Cataloging Popular Music Recordings

Simpkins, Terry

doi:10.1300/j104v31n02_01

Cited by 4 publications

(7 citation statements)

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“…In addition, the aspect of the “new museology” approach (see Baker, Doyle, et al., 2016; Baker et al., 2016a; Mortensen, 2012) was focused as well as the aspect of museum documentation (see Simpkins, 2001). Especially the representation of popular music in museum exhibitions was a focus of research (see Leonard, 2007).…”

Section: State Of Researchmentioning

confidence: 99%

“…From the perspective of museology, the time‐independent core museum tasks of collecting, preserving, and curating music and sound are central (Knifton, 2012). Like archiving music and the process of “heritagisation”, museology addresses the documentation and cataloguing of tangible and intangible objects in a museum setting (Maguire et al., 2005; Simpkins, 2001). Furthermore, in the course of including music culture into museum displays, the sense of hearing has an important role, also in terms of the psychological and physiological factors that determine visitor perception of a show (Bergengren, 1999; Juchartz & Rishoi, 1997; Reising, 2001).…”

Section: State Of Researchmentioning

confidence: 99%

“…As part of the museum documentation process, specific and unique context information is attributed to each museum object, thus creating an object biography. Consequently, the documentation of music heritage considers factors linked to production (the creator, dates, places) as well as aspects including composition, instrumentation, vocals, texts, adaptations, improvisation, the recording media, production companies, and so forth (Simpkins, 2001): “There are clear parallels with other aspects of cultural heritage where the aura of the creator resides in the artefact, the latter carrying forward the essence of the creator well beyond his or her natural lifetime” (Bennett, 2009, p. 482). The creator is the composer of sound, which is often visually recorded as music notation.…”

Section: The Case Study Of Alpine Folk Music In Austriamentioning

confidence: 99%

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Collecting and Exhibiting Traditional and Popular Alpine Folk Music in Austria—A Case Study

Biedermann¹

2022

Curator The Museum Journal

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This paper presents a case study dedicated to a particular genre of folk music popular in the Alpine countries, and its collection and display in Austria in connection with a project in which the author was involved. The theoretical and practical questions related to this study reflect the needs and challenges posed by this topic in terms of museum documentation and communication. The aim of the paper is to expand the current discourse in the field by discussing the relationships between this genre of music as an intangible social phenomenon and as tangible cultural heritage. The paper presents the case study in an international context of discussion on the display of music culture and the role of sound in exhibitions, and connects theoretical considerations with practical approaches.

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Section: State Of Researchmentioning

confidence: 99%

Section: State Of Researchmentioning

confidence: 99%

Section: The Case Study Of Alpine Folk Music In Austriamentioning

confidence: 99%

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Collecting and Exhibiting Traditional and Popular Alpine Folk Music in Austria—A Case Study

Biedermann¹

2022

Curator The Museum Journal

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“…Genauso werden aber auch Bestandteile der Komposition, des Gesangs, der Texte, der Improvisationen sowie Daten der jeweiligen Aufnahmegeräte erschlossen (Simpkins, 2001). Die Musikerinnen und Musiker, das Orchester und eventuell die Sängerinnen und Sänger erzeugen die Musik für Zuhörerinnen und Zuhörer, die sich vom einzigartigen Erlebnis einer musikalischen Darbietung unterschiedlich emotional berühren lassen können.…”

Section: Die Fallstudien „Alpenländische Musikwelt“unclassified

Zum Sammeln und Ausstellen von traditioneller und populärer Volksmusik in Österreich – die Fallstudie Sammlung Wiesenhofer vor dem Hintergrund der internationalen Forschungssituation

Biedermann¹

2022

Curator The Museum Journal

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Abstrakt: Der vorliegende Beitrag beschäftigt sich mit Fragen zum Sammeln und Ausstellen des Phänomens Musik am Beispiel einer privaten Sammlung und dem damit in Verbindung stehenden materiellen und immateriellen Kulturerbe. Diese Sammlung bezieht sich auf einen besonderen Musikstil – das Genre der Volksmusik unter besonderer Berücksichtigung der volkstümlichen Musik im alpenländischen Raum in Österreich. Das Ziel des Beitrags ist dabei die Erörterung der Fallstudie vor dem Hintergrund des aktuellen internationalen Forschungsstands zum Phänomen (Volks‐)Musik in Zusammenhang mit dem immateriellen und materiellen Kulturerbe. Im Mittelpunkt der Untersuchung stehen theoretische und praktische Fragestellungen der musealen Dokumentation und Kommunikation, die sich aus dem Fallbeispiel ergeben, in das die Autorin des vorliegenden Beitrags eingebunden war. Der Beitrag zielt des Weiteren darauf auf, den theoretischen Hintergrund durch den Ansatz der Allgemeinen Museologie diskursiv zu erweitern.

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“…15 Regardless of how flawed it is, this structure appears to be useful as writers indicate that "though it includes reviews and descriptions of recordings of all kinds of music, it is perhaps more useful for its descriptions of various popular music styles and its lists of representative artists working in those areas, including contemporary genres such as rap and house music." 16 The end result is that the print and online versions of All Music Guide (allmusic.com) have also been cited as excellent references for selecting popular music recordings for the library collection. 17 WIKIPEDIA Wikipedia (Wiki) needs no introduction to most readers.…”

Section: Searching and Retrieval Of Music In Generalmentioning

confidence: 99%

“Lexicon of Love”: Genre Description of Popular Music Is Not as Simple as ABC

Kulczak

Lennertz

2011

Music Reference Services Quarterly

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In 2007, the University of Arkansas Libraries received a large donation of 5,295 popular music recordings. This gift nearly doubled the existing CD holdings and greatly altered the collection's emphasis. The present authors sought to enhance retrieval in the local catalog, concentrating particularly on subject access. To this end, they analyzed popular music genre terminology used by three well-known online resources: allmusic.com, Wikipedia, and The Encyclopedia of Popular Music. This article reports their findings about the genres that each assigned to the specific artists in the collection and whether the genres were applied consistently among the three resources.In 2007, the University of Arkansas Libraries received a gift of 5,295 audio materials in the form of 3,434 CDs and CD singles and 1,861 LPs, EPs, and 45s from the estate of an alumnus. The donor had collected popular music from the late 1970s through the early 2000s. A preliminary review of the collection suggested that while the collection contained classic rock and roll, heavy metal, and blues, the donor had been particularly interested in club and dance music. Prior to the gift, the libraries' collection supported the university's curriculum and therefore almost exclusively consisted of classical music and jazz recordings. In particular, the new gift of 3,434 CDs almost doubled the existing CD collection and greatly changed its emphasis. The authors were confronted with the question of how to best identify the recordings in the collection to enhance retrieval through the library catalog.

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Cataloging Popular Music Recordings

Cited by 4 publications

References 0 publications

Collecting and Exhibiting Traditional and Popular Alpine Folk Music in Austria—A Case Study

Collecting and Exhibiting Traditional and Popular Alpine Folk Music in Austria—A Case Study

Zum Sammeln und Ausstellen von traditioneller und populärer Volksmusik in Österreich – die Fallstudie Sammlung Wiesenhofer vor dem Hintergrund der internationalen Forschungssituation

“Lexicon of Love”: Genre Description of Popular Music Is Not as Simple as ABC

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