共查询到20条相似文献，搜索用时 31 毫秒
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Richard P. Smiraglia 《Cataloging & classification quarterly》2017,55(5):269-288
Richard P. Smiraglia shares his personal evolution from early studies in music, to music cataloging, instantiation theory, and knowledge organization. People who have impacted his career and research direction are featured, as well as his work editing such publications as Library Resources & Technical Services, The Soldier Creek Music Series, and his continuing editorship of the journal Knowledge Organization. His contributions to the fields of cataloging, especially music cataloging, and his research in instantiation, domain analysis, and knowledge organization serve to advance Patrick Wilson's notion of exploitative power within a connected universe of knowledge. 相似文献
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乐谱作为一类特殊文献,其著录规则有自身的规律和特征,从国际标准和国家标准来看,国际标准书目著录(ISBD)中设有专门的部分规定乐谱的著录,而我国的文献著录国家标准(GB3792)中则未对乐谱著录作出规定。中国高等教育文献保障系统(简称CALIS),在其著录规则中特别设立了中文、西文乐谱著录章节。文章从乐谱著录国际标准(ISBD(PM))的规定入手,对CALIS制定的中文、西文乐谱著录原则进行分析,并着重从各个著录项目的角度出发提出了乐谱著录在实践中的若干问题。 相似文献
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Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
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《Cataloging & classification quarterly》2013,51(3):21-30
ABSTRACT Scholars working in the fields of medieval history and cultural history have recognized that understanding the cataloging and accessioning of books is central to understanding the transmission of ideas. This view should come as no surprise to catalogers themselves, who daily struggle with the problem of providing intellectual, and sometimes physical, access to texts and information. Unfortunately, general histories of libraries and even the library literature seem content to sketch out a chronological development of cataloging in line with the nineteenth and twentieth century view of library development, from a simple list to complex intellectual systems. In truth, however, those individuals responsible for cataloging books in medieval libraries faced many of the same challenges as catalogers today: how to organize information, how to serve local needs, and how to provide access to individual works within larger bibliographic formats. This article will summarize recent scholarship in the history of the book that relates to library cataloging, as well as providing parallels to the cooperative library environment of today. 相似文献
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Casey A. Mullin 《Cataloging & classification quarterly》2013,51(7):607-627
AbstractMusic catalogers have embraced in current cataloging the flexibility, intuitiveness, and expressivity afforded by the Library of Congress’s new faceted vocabularies. In order to realize the full benefits to discovery these vocabularies offer, however, methods for programmatically assigning faceted terms retrospectively to existing metadata for music resources are required in order to mitigate the costs of manual enhancement of legacy data. This article describes efforts to repurpose existing Library of Congress Subject Headings as faceted data, taking advantage of recent developments in the MARC 21 formats. Limitations inherent to this process and ideas for future directions are described. 相似文献
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Janelle Varin 《期刊图书馆员》2013,64(1):70-76
Crowdsourced metadata available in iTunes is too often insufficient or even incorrect for classical music recordings. Listeners find themselves frustrated when the only options iTunes provides are illogical. What we need is a group of professionals who are experts in music and information organization to clean things up. Enter the Music Library Association. The author proposes that this national group with ten regional chapters divide the work of providing improved metadata for classical recordings, using an open source program such as freedb. Working with Gracenote, individual music librarians could also correct existing data and reduce instances of a user encountering poor information. 相似文献
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Nancy Lorimer 《Cataloging & classification quarterly》2020,58(3-4):361-374
AbstractPCC and the Music Library Association (MLA) and Music OCLC Users Group (MOUG) have a long history of coordinating and collaborating on standards, best practices, and training of the music cataloging community. The impact of these collaborations on the formation and structure of the PCC is found throughout the organization, particularly in the PCC funnels, but also in the basic concept of a cooperative cataloging community. This article describes some of the MLA and MOUG cooperative efforts that have benefited and influenced the PCC. 相似文献
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《资料收集管理》2013,38(3):75-85
Abstract Women musicians were virtually ignored in the literature of Western music until their recent inclusion in standard reference sources and other publications. However, making these works available to the researcher becomes a challenge for library collection development departments, especially for small libraries unaffiliated with music schools that have only a modest music collection and budget. This paper offers guidance in developing a small collection of books on women in music that will complement the current collection and provide a more accuratehistory of Western music. Justification for building a collection on women musicians and an annotated list of recommended books are included. 相似文献
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Sara Rofofsky Marcus 《Cataloging & classification quarterly》2013,51(2):127-139
Joseph Miller discusses his career as a librarian and editor of the Sears List. Topics include his education, work with the Sears List, as well as trends in cataloging, the future of cataloging, and the teaching of cataloging in library schools. 相似文献
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Rachel Elizabeth Scott 《The Reference Librarian》2013,54(4):272-285
ABSTRACTDo we need print reference collections at all? In the case of music reference materials, the answer is definitely “yes.” At the University of Memphis, reference titles in the music library are used at about three times the rate of reference materials in the main library. This paper leverages local reference and reserve book usage to investigate how print reference sources support music research of various kinds, how music faculty integrate reference sources into their courses, and how librarians can make finding and using these resources easier for users accustomed to accessing materials online without an intermediary. 相似文献
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Richard P. Smiraglia 《Cataloging & classification quarterly》2013,51(8):645-651
The cataloging and classification community was called to highlight 2010 as “The Year of Cataloging Research,” and specifically was challenged to generate research ideas, conduct research, and generally promote the development of new research in cataloging. Cataloging & Classification Quarterly has become the most influential journal of research in cataloging and classification since its inception in 1981. The idea behind the research reported here was to give the CCQ editorial board an opportunity to present its point of view about research for cataloging. A Delphi study was conducted in three stages during the 2009–2010 academic year. Members were asked to define the key terms “cataloging,” “evidence,” and “research,” and to develop a research agenda in cataloging. The results reveal a basic core definition of cataloging perceived as a dynamic, active process at the core of information retrieval. An eight point research agenda emerges that is forward-looking and embraces change, along with top-ranked calls for new empirical evidence about catalogs, cataloging, and catalog users. 相似文献
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郑小军 《浙江传媒学院学报》2004,11(4):17-21
格里格<培尔·金特>戏剧配乐在成就戏剧史上巨作的同时,自身也成为音乐史上的不朽经典.然而,<培尔·金特>组曲的流行却是以牺牲原戏剧配乐中富有生机和戏剧张力的成分为代价的.嗣后敏锐的指挥家和艺术家们所作的有成效的弥补工作理应赢得我们的尊敬和重视. 相似文献
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Kimberlianne Podlas 《广播与电子媒介杂志》2015,59(1):41-56
As the use of popular music in political campaigns has skyrocketed, so have complaints by musical artists who do not want their songs associated with candidates they do not support. Recently, musical artists have asserted that this constitutes trademark infringement by falsely suggesting that they endorse a candidate. Relying on court decisions and statutes, this article analyzes song-based performer trademarks and whether campaign's uses of music constitute infringement. Ultimately, this article concludes that typically musical compositions and sound recordings cannot be used as performer trademarks and, in any event, political uses would not amount to infringement. 相似文献
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朱青青 《图书馆理论与实践》2020,(2):98-102
文章在概述乐谱文献特征的基础上,指出当前中文乐谱编目在规则适用性、题名著录、版本著录、乐谱特殊细节项著录以及标引方面存在的具体问题,同时据此提出未来乐谱编目过程的改进措施:加强对乐谱编目规则与细则的研究、规范乐谱题名著录、将乐谱的特定版本标识著录在版本项、重视乐谱特殊细节项著录以及充分考虑乐谱标引。 相似文献
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Dr Chris Tinker 《Media History》2013,19(2):223-237
This article seeks to reappraise two popular yet neglected examples of variety programming, which appeared on French television during the 1960s: Discorama and Age tendre et tête de bois. While the former has been situated within a realist televisual aesthetic and regarded as a launch-pad for French singer-songwriters, the latter has been represented as a youth-oriented vehicle for rock ‘n’ roll and yé-yé pop music. Although such interpretations are to a large extent valid, this article will argue that both programmes should also be viewed as symptomatic of Charles de Gaulle's statist broadcasting strategy, which placed great emphasis on creating social cohesion via programmes designed to appeal to the widest possible audience. 相似文献