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Les Bibliothèques publiquesAuthor(s): Maria NyékiSource: Fontes Artis Musicae, Vol. 38, No. 1 (Januar-März 1991), pp. 16-17Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23508044 .
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16 Boulogne Conference — Professional Branches
Then we had three papers on the topic of Music teaching institutions needs in relation to copyright problems. Agostina Zecca Laterza explained briefly the Italian
situation, where an old law, strongly protective of authors' and publishers' rights, is now being changed to conform with CEE and IFRRO directives, which take new tech
nologies into consideration. Marie France Calas gave a very exhaustive and detailed
report on the law in France, which is very similar to the Italian law, where music
students' rights are not well considered. Luckily in the United Kingdom something has been done. This Richard Buxton explained in his paper 'Some practical implica tions of copyright in the UK'. This included very useful suggestions on how to achieve some agreement between composers, publishers and users of printed music, in spite of
all legal restrictions. The second session was a joint one with the Cataloguing Commission. Two papers
were presented by our French colleagues and Massimo Gentili Tedeschi for Italy: 'Online catalogue system of médiathèques of the Conservatoire national supérieur de
musique in Lyon and Paris: cooperative project of French libraries in music teaching and research institutions' and 'Printed music in SBL: data input and retrieval in a
specialised cataloguing system'. If the French cooperative project could be integrated with the Italian software, the best online music catalogue in the world would be
created. But, at the moment, the French automated system needs to be better developed, while the Italian system is not yet active. Agostina Zecca Laterza
Les Bibliothèques publiques
Les deux sessions des bibliothèques publiques ont réuni environ 85 personnes. La pre mière a été consacrée en partie à la coopération entre bibliothèques publiques et les
MIC (Music Information Centers) de certains pays. Susan Sommer de la New York
Public Library, a parlé des relations de sa bibliothèque avec l'American Music Center
(AMC), le MIC des Etats-Unis. Le catalogue des manuscrits musicaux et de la musique
imprimée des compositeurs contemporains américains est consultable à la New York
Public Library, de sorte que la bibliothèque peut orienter les lecteurs et les musiciens
vers l'AMC. D'autre part, 25 ans après la mort d'un compositeur, l'AMC dépose en plus ses partitions. Knud Ketting du MIC de Copenhague ayant été empêché, c'est Kirsten
Voss-Eliasson de la Bibliothèque Herley qui a commenté brièvement la collaboration entre le MIC danois et sa bibliothèque. Elle a attiré l'attention sur la particularité du MIC danois, qui, outre la musique de compositeurs contemporains, s'occupe aussi de
jazz et de musique rock.
Le troisième intervenant, Ken Nein, notre président sortant, a insisté sur la nécessité
de communication et de collaboration entre les différentes bibliothèques publiques de L'AIBM. Il a établi trois sortes de contacts: 1. avec les responsables du groupe national
de l'AIBM de plusieurs pays: 2. avec la section Lecture Publique des ces groupes: 3. avec les éditeurs de publications des bibliothèques musicales (16 pays en ont sur les 20 contactés). Il a établi une liste des bibliothèques publiques, membres de l'AIBM, ainsi qu'une liste des membres individuels sur une disquette, qu'il enverra à chaque
pays membre. Il continuera à compléter cette liste qui sera publiée dans la revue
Fontes, dans le n° 3 de l'année 1991, qui sera un numéro spécial sur les bibliothèques
publiques.
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Boulogne Conference — Commissions 17
La deuxième session a eu lieu sous forme de table ronde dont le sujet a été la diminu tion des budgets accordés aux bibliothèques musicales, et les diverses possibilités d'y remédier: publicité, services payants par exemple pour les documents sonores et audio
visuels, ainsi que les stratégies pour réduire les coûts et trouver des subventions et des
mécènes. A la suite de cette vive discussion le programme du congrès de l'année
prochaine a pu être élaboré. Maria Nyéki La Présidente
Commissions
Archives Commission
The first session of the newly founded Commission on Archives was devoted to the
theme of music archives related to France. The first discourse entitled "L'inventaire du
patrimoine musical français" was given by Dominique Hausfater. This project is of
major interest to the commission. It is an effort to gather, by means of questionnaires, information on the location and contents of special musical collections and archives
in a wide variety of institutions in all the different regions of France. To date, response to the questionnaire has been good and one phase of the project is complete at Avignon. A catalog from the Avignon project was displayed at the exhibit of the Bibliothèque nationale during the conference. The possibility of using information from the entire
project for a revision of the portion of RISM Series C that deals with France was
suggested. The second presentation was made by Brigitte Labat-Poussin and Nadine Gastaldi
of the French National Archives. Their presentation was an overview of the vast hold
ings of materials at their institution that relate to music. An impressive wealth of
information of value for musicological research can be found in numerous areas of the
National Archives not obviously associated with music. Some of the significant archi ves discussed in their presentation included the Maison du Roi and the Maison de l'Empereur (série O), the Services des Beaux Arts (sous-série F21), the Administration
des Cultes (sous-série F19) the fonds of the Conservatoire (AJ37) [an archive that also
includes numerous manuscript scores], the Opéra (AJ13), and the Minutier central des
notaires. The Archives personnelles et familiales (cotes AP or AB XIX) include papers
of individuals related to music, although most personal archives of musicians are
sent to the Bibliothèque nationale. Archives of administration of musical institutions
are also included in this area. The Archives d'entreprises (cotes AQ) have information
on manufactures of musical instruments. Finally, the Archives d'associations (cotes
AS) include sources related to musical organizations and societies.
The final presentation of the first session was given by Adam Mrygon from the Uni
versity Library at Warsaw. Mr. Mrygon spoke on archival materials related to early 20th-century Polish composers who were closely associated with France. Most of the documents are correspondence from the "Groupe des jeunes musiciens polonais"
founded by Ignacy Jan Paderewski in 1926. These materials were largely neglected until 1967 when Piotr Perkowski and Szymon Laks negotiated a transfer of the collec tion from the Ecole normale de musique of Paris to the Warsaw University music
library. The documents consist of administrative and financial papers, correspond ence, papers concerning the organization of a composition contest organized in 1928
and a musical library.
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