Re: Cataloguing Jewish music

[L_Cahan <L_Cahan...>]

Yes, for those with the capabilities, I agree.
Lorele

Joel Bresler wrote:

> I understand, but I have to imagine that sampling a song will be a LOT
> easier than transcribing it.
>
> J
>
> At 07:14 AM 3/7/01 -0500, Lori Cahan-Simon wrote:
> >Of course, JMI's Keynote software includes a feature of writing the music
> >of the
> >song.
> >Lorele
> >
> >Joel Bresler wrote:
> >
> > > Hi, Paul.
> > >
> > > I too would be interested in this developing thread.
> > >
> > > If the ultimate goal of this work is a web-based catalog, why not include
> > > 30 second samples of each cut so users can get a true sense of the 
> > > content?
> > > Of course, it will take longer to do this, and it doesn't substitute for
> > > the record itself. But it would be a tremendous service.
> > >
> > > Thanks,
> > >
> > > Joel
> > >
> > > At 09:33 AM 3/6/01 +0000, you wrote:
> > > >Dear library colleagues
> > > >
> > > >I am assisting in the setting up of the new library at the Jewish Music
> > > >Institute in London. In my professional capacity I have had a lot of
> > > >experience in cataloguing 'classical' music to AACR standards, but 
> > > >haven't
> > > >really tackled many of the interesting problems associated with
> > cataloguing
> > > >Jewish music.
> > > >
> > > >I would be very interested to hear from any other librarians on the list
> > > >with this sort of experience, to discuss how you have approached some of
> > > >the inherent problems. Unless you feel that this discussion would be of
> > > >general interest, it would perhaps be better to contact me off-list.
> > > >
> > > >Occupying my attention in particular at the moment is the formulation of
> > > >uniform titles for conventional forms in printed music transcriptions. 
> > > >For
> > > >example, a volume containing several works titled 'Freylekh' (or variants
> > > >therof). If a distinctive title has at some stage been applied to a
> > > >particular freylekh, then this could be used as a distinguishing
> > soubriquet
> > > >- but if there is none? I wouldn't feel comfortable in quoting the key as
> > > >written (except in the descriptive part of the entry), since a) there
> > is no
> > > >guarantee that this is the original key and b) this is almost certainly a
> > > >transcription of a piece of music with an aural, rather than a
> > > >composed/notated history. Typically there is a numbered sequence of the
> > > >form in many collections (eg the Russian shers in the Stacy Phillips
> > > >Klezmer Collection) but this is merely a handy means of differentiation 
> > > >by
> > > >the publisher. Is there any other approach save to surrender and use
> > the UT
> > > >'Freylekh', with as much about the provenance as possible in the
> > > >descriptive part of the entry?
> > > >
> > > >I would be really interested - and grateful-  to hear how any of you have
> > > >tackled these problems. Also, is your catalogue - or any other
> > > >professionally produced catalogue of Jewish music - accessible on the
> > > >Internet?
> > > >
> > > >Paul Holden
> > > >Formerly Senior Librarian
> > > >Guildhall School of Music & Drama, London
> > > >
> > > >
> > >
> > > Joel Bresler
> > > 250 E. Emerson Rd.
> > > Lexington, MA 02420 USA
> > >
> > > Home Office:    781-862-4104
> > > FAX:            781-862-0498
> > > Email:          jbresler (at) ma(dot)ultranet(dot)com
> > >
> >
>
> Joel Bresler
> 250 E. Emerson Rd.
> Lexington, MA 02420 USA
>
> Home Office:    781-862-4104
> FAX:            781-862-0498
> Email:          jbresler (at) ma(dot)ultranet(dot)com
>

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