THE BRITISH LIBRARY

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38 posts categorized "Recordings"

28 April 2017

Nicola LeFanu at 70

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To celebrate her 70th birthday on 28 April 2017, we are taking a closer look at the career and influences of composer Nicola LeFanu, and highlighting two of her works held within the music manuscript collections at the British Library.

Nicola LeFanu ©MichaelLynch1

Photograph ©Michael Lynch

Nicola LeFanu was born in England in 1947 to librarian William LeFanu and composer Elizabeth Maconchy. She studied composition with Jeremy Dale Roberts, Alexander Goehr, Goffredo Petrassi, Humphrey Searle and Thea Musgrave. She has been most strongly influenced by her mother, her husband David Lumsdaine (also a composer), her first tutor Jeremy Dale Roberts and by Korean-American composer Earl Kim.

Her first large orchestral work, ‘The Hidden Landscape’, was commissioned by the BBC for the 1973 Proms. In an article for The Guardian, LeFanu describes the absorption required when composing for orchestra and the thrill of the first rehearsal when she heard the piece come to life exactly as she had imagined it in her head.

The British Library holds a dyeline copy of the composer’s manuscript score of this work, annotated by Norman Del Mar, who conducted the first performance by the BBC Symphony Orchestra on 7 August 1973. With the score is a letter from LeFanu to Del Mar dated 10 December 1975 along with a list of her alterations. These were produced in preparation for a recording of the work in January 1976.

LeFanu Hidden Landscape page 31

Nicola LeFanu: ‘The Hidden Landscape’. British Library MS Mus. 1820

One of LeFanu’s particular strengths is in writing dramatically for voice. Among the many works she has written for soprano is the 1981 monodrama ‘The Old Woman of Beare’, which is among her personal favourites. The libretto is based on a 9th- or 10th-century Irish poem about a courtesan woman who has entered a convent in her old age. Here she reflects on her life, her sexuality and her aging body.

The work is notable for its passion, the integration of sea and sexuality, the wide range of the vocal part and the instrumentation, which is like an orchestra in miniature. LeFanu deepens the passion of the poem by mixing the singing with spoken passages and by integrating imagery of the sea.

LeFanu The Old Woman of Beare page 31 camera

Nicola LeFanu, ‘The Old Woman of Beare’ for soprano and thirteen players
© 1984 Novello & Co.
Reproduced by permission of Novello & Company Limited
British Library E.1500.r.(3.)

After studying at Oxford and the Royal College of Music, LeFanu won the Mendelssohn Scholarship in 1972 and was a Harkness Fellow at Harvard from 1973 to 1974. She was then Director of Music at St Paul’s Girls’ School from 1975 to 1977, followed by almost twenty years teaching at King’s College London. LeFanu became Professor of Music at the University of York in 1994, a post she held until 2008.

Nicola LeFanu is featured as ‘Composer of the Week’ on Radio 3 from 24 to 28 April 2017. Information about her works and recordings can be found on her website. Many of her scores and recordings are available at the British Library and some of her works can be heard on SoundCloud.

Nicola LeFanu ©MichaelLynch

Photograph © Michael Lynch


Andra Patterson
Head of Content and Metadata Processing South (and former Curator of Music Manuscripts)

23 August 2016

Passionate music from a hot country: a musical visit to Iraq-Kurdistan

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The British Library's World and Traditional Music section supported ethnomusicologist, Rolf Killius, on a field trip to record music in Iraq-Kurdistan over June/July 2016. This is his report.

Rugged Mountains in Kurdistan Photo Rolf Killius
Rugged Mountains in Kurdistan. Photo Rolf Killius, 2016

It is hot. No, it is extremely hot. Today the temperature is 45° Celsius; the air is bone-dry, no trace of wind. I am in Sulaimani, the second urban centre in Iraq-Kurdistan. This part of Iraq belongs to the Kurds and is de-facto an independent state run by a Kurdish government.

Traditional singers and musicians have gathered in the Zardosht Café. Zardosht is the Kurdish term for Zoroastrianism, an age-old religion known in the wider region. Since the coming of the Islamic period, it has become a minority religion, often frowned upon. These days the Zardosht belief is making a kind of come-back. Here in Kurdistan the faith is essentially Kurdish and promotes traditional folk music.

Listen Zardosht Cafe Group


The group starts to play: The zarab (goblet drum) player provides rhythm while the Korg keyboardist adds harmonies and melodic phrases. Occasionally the saz (plucked lute) virtuoso contributes drone and melodic sounds. But the musical highlight is the charismatic lead-singer Ata Azizy; he alternates – or even competes – with the balaban player, Jowanro, in expressing intricate melodic lines. A balaban is a traditional single-reed wood instrument; it is very similar to the Armenian duduk. Its sound is soothing and exciting at the same time. Their way of singing and playing, including the guttural stops, is possibly what makes the music “typically” Kurdish.

The singer Ata Azizy Photo Rolf Killius
The singer Ata Azizy. Photo Rolf Killius, 2016
The balaban player Jowanro accompanied with zarab drum, keyboard and saz Photo Rolf Killius
The balaban player Jowanro accompanied with zarab drum, keyboard and saz. Photo Rolf Killius, 2016

With the support of the British Library's World and Traditional Music section, I was able to visit Iraq-Kurdistan and record traditional music during live events and in pre-arranged recording sessions. I was curious: how does a new country treats its rich traditional music culture?

I stay for the ‘after-party’ at the Zorgasth Café. Here the singer, Rafat Germiany, and the same balaban player perform howrama. Though this musical genre is remotely connected to Zoroastrianism, it is known as a typical Kurdish vocal style. The voice and the wind-instrument alternate again.

 Listen Zardosht Cafe Howrama group

 The singer Rafat Germiany (second left) and the balaban player Jowanro (second right) Photo Rolf Killius

The singer Rafat Germiany (second left) and the balaban player Jowanro (second right). Photo Rolf Killius, 2016

For me the most remarkable thing is the large, mainly young crowd (only men). They watch the performance with increasing anticipation. It shows that the music is still meaningful to a younger audience and therefore has a future. One participant told me that this café was the only public space where a female singer was allowed to perform these days.

Everybody mentions the traditional vocal style called heiran from the Erbil region, Erbil being the country’s capital and the other urban centre. Mr Delzar, a friend, invites me to his home village far from Erbil, just below the Qarachokh mountain range. Today his ‘village’ consists of several farm-houses managed on a part-time basis and re-created only recently. The original Kurdish villages of this region were destroyed by Iraqi troops, the last time by Saddam Hussain in 1988. Only in the last few years – the region was only recently secured by the Peshmerga (Kurdish liberation army) – have some of the original villagers and their descendants come back to farm again.

A seasoned Kurd arrives at Mr Delzar’s farm-house and immediately starts singing. Mr Mahyadin Sherwani is a farmer and self-taught heiran singer. He explains to me that the songs of the heiran genre describe the rugged countryside of Kurdistan and its people.

I first experienced traditional Kurdish vocal music many years back in the Kurdish region of eastern Turkey. I listened to the always slightly over-amplified and highly reverberated recordings from cassettes played on the crackling PA-system of a local bus. There, listening to this music and viewing the hills flying past, I imagined how this music was born in the Kurdish countryside.  I have the same feeling today, listening to this talented singer in this Iraq-Kurdistan village.

The Heiran singer Mahyadin Sherwani Photo Parwez Zabihi
The Heiran singer Mahyadin Sherwani. Photo Parwez Zabihi, 2016

Listen The Heiran singer Mahyadin Sherwani

 

I have already mentioned the saz. During my last week in Iraq-Kurdistan I was invited to a performance in the heart of Erbil of the saz player and musical instrument shop owner, Bakr Sazvan. He has his shop just below the ancient citadel set on a mound towering over the city. He played a number of electrifying pieces, setting his business aside for a full hour.

The saz is a pear-shaped plucked instrument, with five or six strings organised in three courses. For the Kurds the saz is an essentially Kurdish instrument though it is also used by Turkish and Iranian musicians.

Especially intriguing is how Bakr Sazvan plays, combining melodic phrases played on the higher pitched strings, and striking the lower pitched strings in order to create the accompanying drone sound.

The Saz player Bakr Savan in his workshop Photo Rolf Killius
The Saz player Bakr Savan in his workshop. Photo Rolf Killius, 2016

Listen The Saz player Bakr Savan in his workshop

 

As I pack my bags for the return journey to London I ponder about Kurdish traditional music: in comparison with many other regions of the world I’ve visited, the music of the Kurds is still alive and kicking! As these people are very keen to demonstrate traditional music and to preserve their culture, they invited me to come again for a much longer stay. I happily accepted.

Rolf Killius (rolfkillius@yahoo.com and www.rolfkillius.com) 09/08/2016 

(with thanks to the musicians, interpreters, fixers and friends who assisted on the trip)

The recordings made during this project will be added to the Rolf Killius Collection (C815). Some of Rolf's recordings from rural India are online on BL Sounds.

Find out more about the work of the British Library's Sound Archive and the new Save our Sounds programme online.

Follow the British Library Sound Archive @soundarchive and the British Library's World and Traditional Music activities @BL_WorldTrad on Twitter.

 
 



03 June 2016

Peter Kennedy Archive

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As part of an AHRC Cultural Engagement project grant awarded to City University and partially funded by the National Folk Music Fund, ethnomusicologist Andrew Pace, has engaged in a project to catalogue thousands of paper and photographic files from Peter Kennedy’s collection of British and Irish folk music held at the British Library.

This month we have launched a unique website - www.peterkennedyarchive.org - in which listeners can retrace the chronology and geographical routes of Kennedy's extensive field recording activity. In the text below, Andrew describes the project and walks us through the website's main features.

PR0925
Peter Kennedy interviewing Edgar Button. Thebburton, Suffolk, 1956 [PR0925]

Peter Kennedy was one of the most prolific collectors of British and Irish folk music and customs from the 1950s up until his death in 2006. Working closely with other collectors of his generation, such as Alan Lomax, Sean O’Boyle and Hamish Henderson, he recorded hundreds of traditional performers ‘in the field’, including Margaret Barry, Fred Jordan, Paddy Tunney, Harry Cox, Frank and Francis McPeake and Jack Armstrong. In 2008 his collection came under the care of the World and Traditional Music section of the British Library.

I’ve been working on Peter’s sizeable collection periodically since 2010, cataloguing thousands of audio tapes and photographs of traditional performers and uploading some of this material to Sounds. In fact, just this month an additional 500 photographs and 70 audio recordings from Peter’s collection have been added to the existing collection available online. 

025I-MSMUS1771X1X-0201A0
Bob Copper, John Copper, Ron Copper and Jim Cooper photographed by Peter Kennedy in Rottingdean, Sussex, 1950s [025I-MSMUS1771X1X-0201A0]

However, Peter’s paper files, comprising song texts, scores, contracts, draft manuscripts and a large amount of correspondence between himself and performers, collectors, institutions and enquirers, hadn’t been catalogued. This is the task that I’ve been undertaking since January. All of these papers will be uploaded to the Library’s catalogue in due course.

Amongst these papers I discovered 31 reports written by Peter for the BBC’s ‘Folk Music and Dialect Recording Scheme’, a project on which he was working during the 1950s. Across 180 typewritten pages, Peter describes his daily itinerary recording traditional performers around the UK and Ireland between 1952 and 1962. Full of anecdotes and insightful information about the musicians he recorded - including confirmation of when and where he recorded them - these documents reveal a great deal about Peter’s fieldwork during this period.

I decided to use these reports as the basis for a new website which brings these narratives together with all of the audio recordings and photographs from Peter’s collection that have been digitised so far: www.peterkennedyarchive.org.

These reports feature ‘hotspots’ placed over the names of the more than 650 musicians that Peter recorded during these trips. Clicking on the name of a performer reveals any sound recordings or photographs taken of them by Peter on that particular day that are available to view and listen to on Sounds. Additionally, links to entries in the British Library’s catalogue are provided for any related material that hasn’t yet been digitised, such as Peter’s tapes or BBC transcription discs.

What makes this website unique is the way it contextualises recordings and photographs of performers with Peter’s own notes about them. Whilst the British Library’s catalogue is useful as a search tool, it doesn’t reveal how a collection was formed and developed – and it doesn’t tell us very much about who created it. This new website gives us a better idea of what’s in this collection by refocusing attention on Peter as a recordist and reconstituting his material into a form that better resembles how he created it.

I hope www.peterkennedyarchive.org will prove useful to researchers and musicians alike and encourage more people to explore Peter’s collection at the British Library. As more of his field recordings are digitised and attached to the site, it should become an increasingly valuable resource

- Andrew Pace

Find out more about the work of the British Libary's Sound Archive and the new Save our Sounds programme online.

Follow the British Library Sound Archive @soundarchive and the British Library's World and Traditional Music activities @BL_WorldTrad on Twitter.

 

07 March 2016

Once upon a time in Bengal....

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TuT- Invitation Card (4)

On the 7th March 2016 ‘Time upon Time’, an exhibition of field recordings from Bengal curated by The Travelling Archive, opens at the Nandan Gallery in  Santiniketan. The exhibition focuses on the work of the ethnomusicologist Arnold Adriaan Bake (British Library collection C52), and includes materials from the archives of the British Library, alongside materials from the University of Leiden, ARCE, Rabindra Bhavan, Visva Bharati and the private collections and field recordings of The Travelling Archive. 

Moushumi Bhowmik describes the exhibition in this guest blog:

In the early twentieth century, a time when the discipline of ethnomusicology was still in its infancy, Arnold Bake (1899-1963) was among the first of the researcher-collectors who found their way to South Asia. Trained in Sanskrit and Indology at the Dutch universities of Leiden and Utrecht, Bake took up residency at Santiniketan in 1925 in order to study Damodar Misra’sSangitadarpana for his doctoral research. In addition, his love for folk music led him to making recordings of the folk music of Bengal, of which the baul and kirtan traditions in particular appealed to him. Furthermore, Bake worked closely with Rabindranath Tagore, in an attempt to study, collect, preserve, and distribute his songs and poetry. Between 1925 and 1956, Bake lived for extended periods of time in the Indian sub-continent, the first decade mostly in and around Bengal; he also travelled widely and made extensive recordings of music and dance from across many other parts India, Sri Lanka and Nepal.

Bake’s work very much constitutes the creation of an archive. The Travelling Archive, a project created by singer and writer Moushumi Bhowmik and sound recordist Sukanta Majumdar involving field recording in Bengal and its dissemination, first encountered Arnold Bake’s recordings in the archives of the British Library in 2003, and have remained connected to his work ever since. ‘Time upon Time’, an exhibition of field recordings from Bengal, explores the nature and depth of this connection. There are large overlaps between Arnold Bake and The Travelling Archive’s areas of work, both from a topographical and an archival perspective. This exhibition is an attempt to unravel the threads of archival material to demonstrate how past, present and future are intertwined.

The exhibition also draws attention to the future of archiving by commenting on the very concept of the archive. With support of the IFA through their Archival and Museum Fellowship, and a Scaliger Fellowship from Leiden University, the exhibition explores resources from several archives within India and abroad, including British Library, ARCE-AIIS, SOAS and Rabindra Bhavan. In so doing, the exhibition strives to layer archive upon archive as a way to examine the way archives are constructed. Furthermore, by employing the language of art, this exhibition is also a venture into some of the ways in which archival material can be used and interpreted. Finally, this exhibition is not only about Arnold Bake but also about the time in which he lived, people who surrounded him, their sounds, and silences, too. It is also about this present time when we are trying to listen to him and, in him, listen to the ‘future of our past’.

Thus, ‘Time upon Time’ is meant to be an interactive experience of a work in progress. The Travelling Archive is interested in studying sound and image as historical material. Seeing and listening can trigger memory and thus lead to the further unravelling of history. Therefore, visitors to the exhibition are encouraged to contribute their own memories and experiences to The Travelling Archive. Words, voices, sounds, images, and other contributions will be recorded on site by The Travelling Archive in their ‘studio’ set up within the space of the exhibition.

7-15 March 2016. Nandan gallery, Kala Bhavan, Visva Bharati, Santiniketan. (Closed on Wednesday and Thursday)

The event opens with a presentation by Tagore singer Chitralekha Chowwhdury, recorded by Arnold Bake in 1956.

 Bake recording of Chitra Choudhury's Tagore song

Recording reference: C52/NEP/70

For further information please visit: www.travelling archive.org

01 July 2015

The British Library at WOMAD

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The British Library is celebrating 30 years of collaboration with WOMAD.

British Library team member at WOMAD

The British Library’s relationship with WOMAD is nearly as long as the festival's existence. Since 1985, missing only 3 years, we have been present at WOMAD's major annual summer event in the UK. Each year a small team of staff from the Library has spent an enjoyable weekend making documentary recordings of as many of the performances as possible. We try to cover all the stages and often record artists several times as they deliver different performances, including workshops and interviews, over the weekend. The concentration in one place of so many diverse and talented musicians allows us to document musical traditions from around the world right here on our doorstep. And it's not just a case of keeping a record of each performance for listening at the archive, but also a way of documenting for the long term a significant event on the ‘world music’ scene.

The British Library now has recordings of a significant number of early UK appearances by artists who, since their appearance at WOMAD, have made great inroads on the international music scene; artists such as Baaba Maal (first recorded by the British Library at WOMAD in 1991), Thomas Mapfumo (1990) and Nusrat Fateh Ali Khan (1985), to cite only a few.

Our first WOMAD recording (on 20 July 1985 at Mersea Island, near Colchester) was of the Chinese sheng and flute players, the Guo Brothers, who had recently arrived in London to study at the Guildhall School of Music and were just beginning to create a name for themselves in this country.

In total we hold over 2000 hours of music recorded at WOMAD, backed up digitally for preservation and onsite access.

WOMAD is the only music festival that has this incredible relationship with the British Library, and to celebrate we are collaborating to offer one lucky winner a pair of tickets to this year’s festival at Charlton Park (24th-26th July) and an exclusive behind the scenes tour of the British Library Sound Archive in London for four people. For more information click here.

Open air stage Dhol Foundation 2
Dhol Foundation recorded by British Library at WOMAD 2004

Find out more about the work of the British Libary's Sound Archive and our new Save our Sounds programme

Follow the British Library Sound Archive on Twitter via @soundarchive and tag with #SaveOurSounds

Follow the British Library's World and Traditional Music activities on Twitter via @BL_WorldTrad

 

20 March 2015

Musical Journeys to Oman, Qatar and Kuwait

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27 short films on music from Qatar, Oman and Kuwait, made by Rolf Killius (the BL's Gulf History Curator for Oral and Musical Cultures) are now available online.

Traditional music in the Persian (or Arabic) Gulf region creates joy at weddings, helps to deal with death, shows cultural continuity and changes, is part of the history of peoples, accompanies nation-building and national celebrations, reflects ethnic unity, diversity and plurality, expresses cultural heritage and unites people.

In 2013 and 2014 I had the chance to do fieldwork on traditional music in Oman, Qatar and Kuwait for the British Library Qatar Foundation Partnership Programme. The main aim of this fieldwork was to complement the British Library's historical commercial music collections from the Gulf region (mainly on shellac discs) with new audio and video recordings of traditional music.

I have selected and edited 27 short films from these fieldwork journeys for the Qatar Digital Library Portal, where one can also find contextual pieces outlining the fieldwork and introducing the regions and musical genres. Linked to the portal are YouTube and SoundCloud channels with hundreds of audio and video titles with detailed captions. Additional material can also be found on the British Library Sounds website where one can listen to Middle Eastern music on shellac discs.

Modernity meets tradition: traditional music in Qatar

See videos on YouTube

Sea-music in Qatar
Sea-music in Qatar. Photo: Rolf Killius

The intention to do fieldwork in one of the richest countries in the world seemed at first to be a challenge. Walking along the Cornice, the waterfront in Qatar’s capital, Doha - with more than its share of skyscrapers and blinking lights, the promenade walkways alongside a superhighway and the wooden boats ready to service tourists and affluent Qataris - gives the impression of a rapidly modernising country which has left much of the Bedouins’ and seafarers’ roots behind. Despite all this we discovered that just a little scratch in the right place can uncover the traditional musical cultures of the desert and the sea again. If one has access to the very intimate family, tribal or informal Qatari Arab gatherings it is surprising how much of the traditional music culture is still alive. 

For instance, try the sea music performance, where the naham (lead singer) Ali Saeed Al Mari, conducts a choir of twenty-five singers and instrumentalists:

 

Or, watch the al-ardha performance during the tribal gathering of the al-Atteeyah community during the annual Qatar National Day. Here the ruler of Qatar, Sheikh Tamim bin Hamad bin Khalifa al-Thani, graced the audience and players:

  

Sea Music - with a Scottish Bagpipe
Sea music, musician with Scottish bagpipes. Photo: Rolf Killius

Sea meets desert: traditional music in Oman

See videos on YouTube

In the Sultanate of Oman traditional music, poetry and dance are still part and parcel of both everyday life and national/patriotic celebrations, and are practised by experts and laypersons alike. An example of how well Omani people respect music was my late-night arrival at the airport in Muscat: all bags were scanned and the customs official asked me to unpack all my equipment. Finally he pointed at the microphones and barked: “What is this for?” I hesitated at first and then answered that they were “microphones to record Omani music”. A big smile settled on his face and he wished me a good time in Oman. Welcome to the country of music and frankincense!

The musical culture reflects the population’s multi-ethnic origin and has created a unique variety of numerous musical and dance genres. Though they all have been flavoured by the grand cultures of India, East Africa and Persia, the Omani people have developed their own variety of specific Gulf styles. Along with Hijaz (Red Sea coast in Saudi Arabia) and Yemen, Oman has the most ancient and diverse culture on the Arabian Peninsula.

For instance, try Galfat Shobani, the sea music from Oman, completely different from sea music in Qatar and Kuwait and – surprisingly – with a Scottish bagpipe as the solo instrument.

 

Or, watch the Al-Maidan dance and music from a large wedding in Sur. This dance is considered the most complicated and sophisticated dance form and is strongly influenced by African culture.

Maidan dance music
Maidan dance, Oman. Photo: Rolf Killius
Boom in Kuwait with skyline
Boom in Kuwait with skyline. Photo: Rolf Killius

Hidden treasures: traditional music in Kuwait

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Although Kuwait City (where the research was conducted) at first seemed to me a bit dull, once personally introduced, the numerous places where traditional music is still practised revealed a rich heritage of a living Gulf music culture. Indeed Kuwait is musically quite a revelation. Traditional music is performed, at least in private gatherings, on a weekly basis.

Kuwait was and (to a certain degree) still is the centre of traditional music in the Gulf. Together with Bahrain the country shares the honour of being the birthplace of such once popular music genres as sowt (early urban genre of the Gulf). Bahri (sea music), in particular, has been at the heart of Kuwait’s music scene. Numerous old audiovisual documents show evidence of the country’s ‘roaring 1960s’, where male and female musicians performed widely and were recorded by record labels and television companies. Kuwait has maintained a thriving traditional music culture to the present day, which is practised nearly exclusively in private homes and semi-private diwaniyas or traditional meeting places for men, mostly related to music.

For instance, try this sowt performance from a diwaniya in Kuwait City:

 

Or, try Leywa (or liwah), the ritual music of African origin practised in the whole Gulf region. The instrument players are at the centre of the performance while the surnai (oboe) player leads the dancers and singers who move anti-clockwise around the instrumentalists. 

 

 

Guest post written by Rolf Killius, March 2015

Find out more about the work of the British Libary's Sound Archive and our new Save our Sounds programme

Follow the British Library Sound Archive on Twitter via @soundarchive and tag with #SaveOurSounds

Follow the British Library's World and Traditional Music activities on Twitter via @BL_WorldTrad

 

 

 

 

 

06 February 2015

Directory of UK Music Sound Collections

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Sound_types
The British Library’s Directory of UK Sound Collections is one of the first steps in our Save our Sounds programme launched on 12th January 2015 as one of the key strands of Living Knowledge, the British Library’s new vision and purpose for its future.

The purpose of the directory project is to collect information about our recorded heritage, to create a directory of sound collections in the UK. By telling us what you have, we can help plan for their preservation, for future generations.

Our aim is to be comprehensive; to search out sounds that exist in libraries, archives, museums, galleries, schools and colleges, charities, societies, businesses and in your homes.  And we’re not just interested in large collections: a single item might be just as important as a whole archive.

So far we have collected information about almost 200 collections amounting to roughly 250,000 items across a range of formats and subjects: oral history; wildlife, mechanical and environmental sounds; drama and literature; language and dialect; radio and popular, classical, jazz and world and traditional music.

A summary list of music collections includes:

  1. Mozart GLASS Collection: former Greater London Audio Specialisation Scheme (GLASS Collection retained by Westminster Music Library
  2. Some commercial music recordings included alongside collection of music scores and news cuttings relating to the life and career of Sir Thomas Beecham (1879-1961)
  3. A large collection of communist period vinyl records from Romania, and smaller collections from Bulgaria, Ex-Yugoslavia and Hungary
  4. Recordings made by many contributors of traditional song, music and drama; dialect speech; calendar customs; cultural traditions; children's games and songs (University of Sheffield Library)
  5. Sound recordings made by ethnomusicologist Jean Jenkins in Africa, India and the Middle East
  6. Recordings of songs by Plymouth artists (with paper transcripts) and photographs of Union Street Project, Plymouth
  7. The Erich Wolfgang Korngold Archive: Interviews, archival performances, acetates, 78rpm discs, broadcast tapes, private recordings, vinyl and CDs covering the life and work of composer Erich Wolfgang Korngold (1897-1957)
  8. organ  and morning service recordings from St Andrew's, Plymouth
  9. gramophone records of Princess Elizabeth's visit to Plymouth, recorded by RGA Sound Services, 21 Cobourg St, Plymouth
  10. 2 troubadour and 10 trouvère songs sung by Francesco Carapezza; 13 troubadour songs in spoken performance by Gérard Gouiran,  from the University of Warwick
  11. Music on LP and some wax cylinders, from Brent Museum and Archives
  12. A comprehensive, primarily classical, recorded music collection from Exeter Library
  13. Scottish Music Centre: Recordings of music by Scottish composers and performers (and associated spoken-word material), mostly dating from late 1960s to present. Over 12,000 items of which over 11,000 catalogued online (as at January 2015)
  14. 3,000 commercial recordings from the 78rpm shellac era, including some rarities and radio transcriptions (Radio Luxemburg, ENSA, BBC), as well as unusual/rare labels of non-jazz content
  15. 12,000 UK 78rpm records, 1920-1945, concentrating on British Dance Bands & personalities of the period
  16. 100 shellac discs of early jazz recordings
  17. Evensong half hour, recorded at Hunstanton parish church and broadcast by the BBC on 19th August 1951
  18. Cassettes of church organ accompanied by a choir boy
  19. Private recordings made on open reel tape of classical music performances
  20. Recordings of Scottish, English, Irish and other folk musicians, made mostly in Edinburgh from the late 1960s to mid-1970s
  21. Recordings of the Broughton Tin Can Band and Winster Guisers
  22. Private folk music recordings made on open reel tape
  23. Music by Derbyshire musicians.

Although this is a good selection across the musical genres, we feel there are many, many more music collections out there.

The census is live now and will run until the end of March 2015.  You can read more about the project, and send us information about your collections here: www.bl.uk/projects/uk-sound-directory.

You can follow the British Library Sound Archive on Twitter via @soundarchive and tag with #SaveOurSounds

13 November 2014

Calling all PhD students with a music-related topic!

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The British Library's Music Open Day for Doctoral Students will take place on 30 January 2015.

Starting your PhD? Our Doctoral Open Days are a chance to discover the British Library's unique collections. Meet our curators and network with researchers in your field

These Open Days allow students to learn about our collections of printed and manuscript music and sound recordings (including classical, pop, world and traditional music), to find out how to access them, and to meet our curatorial staff as well as other researchers in their field. In addition to an understanding of the Library’s collections, students gain a wider introduction to the information landscape in their field, and research opportunities opening up in the digital information environment.

This event is aimed at new PhD students, as well as Masters students who are planning to continue their research at doctoral level.  Numbers are limited and, as these events are very popular, we do encourage early booking. Places cost £5.00 and this includes lunch.

Book directly using this link or see our website for details of all events taking place at the British Library.   

The Institute of Musical Research will provide discretionary travel bursaries, up to £20, for students coming from outside London – further details will be provided nearer the time.