., Surrealist,

Pre-Raphaelite) are to be used in addition to the geographical term if they are deemed important and

clearly appropriate. TITLE - It was decided that there would be only two types of title designation: 1) An original

(artist-given) title, placed in quotation marks, and 2) a well-established, museum-given, or cataloguer's descriptive title, given without punctuation. Further information about titles in the latter category will be placed on the back of the catalogue card; an asterisk following the title will indicate the presence of such information.

LOCATION - The list of country abbreviations will be corrected and completed before being incorporated into the final revision.

PERFORMERS - Several additions were proposed to this category: sovereign (replacing king,

emperor), amateur, composer, and grotesque. INSTRUMENTS - This section was not discussed at the meeting. It has since been decided to

reorganize the instrument list. A new list organized according to the Hornbostel-Sachs system has

been drawn up by Monika Holl, and will be incorporated into the final revision.

SUBJECTS - The new "Subjects" category combines the "Pictorial" and "Occasion for Music"

categories of the old cataloguing instructions. Several additions to the new category were suggested at

the meeting: military scenes (other than battles), informal music-making (other than domestic music),

cabaret, and funeral procession. SETTINGS - A new listing of architecture in landscape was proposed, to cover the setting of many

Renaissance sacred scenes. It was suggested that the Anglo-American Cataloguing Rules II be consulted for possible relevance

to some of the problems encountered in the revision. (This has since been done.) The revised instructions contain provision for the future inclusion of detailed listings for the cata

loguing of non-Western musical iconography. Such lists will be developed in consultation with a group of ethnomusicologists.

Andrew E. Green, Research Associate Research Center for Musical Iconography

IAML - I ASA COMMITTEE ON MUSIC AND SOUND ARCHIVES

Access to Radio and Record Industry Archives

Session held on Friday, 8th August 1980; Chairman: ClaesCnattingius (Sveriges Riksradio, Stockholm), Panel : Charles Delaunay (Paris), Tony Trebble (BBC, London), Trevor Pearcy (Legal Advisor, I.F.P.I.,

London), Joachim von Hecker (Bayerischer Rundfunk, Munich - paper read in absentia), Jörg Polzin

(Ariola-Eurodisc, Germany - paper read in absentia)

The Chairman invited Charles Delaunay to open the proceedings. Delaunay spoke from the position

of a private collector and discographer whose prime interest was jazz. He described the special prob

lems facing a discographer, especially when he himself started back in the early 1930s. Delaunay

noted that the record industry itself had never been particularly 'archive' conscious and, despite the

efforts of many collectors and enthusiasts, regretted that so much valuable information and material

was already lost. He touched upon the organisation of record libraries, and stressed the need for each

country to have a central library where the public could have access to as complete a range as possible

of recordings. His own collection, carefully acquired over the years, would, on his death, pass to the

Paris Bibliothèque Nationale, where it would continue to play a live part and assist future generations

of jazz enthusiasts.

Jörg Polzin wrote as both a private collector interested in historical recordings of classical music,

and, as a representative of a major German record company. He identified the various types of materi

al in which a collector would be interested, namely, commercial recordings, radio broadcasts, film and

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112 IAML-IASA

TV soundtracks, and private recordings. The collector experienced great difficulty in obtaining infor

mation on the last three mentioned especially, and acquisition was even more difficult in all four cate

gories. For commercial releases, long unavailable, the collector had resource to specialist dealers, but

access to radio and film archives was almost impossible, and the position complicated by problems of

copyright. In principle a record company should be able to make its holdings available to collectors, but in practice this was rarely the case. However Polzin noted that his own company Ariola-Eurodisc was something of an exception in that they went to a great deal of trouble to meet all bona-fide re

quests for deleted material. In conclusion he advocated the need for freer exchange of information -

perhaps through the channels of an international data-bank - and the renewed effort to standardise international regulations governing the dissemination of recordings. The goal should be not only to

preserve, but to give as wide an access as possible. Tony Trebble spoke of the particular position of the BBC in relation to requests to its Sound

Archives for original broadcast material. He referred to a report by an independent committee set up in 1979 to examine the whole problem of BBC Archive policy and its subsequent responsibilities. It was generally felt that the present arrangement whereby the British Institute of Recorded Sound took

copies of all BBC Archive discs and tapes, and also had the right to record other items of air, best met the external research need, with their controlled listening facilities on their premises. Copying of such material for distribution to other organisations or individuals was necessarily limited by the strict rules

governing individual copyrights and mechanical rights, and there was no way in which these could be circumvented. If anything, signs were that these would become even more stringent in future.

Joachim von Hecker's paper concerned itself with the similar position in Germany. Here, access to

radio sound archives was basically free and open to all - in respect of information. This was recog nised as a normal part of a station's responsibilities as a public legally-authorised organisation. The

problem came when copies of broadcasts were requested. He instanced the legal, financial, and orga nisational problems that arose. Joachim von Hecker noted the main types of requests, including those

for purely private use, those for some professional or commercial use, and those for public offices, libraries and similar institutions. Each request was carefully considered on its merits by the Bavarian

Radio but in most cases the regulations regarding copyright prohibited dissemination of the material.

He referred to the increasing number of 'pirate' recordings, circulating at the expense not only of

composers and performers, but also of the broadcasting stations and record companies. He urged the

need for stronger legislation, and also the necessity for more clearly defined limitations on the access

to archives.

Speaking for the I.F.P.I. Trevor Pearcy offered further comment on the legal and practical problems

facing the record companies, in addition to the obvious ones of illicit copying, theft and piracy. Most

record companies were ill-equipped to provide a full public access service, and in this time of recession in the industry, it was doubtful that any such scheme would be given priority. He summarised an

interesting statement of policy adopted at Council meetings in 1978 and 1979. This urged that I.F.P.I.

and its National Groups should:

a) encourage the setting-up of state-financed national archives of sound recordings and the

opening to the public of those archives which certain states maintain for copyright purposes; b) recommend to member companies that they voluntarily deposit in the national archives two

copies of every recording first fixed or first published in the country where the archive is located and

those fixed or published by a national of that country elsewhere;

c) recommend to member companies that they maintain a catalogued archive of their own record

ings and give access to representatives of the national archives, providing copyright restrictions are

observed.

It is understood that the opening to the public of archives should be subject to suitable security

precautions being taken so as to prevent unauthorised reproduction of phonograms contained in the archives. It is further understood that member companies should not be expected to give accès to their own archives to the general public.

There followed further discussion with comments from the floor, particularly in respect to condi tions pertaining in their own countries from members attending the session. The Chairman noted that this had been a most informative and productive meeting and the session closed.

Derek Lewis, Secretary

I ASA COPYRIGHT COMMITTEE

Session held on Friday, 8th August 1980; Chairman: Robert Ternisien (CBC)

Owing to the last-minute withdrawal of some speakers, it was possible to hold only one session this

year. Robert Ternisien noted that this was his final year of office, and that a new Chairman was being

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