Printing and publishing of music

Boorman, Stanley; Selfridge-Field, Eleanor; Krummel, D. W.

doi:10.1093/gmo/9781561592630.article.40101

Cited by 7 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Before analysing these collections in greater depth, it is useful to take a step back to consider what is meant by the term ‘digital music publication’. Donald Krummel (2001) has commented that a music publisher ‘issues musical editions that consist primarily of musical notation, whether for performance or study’. This points towards the prevalence of musical notation as a defining characteristic of music publications.…”

Section: Defining Digital Music Publicationsmentioning

confidence: 99%

From print to digital: First steps in collecting digital music publications in UK legal deposit libraries

Roper

2020

Alexandria: The Journal of National and International Library a

View full text Add to dashboard Cite

As a result of the 2013 Non-Print Legal Deposit Regulations, the United Kingdom’s legal deposit libraries acquired two large collections of digital music publications in PDF format: 43,165 from Music Sales and 13,167 from Faber Music. These constitute their back catalogues for the period 2013 to 2018. This article considers the genres of music that were collected, the relationship between printed and digital output and intended users. The increasing prevalence of digital publication in the United Kingdom’s music publishing industry was evident, with 99% of the content collected from these firms in this period in digital format. The ‘near duplication’ of content through the production of variant editions contributed greatly to the volume of output. Although 71% of content was popular music, other musical genres were also represented. Most of the publications were intended for performance rather than academic study. Despite the tendency to reprint extracts from printed publications digitally, there is currently little potential to switch UK music publishers from print to digital deposit. To truly reflect the nation’s cultural heritage, future collecting will need to embrace the breadth of the United Kingdom’s digital music publishing industry. Legal deposit libraries will need to collect publications with accompanying audiovisual content, those in multiple parts, proprietary music notation file formats and interactive content delivered via apps. This will require workflows that can accommodate publishers producing a handful of publications and those publishing at scale. The sustainability of collecting relies on close cooperation between libraries, composers, publishers, distributors, aggregators and music notation software providers.

show abstract

Section: Defining Digital Music Publicationsmentioning

confidence: 99%

From print to digital: First steps in collecting digital music publications in UK legal deposit libraries

Roper

2020

Alexandria: The Journal of National and International Library a

View full text Add to dashboard Cite

show abstract

“…Music publishing distinguishes itself from general publishing as a subset that specializes in issuing products that consist primarily of musical notation (Krummel 2001). George Sturm 4 M A N U S C R I P T This is the final manuscript version of the article which first appeared in Library Trends , Volume 67, Issue 2, Fall 2018, pages 303-318. doi.org/10.1353/lib.2018.0038 .…”

Section: Music Publishingmentioning

confidence: 99%

The Roles of Academic Libraries in Shaping Music Publishing in the Digital Age

Szeto¹

2018

Library Trends

View full text Add to dashboard Cite

Libraries are positioned at the nexus of creative production, music publishing, performance, and research. The academic library community has the potential to play an influential leadership role in shaping the music publishing life cycle, making scores more readily discoverable and accessible, and establishing itself as a force that empowers a wide range of creativity and scholarship. Yet the music publishing industry has been slow to capitalize on the digital market, and academic libraries have been slow to integrate electronic music scores into their collections.In this paper, I will discuss the historical, technical, and human factors that have contributed to this moment, and the critical next steps the academic library community can take in response to the booming digital music publishing market to make a lasting impact through setting technological standards and best practices, developing education in these technologies and related intellectual property issues, and becoming an active partner in digital music publishing and in innovative research and creative possibilities.format's state of integration into library collections. With electronic sheet music publishing on the rise (McGinley 2016b), libraries are positioned at the nexus of creative production, publishing, performance, and research. In this paper, I will discuss the factors that have contributed to this moment, and the critical next steps the academic library community can take to become an influential player, together with music publishers, in the electronic scores ecosystem. ELECTRONIC SCORES IN LIBRARIESLibrary offerings of electronic scores are generally offered in the same way as electronic books or online databases even though the nature of the demands and uses for music scores differs significantly. Ana Dubnjakovic (2009) described the recent proliferation of digitized sheet music online and offered advice on evaluating the quality of the sources and effective searching.Lisa Hooper (2013) issued a call-to-action to initiate a "dialogue between music librarians, vendors, publishers, acquisition librarians, and other non-music librarian professionals" (575).Yet libraries have continued to be reactive to the evolving publishing landscape and complementary technologies. In his 2015 speech, when comparing electronic scores to digital text and the burgeoning field of digital humanities, Darwin Scott declared the state of electronic score "fractured, stuck in nascent and divergent stages of development." He described libraries as meeting the electronic score format in a relationship that is "murky and sometimes stormy," and the effort to integrate it into library operations as "bumpy," resulting in "collective frustration" and "passive surrender." Scott's sentiment was echoed in Hooper's presentation (2015) where she called for positive action and advocacy, with a focus on influencing publishers and vendors on pricing models, licensing models, user interface, and cataloging.Since then, the music library community has responded with several technic...

show abstract

“…18 Whether we regard it as a replacement, or simply as an evolution of the materials and techniques of publishing, because electronic delivery of scores to players' music stands offers so many obvious advances, it can be said that this transformation is bound to be realized. That observation is by no means unique to Grimshaw, and there are several devices already available to provide mechanisms for electronic delivery and display, though none has yet come anywhere near establishing a foothold in the orchestral world.…”

Section: Equipment For the Futurementioning

confidence: 99%

“…Whether the Gutenberg press, Tin Pan Alley, or Napster and its successors, the changing methods of reproduction and distribution of music have had a profound impact on composition and performance. Boorman et al 2 in Grove Music Online trace the role played by music publishing in the commercialization, institutionalization, and industrialization of music. In sum, the standardization of music notation brought with it the idea of ownership-that an individual could be the author of a piece of music, and therefore reap benefit from its performance.…”

mentioning

confidence: 99%

Seizing the Initiative: Zinfonia and the Digitization of Classical Music Publishing

Carroll

Koehne

2013

Music Reference Services Quarterly

View full text Add to dashboard Cite

This article traces the development and functionality of a new music cataloging system. The new system draws simultaneously on an understanding of classical music's performance culture, reliant as it is upon reading hard copy print music supplied by a central music publisher, and capitalizes on digital formatting and Internet distribution technologies. KEYWORDS digital database management, music publishing and distribution, Universal Instrumentation Code, ZinfoniaFor two decades, the classical music industry has been reeling from successive shocks occasioned by social and technological revolutions. Predictions as to its imminent demise date back more than fifteen years, beginning with Norman Lebrecht's 1 exposé of the industry's financial and social decline. In this tumultuous, even fearful environment, technology has often appeared to be a source of threat to the institutions of classical music, undermining the established structures upon which the industry's viability was founded.While classical music has not died, it has certainly become much hungrier. The quest for the resources needed to feed its great institutions increasingly demands inventiveness, even cunning. While we may detect a sense that the period of shock and uncertainty is easing, it is also clear that the new environment requires leaner, more responsive ways of working. With this in mind, this article sheds light on a new development in music publishing-one that provides an ideal case study in the ability of classical

show abstract

Printing and publishing of music

Cited by 7 publications

References 0 publications

From print to digital: First steps in collecting digital music publications in UK legal deposit libraries

From print to digital: First steps in collecting digital music publications in UK legal deposit libraries

The Roles of Academic Libraries in Shaping Music Publishing in the Digital Age

Seizing the Initiative: Zinfonia and the Digitization of Classical Music Publishing

Contact Info

Product

Resources

About