Fontes Artis Musicae

 

PER. US. 7

 

– ALEXANDER (C.), Instructing the Improviser, pp.220-223, Volume XXXVI, No.2, 1989

– AUCLAIR (M.), Les sources sur les Ballets suédois conservées à la Bibliothèque-musée de l’Opéra, pp.541-569, Volume LIV, No.4, 2007

– AUZEIL (F.), Un Fonds de livres liturgiques au département de la musique de la bibliothèque nationale de France, pp.34-48, Volume LVIII, No. 1, 2011

– AVINS (S.), Myth in Brahms Biography, or, What I Learned From Quantum Mechanics, pp.183-202, Volume LII, No. 3, 2015

– BADLEY (A.), How Foreign Is Foreign ? On the Origins of Leopold Hofmann’s Smaller Liturgical Works, pp.30-41, Volume LXI, No. 1, 2014

– BALDASSARRE (A.), Nulla Historia Sine Fontibus : Das Orgeldokumentationszentrum der Hochschule Luzern- Muzik, pp. 6-16, Volume LII, No. 1, 2015

– BALENSUELA (C. M.), Dance Band Leader Joe Cappo and the Collection of his Memorabilia and Music at Michigan State University, pp.9-17, Volume LX, No. 1, 2013
– BANDUR (M.), Musikalisches Wissen und seine Geschichte als lexikographische Herausforderung, pp.179-191, Volume LIII, No. 3, 2016

– BARRIAULT (J.), Le Description des archives de musique : un exemple Canadien, pp.274-286, Volume XXXXIII, No.3, 1996

– BAUMANN (D.), Music Documentation in Switzerland, pp.23-32, Volume XXXXIV, No.1, 1997

•Music Heritage in Manuscripts and Printed Music, pp.49-54, Volume LVIII, No. 1, 2011

– BEAUDRY (C.), Le Bibliothèque de musique de l’ Université Laval, pp.243247, Volume XXXIV, No.4, 1987

– BEIBWENGER (K.), Erwerbsmethoden von Musikalien im fruhen 18, pp.237-249, Volume XXXXV, No. 3-4, 1995

– BENNET (L.), A Little-Known Collection of Early-Eighteenth-Century Vocal Music at schloss Elisabethenburg, pp.246-249, Volume XXXXVIIi, No. 3, 2001

– BEZUGLOVA (I. F.), National Library of Russia, pp.111-118, Volume LIII, No. 3, 2006

•Some Materials of Foreign Musicians in the Manuscript Department of the Russian National Library, pp.124-130, Volume LIII, No. 3, 2006

– BHIMANI (N.), A history of selected manuscripts in the Royal Academy of music library, pp. 216-224, Volume XXXV, No. 4, 1988

– BIELSKA (K.), ISBD for Sound Recordings in Poland, pp.138-142, Volume XXXIV, No.2/3, 1987

– BLISS (M.), Indexing policy at RILM- present perspectives and future prospects, pp.189-194, Volume XXXV, No.3, 1988

•From Neoclassicism to Nepal, pp.149-164, Volume XXXVII, No.2, 1990

– BLYOSKINA (O. N.), Rare Editions from the Fifteenth to Seventeenth Centuries in the Music Research Library of the St. Petersburg Conservatoire, pp.137-142, Volume LIII, No. 3, 2006

– BOEHME (A.), An Initial Investigation into the Early Dissemination of Scottish Music in Australia, pp.274-296, Volume LV, No. 2, 2008

•Music in the National Library of Scotland, pp.308-316, Volume LVIII, No. 3, 2011

– BOISCLAIR (N.), Les Centres de documentation des Conservatoires de musique du Québec, pp.187-193, Volume XXXIV, No. 4, 1987

– BOMBERGER (E. D.), Alfred Michaelis and the Leipzinger Musikzeitung, pp.234-248, Volume XXXXIV, No.3, 1997

-BONGIOVANNI (C.), The Music Library of Francesco Viani (1809-1877): The Reconstruction of a Gift to the “Paganini” Conservatory of Genoa, pp.21-67, Volume 64, No. 1, 2017

– BOORMAN (S.), Thoughts on the Popularity of Printed Music in 16th-Century Italy, pp.129-144, Volume XXXXVIIi, No. 2, 2001

•Identifying and Studying Published Manuscripts, pp.109-126, Volume LVIII, No. 2, 2011

– BORDONAU (E. B.), The First Spanish Music Codes for the Blind and Their Comparison with the American Ones, pp.167-185, Volume LVIII, No. 2, 2010

– BOSTROM (M.), The Phonogram Archive  of the Stockholm Ethnographic Museum, pp.22-35, Volume L, No. 1, 2003

– BOWLES (G. H.), The Future of Music databases, pp.61-66, Volume XXXIV, No. 1, 1987

– BROOKSBANK (M.), The Scottish Music Information Centre, pp.10-13, Volume XXXXVII, No. 1, 2000

– BROUILLETTE (L.), « Ametur cor Jesu » ou le panégyrique des archives musicales des frères du Sacré-Cœur du Canada, pp.92-106, Volume LX, No. 2, 2013

– BRYCE (M. C.), The Canadian Issue: An Introduction, pp.170-172, Volume XXXIV, No. 4, 1987

– BRUBACH (N.), Bewertung im Archiv, pp.259-271, Volume XXXXIII, No.3, 1996

– BUCKNUM (M. R.), Music Sound Archives in the United States, pp.381-390, Volume XXXXVIII, No. 4, 2001

– BURKE (K. M.), Music Collections in American Public Libraries, pp.327-342, Volume XXXXVIII, No. 4, 2001

– BYCZKOWSKA-SZTABA (J.), The Music Manuscripts and Music Prints Collection in the Archive of the Cistercian Abbey in Mogila, pp. 134-148, Volume LIX, No. 2, 2012

– CAMPANA (D.), Music Libraries Supporting Comprehensive Schools of Music, pp.353-361, Volume XXXXVIII, No. 4, 2001

– CAMPOS (R.), Les archives des institutions musicales parisiennes (1918-1969), Volume LVIII, No. 1, 2011

– CAROBINE (T.), Education and Training for Music Catalogers in the United States, pp.61-67, Volume XXXVIII, No.1, 1991

– CARRER (P.), A Pink Database : A Repertoire of Feminine Names in the Noseda Collection of the Conservatory Library in Milan, pp.7-10, Volume LVI, No. 1, 2009

•Verdi Studies In RILM-Italia, pp.21-24, Volume LXI, No. 1, 2014

– CASAITE’ (Z.), Music Publication in Lithuania after 1990 : A Typological Analysis, pp.110-117, Volume LII, No. 2, 2015

– CASSARO (J. P.), Music Cata loguing- Where is it  Headed ?. pp.147-148, Volume LIX, No. 3, 2012

– CASTONGUAY (R.), Social Media : Strategies for Success for Music Libraries ; or Beyond Creating an Account, pp.163-172, Volume LX, No. 3, 2013

– CATO (A.), Core Bibliographic Record for Music and Sound Recordings, pp.139-152, Volume XXXXV, No.2, 1998

•Music Cataloguing in Europe and RDA, pp.270-285, Volume LIX, No. 3, 2012

– CAJARAVILLE (C. G.), Bernardino de Ribera’s Compositional Summary : Toledo Polyphonic Codex 6, pp.89-99, Volume LIII, No. 2, 2016

– CHA’ (M.), Research Centers and Sound Archives of Traditional Music in Latin America, pp.179-191, Volume XXXVII, No.2, 1990

– CHAE (H. K.), Callenges to Music Documentation: Design and Implementation of a Web-based Content Management System for East Asian Music Education Documents, pp.249-259, Volume LXI, No. 3, 2014

– CHAILLEY (M. N.), Une proposition de Classification décimale pour les besoins des Bibliothèques Musicales de type Multimedia, pp.243-256, Volume XXXV, No.4, 1988

– CHELLAPANDI (S.), MusicSG : a Digital Music Archive of Singapore’s Music, pp.101-109, Volume LII, No. 2, 2015

– CHERRY (A.), Music Manuscripts and Special Collection of Printed Music in the National Library of Scotland, pp.3-9, Volume XXXXVII, No. 1, 2000

– CHESSER (R.), Music in the British Library: The Present and the Future, pp.325-332, Volume LVIII, No. 3, 2011

– CLARK (C.), Special Editorial to Jazz Number, pp.168-177, Volume XXXVI, No.3, 1989

•Jazz Oral History at The British Library National Sound Archive, pp.185-194, Volume XXXVI, No.3, 1989

•POMPI: Popular Music Periodicals Index, pp.32-48, Volume XXXVIII, No.1, 1991

•User-Centered Events in a Performing Arts Library, pp. 158-167, Volume LIX, No. 2, 2012

-CLIFTON (K.), Erik Satie: A Parisian Composer and His World. By Caroline Potter, pp.75-77, Volume 64, no.1, 2017

– COBBE (H.), Ordeal by Fire-Music libraries and public policy in the United Kingdom since 1979, pp.291-294, Volume XXXVI, No.4, 1989

•Music in the New British Library, pp.27-32, Volume XXXXVII, No. 1, 2000

•Gifts, Purchases, the Lottery and the Treasury, pp.237-265, Volume XXXXVIII, No. 3, 2001

– COCHRAN (K.), The Music Librarianship Programs at Indiana University, pp.217-221, Volume LX, No. 3, 2013

– COERS (R.), MuziekDingen : Learning about Social Media, pp.290-295, Volume LXI, No. 3, 2014

– COOK (M.), Managing the Archives : A Basic Program, pp.235-242, Volume XXXXIII, No.3, 1996

– CORAL (L.), New Facilities, New Potentials : Recent Developments in American Music Libraries, pp.391-397, Volume XXXXVIII, No. 4, 2001

– COUSIN (N.), La Musique dans les Bibliothèques d’Université, pp.248-261, Volume XXXVII, No.3, 1990

– CHRISSOCHOIDIS (I.), A Master Stands : Rare Brahms Photos in the Library of Congress, pp.39-44, Volume LIX, No. 1, 2012

– CHRISTIANSEN (I. J.), The National Music Collection of the National Library of Norway, pp.302-307, Volume LVIII, No. 3, 2011

– DAHL (P.), The Rise and Fall of Literacy in Classical Music : An Essay on Musical Notation, pp.66-15, Volume LVI, No. 1, 2009

– DAHLIN (J.), Archival Descriptive Standard, pp.271-274, Volume XXXXIII, No.3, 1996

– DAVIDSON (M. W.), Trends and Issues in Digital Technology, pp.398-410, Volume XXXXVIII, No. 4, 2001

– DE ANDRADE (I. F.), Portuguese Music Periodicals, pp.174-179, Volume XXXV, No.3, 1988

– DE JONGH (S.), Anarchy in the Archive Again : An Account of a South African Punk Rock Music Collection, pp.63-75, Volume LX, No. 2, 2013

•Armed with a Light Bulb at the End of a Cord : A Ten-Year Journey of DOMUS, pp.212-221, Volume LII, No. 3, 2015

– DEGGELLER (K.), Cordination of Music Documentarion in Switzerland, pp.3-7, Volume XXXXIV, No.4, 2006

– DELSAERDT (P.), Heritage Libraries and Historical Research, pp.1-5, Volume LII, No. 1, 2015

– DEPAULIS (J.), Un compositeur francais sous-estimè : Reynaldo Hahn, pp.263-308, Volume LIII, No. 3, 2006

– DIET (J.), Music Librarianship Courses in Germany, pp. 182-186, Volume LX, No. 3, 2013

•Digitization and Presentation of Music Documents in the Bavarian State Library, pp.275-283, Volume LXI, No. 3, 2014

– DOGGETT (R.), Music in the Collections of the Folger Shakespeare Library, Washington, Volume XXXXVIII, No. 4, 2001

– DOUGAN (K.), Assessing Music Reference Services in an Age of Vanishing, pp.173-181, Volume LX, No. 3, 2013

– DUGGAN (M. K.), Teaching Online Reference for Music Librarians, pp.44-53, Volume XXXIV, No. 1, 1987

•CD-ROM, Music Libraries, Present and Future, pp.84-89, Volume XXXVI, No.2, 1989

•Multimedia Databases for Public Service in Music Libraries, pp.49-55, Volume XXXVIII, No.1, 1991

– EDLING (A.), The Music Collections of the Uppsala University Library, pp.114-117, Volume XXXIV, No.2/3, 1987

– EISEN (C.), ‘’In Mozart’s Words’’ : Perspective on a New, Online Edition of the Mozart Family Letters from Italy , 1770-1773, pp.1-7, Volume LVIII, No. 1, 2011

– FRUHAUF (T.), Referencing Music in the Twenty-first Century : Encyclopedias of the Past, Present, and Future, pp. 175-178, Volume LIII, No. 3, 2016

– FUKUSHIMA (K.), Source Materials of Music in Japan, pp.129134, Volume XXXV, No.2, 1988

– ELDERS (W.), Le problème de l’authenticitè chez Josquin et les éditions de Petrucci, pp.108-115, Volume XXXVI, No.2, 1989

– ESCOTT (A.), Music College Libraries in the United Kingdom, pp.261-267, Volume XXXVI, No.4, 1989

– EZQUERRO (A.), Cataloguin Musical Sources in Spain, pp.8189, Volume XXXXV, No.1, 1998

– FAULKNER (H.), The Music Library of the BBC : its maturity and future, pp.280-285, Volume XXXVI, No.4, 1989

– FERRER (V. A.), The Establishment of the Modern Pedagogy in Spain : The Case of Valencia, pp.186-197, Volume LVIII, No. 2, 2010

– FINGERHUT (M.), IRCAM-Moscow, pp.55-71, Volume LVIII, No. 1, 2011

– FLURY (R.), Music in Public Libraires in New Zealand and the South and Music Centre, pp.172-176, Volume XXXVII, No.2, 1990

•Music at the National Library of New Zealand, pp.42-50, Volume XXXXVI, No. 1-2, 1999

•New Zealand: Standing Proud on Shaky Ground, pp.298-302, Volume LVIII, No. 3, 2011

– FUNTENBERGER (V.), Von Mozart-Rallye bis Notenkoffer , pp.296-302, Volume LVII, No. 3, 2010

– GAGNE’ (M.), Le Centre de la Musique canadienne au Québec Une brève description, pp. 223-235, Volume XXXIV, No.4, 1987

– GARLAND (C.),  Retrospective conversion at the Library of Congress, pp.132-138, Volume XXXIV, No.2/3, 1987

– GEERING (M.), Schweizer Musikzeitschriften, pp.273-281. Volume XXXXV, No. 3-4, 1995

•Le Catalogage de la Musique en Suisse, pp.56-61, Volume XXXVIII, No.1, 1991

– GENTILI-TEDESCHI (M.), Music in Italian National Libraries, pp.274-280, Volume LVIII, No. 3, 2011

– GIBBIN (P.), Music in the National Central Library of Florence : Legal Deposit and National Bibliography of Music, pp.281-286, Volume LVIII, No. 3, 2011

– GIULIANI (E.), La Médiathèque du Conservatoire national supérieur de musique de Paris, pp.262-266, Volume XXXVII, No.3, 1990

•Opéra et Histoire, pp.169-178, Volume XXXXIV, No.2, 1997

– GOLDESTEIN (S.), The Availability of Performance Material: the Music Publisher’s Viewpoint, pp.42-44, Volume XXXIV, No. 1, 1987

– GOOCH (B. N. S.) A Shakespeare Music Catalogue: Approaching the Final Stage, pp.197-202, Volume XXXIV, No. 4, 1987

– GOSALVEX LARA (J. C.), Music Collections and Audio-visual Documents in the Spanish National Library (Madrid), pp.317-324, Volume LVIII, No. 3, 2011

– GOY (F. P.), Le traitement du fonds César Franck au département de la Musique de la BnF ou Deux catalogues pour un même fonds, pp.78-91, Volume LII, No. 2, 2015

– GRAHN (G.), Stiftelsen Musikkulturens framjande, pp.112-114, Volume XXXIV, No.2/3, 1987

•A Shakespearean Music Catalogue: The Part and the Progress, pp.121-124, Volume XXXVII, No.2, 1990

– GRANDE (T.), Neapolitan Music Periodicals in the Second Half of the Nineteenth Century, pp.151-169, Volume XXXXIV, No.2, 1997

– GREEN (R.), The Music Collection of Library and Archives Canada in 2011, pp.227-235, Volume LVIII, No. 3, 2011

•RIdIM : Cataloguing Music Iconography Since 1971, pp.1-9, Volume LX, No. 1, 2013

– GRUSHKIN (N.), The Yusupov Music Collection of the Russian National Library, pp.119-123, Volume LIII, No. 3, 2006

– GUILLO (L.), Notes sur la Libraitie musical à Lyon et à Genève au XVIIe Siècle, pp.116-135, Volume XXXVI, No.2, 1989

•L’èdition musicale en France au XVIe siècle: ètat de la recherché, pp.145-155, Volume XXXXVIII, No. 2, 2001

– GUISE (P.), Music Business Education in Canada: Implications for Collection Development, pp.194-198, Volume LX, No. 3, 2013

– GUO (E. W.), A Librarian’s Guide to IMSLP, pp.267-274, Volume LXI, No. 3, 2014

– HAFNER (J.), OCLC WorldCat Selection, pp.162-166, Volume LVIII, No. 2, 2010

– HALL (A.), Establishing an Instructional Program for Music Users of Online Catalogs, pp.138-149, Volume XXXVII, No.2, 1990

•Council Minutes Perugia 1996, pp.119-135, Volume XXXXIV, No.2, 1997

  • IAML Council Meetings: Wellington 1999, pp.247-268, Volume XXXXVII, No. 4, 2000

– HALE (M.), Canadian Association of Music Libraries/ Association canadienne des Bibliotheques musicales, pp.172-174, Volume XXXIV, No. 4, 1987

– HALLEN (R.), Music for the Terrified: Basic Music Courses for Library Staff, pp.22-26, Volume XXXXVII, No. 1, 2000

– HAMILTON (K.), “A man of many hobbies…” Alan Adair and the Concerts of the Adair Wounded Fund, pp.33-44, Volume LIII, No. 1, 2006

– HARDEN (J.), Cataloguing in 2012: On the Cusp of RDA, pp.249-256, Volume LIX, No. 3, 2012

– HASSEN (M.), The Early Development of American Music Libraries Serving Academic Departments of Music, pp.342-352, Volume XXXXVIII, No. 4, 2001

– HAUSFATER (D.), Les Archives musicales en France, pp.231-235, Volume XXXVII, No.3, 1990

– HEATER (M.), Subject Access to Archival Fonds, pp.242-259, Volume XXXXIII, No.3, 1996

– HARLEY (J.), Records of the English Chapel Royal, pp. 481-521, Volume LIV, No.4, 2007

– HECK (T. F.), Japanese Musical Term Retrieval in “RILM” on.ine: A Status Report and Comparison to “The Music Index” and “Zeitschriftendienst Musik”, pp.31-37, Volume XXXVI, No.1, 1989

– HECKMANN (H.), Ein halbes Jahrhundert, pp.5-11, Volume XXXXVII, No. 4, 2000

•The Illustration of Music Periodicals, 1880-1914: A Question of Halftones and “Whole”- Tones, pp.307-331, Volume XXXXIV, No.4, 1997

•Half a Century, pp. 19-24, Volume XXXXVII, No. 1, 2001

•Ein halbes JAHRHUNDERT, PP.5-12, Volume XXXXVIII, No. 1, 2001

•Half a Century, pp.19-24, Volume XXXXVIII, No. 1, 2001

•Das Rèpertoire International Des Sources Musicales in Geschichte und Gegenwart, pp.140-147, Volume LVIII, No. 2, 2010

– HEISTER (H. W.), Paper is Patient: The Lose-leaf Lexicon Komponisten der Gegenwart and the Digital Future, pp.202-212, Volume LIII, No. 3, 2016

– HENRY (S.), RDA and Music Reference Services, pp.257-269, Volume LIX, No. 3, 2012

– HERMAN- SCHNEIDER (H.), Music Manuscripts from the Seventeenth to te Twentieth Centuries in Stams, Bressanone, Salzburg, and From “Vipiteno”, pp.14-24, Volume LIX, No. 1, 2012

•P. Hartmann von An der Lan-Hochbrunn OFM : A Tyrolean Franciscan as a Musical Cosmopolitan and Phenomenon in Music History, pp.222-237, Volume LII, No. 3, 2015

– HISCHAK (T.), The Complete Annotated Gilbert & Sullivan. Introduced and edited by Ian Bradley, pp.77-79, Volume 64, no.1, 2017

– HOGG (K.), Music Libraries Online: A Virtual Union Catalogue for Music, pp.14-21, Volume XXXXVII, No. 1, 2000

– HOLM (A. L.), Library Management of Composer’s Archives, pp.286-290, Volume XXXXIII, No.3, 1996

– HOLMES (R.), Music at the National Library of Australia, pp.212-226, Volume LVIII, No. 3, 2011

– HOLT (B.), German Influences in the Development of the Norwegian Classical Music Tradition, pp.42-47, Volume LXI, No. 1, 2014

– HORN (M.), Computer-based music information Danish libraries, pp.62-64, Volume XXXV, No.1, 1988

– HUNT (U.), The National Archive of Irish Composers: Creating a Digital Collection of Music From the National Library of Ireland, pp.266-273, Volume LVIII, No. 3, 2011

– HUNTER (D.), Music in the Collections of the Harry Ransom Humanities Research Center, pp.376-380, Volume XXXXVIII, No. 4, 2001

– HUYS (B.), Les imprimeurs de musique à Bruxelles au XIXe siècle, pp.158-167, Volume XXXV, No.3, 1988

•Belgian music periodicals; their national and international interest, pp.179-184, Volume XXXV, No.3, 1988

– IGLESIAS MARTINEZ (N.), Musicologists and Archivists Confront the Nineteenth Century, pp.63-81, Volume XXXXV, No.1, 1998

– INSOM (G.), The Music Archives in the Abbey of Montecassino and the Library od S. Domenico in Ortona, pp.36-50, Volume LVI, No. 1, 2009

– JAENECKE (J.), Zum Problem der Leihmaterialien in Nationalbiographien und Nationalbibliotheken, pp.87-89, Volume XXXIV, No.2/3, 1987

•Die Planun fur ein Verzeichnis der Musiknachlasse in Deutschland, pp.152-157, Volume XXXXV, No.2, 1998

•Dating Music Manuscripts and Prints: An Overview of Past and Present Research, pp.29-35, Volume LVI, No. 1, 2009

– KALLMANN (H.), The Music Collection of the National Library of Canada, pp.174-184, Volume XXXIV, No. 4, 1987

– KANAI (K.), Manually Identifying the Entities of Work and Expression Based on Music MARC data: Towards Automatic Identification for FRBR OPACs, pp.118-128, Volume LII, No. 2, 2015

– KEIL (K.), New Prospects for Printed Music with RISM, pp. 107-111, Volume LX, No. 2, 2013

– KEILLOR (E.), 1986: The International Year of Canadian Music, pp.203-207, Volume XXXIV, No. 4, 1987

– KEISER (K.), The Canadian Music Centre: A History, pp.216-223, Volume XXXIV, No.4, 1987

-KENNEDY E. (L.), “I begin writing, and then have second thoughts”: Shostakovich and the Sketches for the Eighth Symphony, pp. 1-20, Volume 64, No.1, 2017

– KERN (V.), Actions Speaking Louder Than Words: Building a Successful Tutorials Program at the University Of Washington Libraries, pp.155-162, Volume LX, No. 3, 2013

– KIDWELL (C.), Integrating Web 2.0 into a Higher Education Library Service: A Case Study of Trinity College of Music’s Library Facebook Page, pp.76-85, Volume LVII, No. 1, 2010

– KLEIN (A.), An Evening of Irish Music: The Emerald Isle Comes to Germany, pp.277-284, Volume LIII, No. 4, 2016

– KNOLL (M. W.), Carl Philipp Emanuel Bach: The Complete Works, pp.127-136, Volume LVIII, No. 2, 2011

– KOLB (F.), Die Oper in Italien und Deutschland zwischen 1770 und 1830, pp.522-528, Volume LIV, No.4, 2007

– KOPITOVA (G. V.), Music Collections of the Russian Institute for the History of the Arts, pp.154-158, Volume LIII, No. 3, 2006

•The Sheremetev Collection, pp.159-164, Volume LIII, No. 3, 2006

– KRABBE (N.), The Carl Nielsen Edition- Brought To Completion, pp.1-13, Volume LIX, No. 1, 2012

– KRIZNAR (F.), On Alamut, an Opera in Three Acts by Matjaz Jarc, pp.377-388, Volume LV, No. 2, 2008

•The Music of Slovenia from the Past to the Present, pp.17-25, Volume LX, No. 1, 2013

– KOSOVSKY (R.), Opera-L and Wikipedia, pp.242-248, Volume LXI, No. 3, 2014

– KROEGER (K.), An Unknown Collection of Eighteenth-Century Instrumental Music, pp.275-281, Volume XXXV, No.4, 1988

•Optical mass storage development and its effects on the training of music librarians, pp.8995, Volume XXXVI, No.2, 1988

•Research Centers in American Music: A Little-Used Informational Resource, pp.129-138, Volume XXXVII, No.2, 1990

– KRUEGER (W.), Online-bibliographieren in der zukunftigen musikbibliothekarischen Ausbildung in Deutschland, pp.53-61, Volume XXXIV, No. 1, 1987

  • Optical mass storage development and its effect on the training of music librarians, pp. 89-95, Volume XXXVI, no. 2, 1989

– KUIPER (H.), Are Public Music Libraries On The Road To Full Democracy?, pp.229-235, Volume LVII, No. 3, 2010

– LAIRD (R.), Sources & Resources for Research into Australian Jazz, pp.201-207, Volume XXXVI, No.3, 1989

– LAMBRECHTS (L.), The House Where History Ended Up: Packing Up the Ben Segal Collection, pp.166-182, Volume LII, No. 3, 2015

– LAWSON (R.), What Should Librarians Do With Piano Rolls?: A tentative solution from the IAML Conference in Goteborg, Sweden, pp.353-361, Volume LIII, No.4, 2006

– LEDSHAM (I.), A Distance Learning Course for Music Librarianship in the UK, pp.33-41, Volume XXXXVII, No. 1, 2000

– LENOIR (Y.), Les Archives Béla Bartók de Belgique/Fonds Denijs à la Bibliothèque royale de Belgique, pp.58-61, Volume L, No. 1, 2003

– LEONARD (K. P.), Towards a Works List for Louise Talma, pp.117-126, Volume LIX, No. 2, 2012

– LERCH-KALAVRYTINOS (I.), Plate Numbers of Greek Music Publishers: a Selection of Dated Lists, pp.1-21, Volume L, No. 1, 2003

– LEUNG (C.), Oil Shows, Rodeos, und UFOs: A Canadian Prairie Sheet Music Collection, pp.3-20, Volume LIII, No. 1, 2006

– LEWIS (M.), Music Services in Public Libraries in the United Kingdom, pp.267-277, Volume XXXVI, No.4, 1989

– LINDMAYR-BRANDL (A.), Text und Musik im Tenorlied: eine fictive Textierungslehre von 1517. pp.36-57, Volume L, No. 1, 2003

– LO (P.), A Conversation with Robert Sutherland, Chief Librarian at the Metropolitan Opera Library, pp.76-91, Volume LX, No. 2, 2013

– LONN (A.), Thematic Catalogue Numbers in Music Uniform Titles: an International Comparison, pp.224-243, Volume XXXV, No.4, 1988

– LUNDBERG (M.), The First Hundred Years of Music Librarianship at the Swedish Royal Academy of Music: 1771-1871, Volume LVII, No. 3, 2010

– LUTTEKEN (L.), Music al Knowledge in the Digital World: Preliminary Notes concentring MGG Online, pp.222-229, Volume LIII, No. 3, 2016

– MARLEY (J. L.), Education for Music Librarianship within the United States: Needs and Opinions of Recent Graduate/Practitioners, pp.139-172, Volume XXXXIX, No. 3, 2002

– MASCAGNI (P.), Time for a Reappraisal, pp.182-198, Volume XXXXIX, No. 3, 2002

– MATSUSHITA (H.), The Role of the Music Library Association of Japan in the Education of Music Librarians, pp.95-102, Volume XXXVI, No.2, 1989

– MAJNO (M.), “Prima la musica o le parole?”: A Web of Words to Surround Mozart’s Music, pp. 16-23, Volume LVIII, No. 1, 2011

– McAULAY (K. E.), Minstrels of the Celtic Nations: Metaphors in Early Nineteenth-Century Celtic Song Collections, pp.25-38, Volume LIX, No. 1, 2012

•Following the Bass : A New Digitisation Project for Scottish Fiddle Tune Resources ?, pp.17-25, Volume LII, No. 1, 2015

– McBRIDE (J. L.), Copying by Libraries in the United States: Reviewing Section 108 of the US Copyright, pp.363-376, Volume LV, No. 2, 2008

– McGOWAN (R. A.), The Venetian Printer Giuseppe Sala: New Information Based Upon Archival Documents, pp.102-108, Volume XXXVI, No.2, 1989

– McMURRAY (P.), Archival Excess: Sensational Histories Beyond the Audiovisual, pp.262-275, Volume LII, No. 3, 2015

– MIHALIC (T.), Music collections in Croatia, pp.51.65, Volume LVI, No. 1, 2009

– MIKUSI (B.), The Tumbling Flagship: The Music Collection of the National Szèchènyi Library Budapest, pp.260-265, Volume LVIII, No. 3, 2011

– MILLET-ALVISET (J.), Patrimoine Musical de Vichy, pp.236-242, Volume XXXVII, No.3, 1990

– MOORE (T.), Modeling Descriptive Elements and Selecting Information Exchange Formats for Musical Manuscript Sources, pp.337-346, Volume LIII, No.4, 2006

– MORI (S.), The History of Musical Publications in Japan: Books on Western Music, pp.89-95, Volume XXXV, No.2, 1988

•A Historical Survey of Music Periodicals in Japan: 1881-1920, pp.44-50, Volume XXXVI, No.1, 1988

-MORRISON (L.), Resounding Images: Medieval Intersections of Art, Music, and Sound. Edited by Susan Boynton and Diane J. Reilly, pp. 79-82, Volume 64, No. 1, 2017

– MUKHERJEE (S. K.), Indian Music Sources: The Songs of Rabindranath Tagore, pp.281-290, Volume XXXXIV, No.3, 1997

– MULAN (J. T.), Music Periodicals in Spain: Beginnings and Historical development, pp.331-343, Volume XXXXIV, No.4, 1997

– NEKRASOVA (E. V.), The History, Collections and Activities of the Music Research Library of the St. Petersburg Rimsky-Korsakov State Conservatoire, pp. 130-136, Volume LIII, No. 3, 2006

•The History, Collections and Activities of the Music Research Library of the St. Petersburg Rimsky-Korsakov State Conservatoire, pp.130-136, Volume LIII, No. 3, 2006

– NEX (J.), 18th- and 19th- Century Musical Instrument Makers in the Archives: A Personal View, pp.238-253, Volume LII, No. 3, 2015

– NICHOL (E.), A Plague and a Violin: Government Archives and Constraints on Musical Activities in Pre-1918 New Zealand, pp.254-261. Volume LII, No. 3, 2015

– NORHEIM (O.), Norwegian Music Periodicals in Past and Present, pp.121-124, Volume XXXIV, No.2/3, 1987

– NYEKI (M.), Le Dèveloppement des Collections des Vidèos Musicaux et des Disques dans les Bibliothèques, pp.65-70, Volume XXXV, No.1, 1988

– O’ KEEFFE (E.), Music in Christ Church Cathedral, Dublin, Volume XXXXIV, No.1, 1997

– ORAMAS (S.), KNOWLEDGE Is Out There: A New Step in The Evolution of Music Digital Libraries, pp.285-298, Volume LIII, No. 4, 2016

– OSTROVE (G.), Recent Publications in Music, pp.343-401, Volume XXXXIV, No.4, 1997

•Recent Publications in Music, pp.282-251, Volume XXXXV, No. 3-4, 1995

•Recent Publications in Music, pp.215-270, Volume XXXXIX, No. 4, 2002

•Recent Publications in Music, pp.362-467, Volume LIII, No.4, 2006

– PALMER (J.), Twenty-Five Years Om: The Archive of New Zealand Music at the Alexander Turnbull Library, pp.35-41, Volume XXXXVI, No. 1-2, 1999

•Dorothy Freed: Pioneer of Librarianship in New Zealand, pp.64-68, Volume XXXXVI, No. 1-2, 1999

– PATALAS (A.), Musica Claromontana- Music in the Jasna Gòra Monastery: Attributions, Forms, Style, Exchange of Repertoire, pp.148-161, Volume LVIII, No. 2, 2010

– PAULOUSKY (T.), Slavic Church Music: Issues in Cataloguing, pp.248-266, Volume XXXXIV, No.3, 1997

– PETRAUSKAITE’ (J.), The Lithuanian Treasure from Chicago: The Dr. Kazys Pemkus Collection at Klaipèda University Library, pp.10-24, Volume LVI, No. 1, 2009

– PETRE (R.),  Early Music Sources in New Zealand, pp.3-12, Volume XXXXVI, No. 1-2, 1999

– PETROBELLI (P.), Towards a RISM series fir Libretti, pp.135-140, Volume LVIII, No. 2, 2010

– PHILIP (G. J) The Internationalization of Music Bibliography, pp.83-86, Volume XXXIV, No.2/3, 1987

– PICHON (P.), Le depot legal de la musique à la Bibliothèque nationale de France: ètat des lieux et nouveaux enjeux, pp.236-243, Volume LVIII, No. 3, 2011

– PIERRET (G.), L’avenir de musique dans les bibliothèques publiques francaises ou de la difficultè à trouver un modèle de substitution à la discothèque de prêt, pp.250-258, Volume LVII, No. 3, 2010

– PIZA’: Mallorca: Centers for Musical Historical Research, pp.31-39, Volume XXXXV, No.1, 1998

– PLASSARD (M. F.), Interlining within the EC- Problems and Perspectives, pp.164-171, Volume XXXVII, No.2, 1990

– PLAZA-NAVAS (M. A.), Institutions of Musical Documentation in Spain: A Selective Bibliography, pp.3-21, Volume XXXXV, No.1, 1998

– POLSON (S.), The Sydney Manuscript: Vaughan William’s orchestral setting of The Spanish Ladies, pp.106-116, Volume LIX, No. 2, 2012

– POROILA (H.), Children and the Music Library, pp.246-249, Volume XXXXVIII, No. 3, 2001

– PORTMAN (M.), Music at Your Fingertips: Music Resources Seminars for Secondary School Teachers and Public Libraries, pp.285-290, Volume LVII, No. 3, 2010

– PREDOTA (G. A.), Muddying the Waters: Max Kalbeck and the Fifth Symphony  by Brahms, pp.309-329, Volume LIII, No.4, 2006

– PRESTON LEONARD (K.), Using Resources for Silent Film Music, pp.259-276, Volume LIII, No. 4, 2016

– PYKE (C.), My Beloved Man: The Letters of Benjamin Britten and Peter Pears. Edited by Vicki P. Stroher, Nicholas Clark and Jude Brimmer, pp.72, Volume 64, no. 1, 2017

– REBMANN (M.), Die Musikabteilung der Staatsbibliothek zu Berlin, pp.244-252, Volume LVIII, No. 3, 2011

– REBULLA (P.), In Mozart’s Words: Working with a Correspondence Database, pp.8-15, Volume LVIII, No. 1, 2011

– REIMERS (L.), Music Publishing in Sweden, pp.100-108, Volume XXXIV, No.2/3, 1987

– RETROVSKAYA (G. L.), The Music Library of the St. Petersburg Academic Philharmonic Society Named After D. D. Shostakovich, pp.165-170, Volume LIII, No. 3, 2006

– RICHARDSON (G.), The Music and Record Libraries of the Canadian Broadcasting Corporation, pp.211-216, Volume XXXIV, No.4, 1987

– RIDGEWELL (R.), Music Printing in Mozart’s Vienna, pp.217-236, Volume XXXXVIII, No. 3, 2001

•The Concert Programmers Project: History, Progress and Future Directions, pp.50-64, Volume LVII, No. 1, 2010

– RIVA (F.), The Network of National Central Libraries and Central Institutes in Italy, pp.287-294, Volume LVIII, No. 3, 2011

– ROPER (A.), Bridging the Gap: Developing Professional Education for Music Library Staff in the United Kingdom and Ireland, pp.168-178, Volume LIX, No. 2, 2012

– ROSE (I.), Music in Public Libraries in Canada, pp.184-187, Volume XXXIV, No. 4, 1987

•Library Catalogue Records as a Research Resource: Introducing “A Big Data History of Music”, pp.67-88, Volume LIII, No. 2, 2016

– RYSSDAL (R.), Music and the Public Library in Norway, pp.145-149, Volume XXXIV, No.2/3, 1987

– SABOURIN (C.), Les Services de Musique de Radio-Canada, pp.208-210, Volume XXXIV, No. 4, 1987

– SANTELLA (A. L. P.), The Ideal Dictionary: Impossible Tasks, Frank Adjustments, and Lexicographical Innovations in the Creation of Grove Music Online, pp.213-221, Volume LIII, No. 3, 2016

– SAULNIER (C.), Fonds et collections de musique traditionnelle conserves aux Archives de folklore de l’Universitè Laval, pp.194-197, Volume XXXIV, No. 4, 1987

– SAWODNY (W.), Addenda und Corrigenda zu Ulrich Druners Arbeit uber, Das Viola-Konzert vor 1840, pp.179-184, Volume LIX, No. 2, 2012

– SCHLICHTE (J.), Internationales Quellenlexikon der Musik Zentralredaktion Frankfurt/Main Arbeitsbericht 1988, pp.25-31, Volume XXXVI, No.1, 1989

•Der automatische Vergleich von 83.243 Musikincipits aus der RISM-Datenbank, pp.35-46, Volume XXXVII, No.1, 1990

– SCOBIE (C.), Ephemeral Music?- The “Secondary Music” Collection at the British Library, pp.21-32, Volume LIII, No. 1, 2006

– SELFRIDGE-FIELD (E.), The Maeftro di Mufica, or Quality Control in the Virtual Library, pp.63-77, Volume LII, No. 2, 2015

– SEMENYUK (A.), The Digital Collection of Russian Music of the First Half of the Nineteenth Century, pp.528-530, Volume LIV, No.4, 2007

– SEPKO (D.), The Archive of American Folk Song, the Library of Congress Recording Laboratory and Notions of American Identity, pp. 92-100, Volume LII, No. 2, 2015

– SERRE (S.), Les Archives de l’Acadèmie Rotale de musique, entre bibliothèque-Musès de l’Opèra de Paris et archives nationals, pp.35-49, Volume LVII, No. 1, 2010

– SEVERT (M.), IAML Treasurer’s Report 199- pp.276-283, Volume XXXXVII, No. 4, 2000

•National Music Collections in The Netherlands, pp.295-297, Volume LVIII, No. 3, 2011

– SEYFRIED (B. V.), Das Deutsche Musikarchiv Berlin der Deutschen Bibliothek als musikalisches Informationszentrum, pp.173-181, Volume XXXXIX, No. 3, 2002

– SHEPARD (J.), PRESERVE: Teaching Archives to Dance Companies, pp.148-156, Volume LVIII, No. 2, 2011

– SIERRA BARCENA (C.), Musical Collections in Spanish Archives, pp.54-63, Volume XXXXV, No.1, 1998

– SIMON (A.), Southeast Asia: Musical Syncretism and Cultural Identity, pp.23-34, Volume LVII, No. 1, 2010

– SINEUX (M.), La Musique dans les bibliothèques de lecture publique de la Ville de Paris, pp.212-218, Volume XXXVII, No.3, 1990

– SIRCH (L.), Clori: The Archive of the Italian Cantata, pp.137-147, Volume LVIII, No. 2, 2011

– SMIDTH (H.), Music in the Danish National Biography, pp.90-93, Volume XXXIV, No.2/3, 1987

– SMITH (J.), Print Culture and the Elizabethan Composer, pp.156-172, Volume XXXXVIII, No. 2, 2001

– SMITH-BORNE (H.), The Music Library Association’s Educational Outreach Program, pp.187-193, Volume LX, No. 3, 2013

– SOMERVILLE (R.), Music in the Dictionary of New Zealand Biography, pp.51-63, Volume XXXXVI, No. 1-2, 1999

– SOMOV (V. A.), Materials of Foreign Musicians in the Manuscript Department of the St. Petersburg Conservatoire, pp.143-153, Volume LIII, No. 3, 2006

– STALNIONIENE’ (E.), Outreach in Lithuanian Music Libraries, pp.531-537, Volume LIV, No.4, 2007

– STAPLETON (K.), Prague Concert Life 1850-1881: An Annotated Database, pp.1-22, Volume LVII, No. 1, 2010

– STAR (P. F.), Story-Telling in the Vatican Archives, pp.203-211, Volume LII, No. 3, 2015

– STEEN (S.), Special Collections in the Bergen Public Library, pp.275-279, Volume LVII, No. 3, 2010

– STEYN (C.), The Music Manuscripts of the Grey Collection in Cape Town and their European Connections, pp.45-56, Volume LIX, No. 1, 2012

– STILL-DREWETT (F.), ILAM’s Archival Revitalization: The Past Five years at the International Library of African Music, pp.157-164, Volume LVIII, No. 2, 2011

– STONE (S.), Instruct Library Patrons through Recital Performances, pp.222-226, Volume LX, No. 3, 2013

-STRASSER (M.), Camille Saint-Saëns: Écrits sur la Musique et les Musiciens 1870-1921. Edited by Marie-Gabrielle Soret, pp.73-75, Volume 64, no.1, 2017

– SUCHOWIEJKO (R.), Henryk Wieniawski’s Concert Performances in Russia, pp.24-33, Volume LVIII, No. 1, 2011

•Music Manuscripts in the Polish Library in Paris, pp.51-60, Volume LXI, No. 1, 2014

– SUHONEN(M.), Music Periodicals in Finland, pp.127-132, Volume XXXIV, No.2/3, 1987

•Bibliographies and Music in Finland, pp.167-171, Volume XXXV, No.3, 1988

– SUMIKAWA (T.), Music and Bibliographies in Japan, pp.50-55, Volume XXXVI, No.1, 1988

– SUNDSTROM-OBERG (I.), “The Music Will Always Go On”: the Swedish Contribution to the Work of the Edward Said National Conservatory of Music in Ramallah, pp.538-540, Volume LIV, No.4, 2007

– SZMBARA (J.) The Collection of Musical Manuscripts in I. J. Paderewski’s Personal Library, pp. 1-20, Volume LXI, No. 1, 2014

– SWARTZ (A.), Chopin Holdings in the M. E. Saltykov-Shchedrin State Public Library, Leningrad, pp.141-248, Volume XXXVII, No.4, 1990

– TAKEUCHI (M.), Kabuki Music of the 18th and 19th Centuries: Documentary Materials for Research , pp.213-234, Volume XXXXIV, No.3, 1997

– TARULLI (L.), Exploring Public Library Music Collections through Social Technologies, pp.267-274, Volume LVII, No. 3, 2010

– THOMASON (G.), Service and Training: An International Perspective, pp.153-154, Volume LX, No. 3, 2013

•A Continuing Necessity. UK and Ireland Training Courses PAst- and Future ?, pp.199-206, Volume LX, No. 3, 2013

– THOMPSON (P.), Treasurer’s Report, pp.135-141, Volume XXXXIV, No.2, 1997

•IAML Treasurer’s Report 1998, pp.268-275, Volume XXXXVII, No. 4, 2000

•The Bluffer’s Guide to Conservatoire Libraries, pp. 97-105, Volume LIX, No. 2, 2012

– TODO (Y.), Community and Libraries in Music Teaching Institution in Japan, pp.157-160, Volume XXXXV, No.2, 1998

– TOM (O.), Making the Library OPAC Sing: How to Introduce Naxos Music Library Titles to Online Public Access Catalogues, pp.570-595, Volume LIV, No.4, 2007

– TORVINEN (J.), Can Music Predict our Future?, pp.25-28, Volume LVI, No. 1, 2009

– TURBET (R.), A Byrd Miscellany, pp.299-307, Volume XXXVII, No.4, 1990

•The Music  of Orlando Gibbons in Printed Edition, 1625-1925, pp.42-47, Volume XXXXVII, No. 1, 2000

•A Selective Biography of Writings about Tudor Music 1992-2007, pp.340-362, Volume LV, No. 2, 2008

– TURNER (M.), Waving or drawing?- the growth of the music catalogues in the British Library, pp.297-304, Volume XXXVI, No.4, 1989

•Music Collections at the Pierpont Morgan Library, pp. 367-371, Volume XXXXVIII, No. 4, 2001

– UNGER (C.), (International Standard Music Number) and Outlook for the Future, pp.26-36, Volume LII, No. 1, 2015

– VALLE (J. V. G.), Spanish Ecclesiastical Archives: Musical Documentation, pp.29-54, Volume XXXXV, No.1, 1998

– VAN BOXSTAEL (A.), The Dawn of Digital Sheet Music: A Look at neoScores, pp.284-289, Volume LXI, No. 3, 2014

– VANHULST (H.), Les emprunts aux editions perdues de Le Roy et Ballard identifiable dans le repertoire pour instruments à cordes pincèes à Louvain par Pierre Phalèse, pp.173-189, Volume XXXXVIII, No. 2, 2001

– VERA (F.), Recently Catalogue Music Archives and Fonds in Santiago, Chile, pp.100-119, Volume LIII, No. 2, 2016

– VELLUCCI (S. L.), Bibliographic Relationships and the Future of Music Catalogues, pp.213-227, Volume XXXXV, No. 3-4, 1995

– VINE (R.), The University of Calgary Music Library, pp.237-238, Volume XXXIV, No.4, 1987

– ZAPPOLA (P.), Review-Article: Catalogue of Early Music Prints from the Collections of the Former Preubische Staatsbibliothek in Berlin, pp.303-314, Volume XXXXVIII, No. 3, 2001

– ZECCA LATERZA (A.), Manuscript Music Published in Naples: 1780-1820, Volume LIX, No. 2, 2012

– ZYCHOWIZ (J. L.), Gustav Mahler’s Correspondence: Assessing the Composer’s Published Letters, pp.120-139, Volume LIII, No. 2, 2016

– ZWART (F.), A New Music Institute in the Netherlands, pp.62-68, Volume L, No. 1, 2003

– YASUDA (H.), Click and It Will Be Opened to You: How Google Has Changed Musicological Research, pp.296-300, Volume LXI, No. 3, 2014

– YOUNG (P. M.), Music in English Cathedral Libraries, pp.252-261, Volume XXXVI, No.4, 1989

– WAEBER (J.), Pygmalion et J.-J. Rousseau: “un grand poète, qui serait en meme temps un peu musicien”, pp.32-42, Volume XXXXIV, No.1, 1997

– WAGSTAFF (J.), Spreading the Message: Teaching Music Librarianship by Distance-Learning, pp.165-176, Volume LVIII, No. 2, 2011

•The Wheel Still Turns : Music Librarianship Training at Aberystwyth University, 15 Years On, pp.207-216, Volume LX, No. 3, 2013

– WALTER (R.), Das Musikalienverzeichnis der Breslauer Kathedrale aus dem Jahr 1761, pp.256-275, Volume XXXV, No.4, 1988

– WALTON (C.), Modernism in music: Documents in Zentralbibliothek, pp.7-15, Volume XXXXIV, No.1, 1997

•Iphigenia Lost and Found: A Newly-discovered Gluck Arrangement by Richard Wagner, pp.227-236, Volume XXXXV, No. 3-4, 1995

•Wagner’s Peculiar Oboist: Philipp Joseph Fries, pp.271-284, Volume XXXXIX, No. 4, 2002

•The Zurich Music Publisher P. J. Fries: List of Publications, 1851-ca 1872, pp.285-295, Volume XXXXIX, No. 4, 2002

– WARMERDAM (R.), Keeping the Music Alive, pp.280-284, Volume LVII, No. 3, 2010

– WARNING (P.), Metadata Design for Digital Chinese Orchestral Scores with Instrumental Parts, pp.297-339, Volume LV, No. 2, 2008

– WAYLEN (J.), Domestic Music-Making in Early New Zealand, pp.12-34, Volume XXXXVI, No. 1-2, 1999

– WHITE (H.),  The Lexicography of Irish Musical Experience: Notes towards a Digital Future, pp.202-212, Volume LIII, No. 3, 2016

– WIECKI (R.), Seguin Operatic Troupe Materials in the Tams-Witmark/Wisconsin Collection: A Preliminary Descriptive Catalog, pp.453-480, Volume LIV, No.4, 2007

– WINLING (P.), Bringingthe Local Music Scene to the Public Libraries Network of Strasbourg: A Live Collection, pp.127-133, Volume LIX, No. 2, 2012

– WONG (H. W. W.), The “Imperial and Royal-Court Schumann Robber”: The Unpublished Piano Cycles of Ernst von Dohnanyi, pp.86-114, Volume LVII, No. 1, 2010

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