19 April 2021
The British Library is delighted to be part of an innovative new project that seeks to develop digital tools and methodologies to help capture the history of live performance.
The Internet of Musical Events: Digital Scholarship, Community, and the Archiving of Performances (InterMusE) is a two-year project funded by the Arts & Humanities Research Council UK as part of the UK-US New Directions for Digital Scholarship in Cultural Institutions programme. Led by Professor Rachel Cowgill, from the University of York’s Department of Music, it brings together an interdisciplinary team of musicologists, archivists, computer scientists, and performance providers from the University of York, the Borthwick Institute for Archives, Computational Foundry at Swansea University, the British Library, and the University of Illinois at Urbana-Champaign.
The project arises from longstanding recognition of the challenges associated with the documentation of, and access to, collections of performance ephemera, for which the British Library is a key repository in the UK. Live musical events play a vital role in community life across the globe, yet they often leave only faint traces on the historical record, even in modern times. Sources can be tantalisingly incomplete, confusingly inconsistent, and often scattered between different archives and collections, if preserved at all. While some ensembles, venues and music societies have documented their histories (the Proms Performance Archive being one notable example), the picture is fragmented with no common standards of description or connection between related online resources, or efforts to archive data.
InterMusE will make possible new ways of capturing and, crucially, linking different forms of data around musical events to form a dynamic, open-access digital archive. The research team will work with a diverse range of concert materials including programmes, posters and other ephemera held at the British Library, the University of York’s Borthwick Institute for Archives, the Krannert Center for the Performing Arts (University of Illinois at Urbana-Champaign), Linen Hall Library (Belfast), the Royal College of Music, and three former chapters of the British Music Society (BMS): Huddersfield Music Society, the British Music Society of York, and Belfast Music Society. The richness of the resulting data will offer unprecedented opportunities to collect, analyse, and visualise information about musical events and how they have shaped and been shaped by community life over the past century. The digitised data will be used to create a series of online, open-access portals that can be linked with existing collections, resulting in a widely accessible digital archive of musical events.
Central to the project is the ambition to equip performing arts organisations and their communities with tools to help promote and enhance their own musical histories and traditions. This is particularly significant as communities begin to recover from the effects of the Covid-19 pandemic, as the project’s Lead Researcher, Professor Rachel Cowgill states:
'The experience of living through a global pandemic has, for many, greatly increased the value of music at precisely the time the ‘live event’ has fallen victim to strictures on social distancing and lockdown. InterMusE addresses some of the key challenges emerging for the arts and humanities in post-Covid times, investigating the mutually sustaining relationships between live music and communities and harnessing the capacity of digital technologies to enable collaboration and engagement with members of the public.'
InterMusE will combine computational digital-archiving methods with more accessible, community-focussed approaches such as oral-history interviews, audience reminiscences, and citizen research. This will not only facilitate engagement between particular musical societies and their audiences, but also create a new layer of evidential material for studying the impact and community significance of performance events in the 20th and 21st centuries. As Hilary Norcliffe (Archivist of the Huddesfield Music Society) commented, “Concert attendees are often keen to express their views about what they have heard and experienced but currently there is no means of recording these thoughts. This project offers the means for members of the society to add personal comments, views, reminiscences and materials, whilst also following their own lines of inquiry, thus enriching the archive.”
For more information, see the project website: https://intermuse.datatodata.org/
30 July 2019
On Monday 1 July, the British Library held the study day Digital Musicology and Libraries: Challenges and Opportunities. The aim of the study day was to present different perspectives on Digital Musicology projects, developments and needs, and explore ways Librarians, Musicologists and Digital Musicologists can work together to support each other. The day also intended to inspire attendees to consider collaborating with the British Library on future research projects.
The keynote lecture was given by Dr Kevin Page, Senior Researcher, Oxford e-Research Centre. In an overview of the methods, temptations and experiences of digital musicology, he emphasised the importance of knowing your sources, knowing your methods, and recognising that there is information that will not be retrieved because of the limitations of these. He urged us to "embrace imperfect data"! The desire for perfect data is a temptation, but the perfect dataset does not exist. Instead we should use what exists, being wise to its limitations, and embrace simultaneous perspectives and encodings, rather than expecting one approach to give all the answers.
Throughout the day speakers introduced their specific projects or general approaches to working with different types of digital musicological data.
The Libraries’ perspective session opened with Richard Chesser, Head of Music at the British Library, who gave an overview of projects that the British Library has been involved with in Digital Musicology, including Early Music Online, A Big Data History of Music, The Delius Catalogue of Works and Discovering Music, as well as content the Library is making available through digitisation and other routes that can be used in Digital Musicology research.
Dr Andrew Hankinson, Bodleian Libraries, University of Oxford talked about Digital Musicology activities at the University of Oxford and specifically about the advantages of the IIIF technology (International Image Interoperability Framework) for conducting research with digitised images of Libraries’ collection items.
Dr Christopher Hilton of the Britten-Pears Foundation described the archival cataloguing system used by the Archive & Library, which includes work-level information, and the plans to open this up to a wider audience by making archival descriptions available as linked data. He gave interesting insights into the kind of information held: for example, the financial records of Britten and Pears, usually the dullest part of a personal archive, are revealing about how carefully and creatively the financial affairs of a gay couple had to be managed in the era before the de-criminalisation of homosexuality.
Katharine Hogg, of the Gerald Coke Handel Collection, The Foundling Museum, gave an overview of digital activities undertaken, and of planned collaborations. One type of material which the Gerald Coke Handel Collection is keen to acquire is datasets and preparatory material brought together for PhDs and publications; valuable research data which tends to disappear once the work based on it has been published.
The Academic Partners’ perspective session included presentations by Dr Emmanouil Benetos (Queen Mary, University of London), Dr Joanna Bullivant (University of Oxford), Professor Stephen Rose (Royal Holloway, University of London), and Professor Tim Crawford (Goldsmiths, University of London). Speakers talked about Digital Musicology projects they undertook in collaboration with the British Library (Digital Music Lab, Digital Delius, A Big Data History of Music, and F-Tempo respectively), and gave their perspective on the challenges and benefits of collaborative projects.
The session on Digital Archives explored challenges and opportunities around born-digital archives, as well as the Library’s digitised sound archives. Music Curators discussed recent steps that the department has undertaken to acquire born-digital archives of composers, whilst Jonathan Pledge, Curator, Contemporary Archives, Politics and Public Life at the British Library, described the methods recently developed in the Library for acquiring and making available personal digital archives of writers and scientists. Born-digital files are acquired and processed via a six-stage workflow.
Amelie Roper, Research Development Manager at the British Library talked about the British Library’s annual research report and the ways academics and researchers can collaborate through outlining the Library’s research collaboration process.
Some themes emerged from the day. Recurring challenges were rights clearance, sustainability of projects, differing priorities and expectations of libraries, researchers and funding bodies, technical and institutional challenges (for example difficulty in hosting non-standard software), and staff skills gaps and time constraints.
It was inspiring, however, to hear from projects exploiting opportunities. For example, IIIF technology can bring images and datasets together, so a digital copy of a manuscript can be viewed side by side with an interpretation or commentary coming from a completely different source. MEI (Music Encoding Initiative) and OMR (Optical Music Recognition) techniques can be used to enable semantically meaningful full-text analysis of certain types of digitised music, for example 16th-century lute and vocal music, resulting in new work identifications. Other opportunities arise from combining the researchers' ability to focus on a single project with libraries' expertise in the curation of metadata.
Anecdotal evidence was that libraries and researchers can work positively together to overcome challenges, and unlock new musical knowledge.
Caroline Shaw, British Library
 Further information in: Jonathan Pledge and Eleanor Dickens (2018): ‘Process and progress: working with born-digital material in the Wendy Cope Archive at the British Library’, Archives and Manuscripts Volume 46, Issue. 1, pages. 59-69.
10 October 2018
William Byrd, one of the most prolific English composers of his time, was born in 1543 (or possibly late in 1542) and died in 1623.
A devout Roman Catholic, Byrd was also a Gentleman of the Chapel Royal with a secure position at court. Well known among the Catholic nobility, with whom his ties were naturally close, Byrd also enjoyed a wealth of connections across Protestant society, including major cultural figures such as Sir Philip Sidney.
This post explores Byrd's music for the Roman Rite.
William Byrd. [Mass for three voices] Cantus. London: Thomas East, 1594. Cantus. British Library R.M.15.d.4.
In 1593 Byrd moved from Harlington in Middlesex, where he had lived since the 1570s, to Stondon Massey in Essex. This was only a few miles from Ingatestone, the seat of his friend Sir John, afterwards Lord, Petre. It was almost certainly for clandestine Mass celebrations at Petre’s house that Byrd composed his three Masses, issued separately without title pages, dedicatees or any indication of the printer (Thomas East), but with Byrd’s name placed courageously at the top of every page. The four-part work was printed (and composed) first, the three-part next (shown above) and the five-part last, all between about 1592 and 1595. Second editions of the three- and four-part Masses appeared about 1600.
Gradualia Book I, 1605
William Byrd. Gradualia, ac Cantiones Sacræ, quinis, quaternis, trinisque vocibus concinnatæ, Lib. Primus
Excudebat Humphrey Lownes. Londini: Impensis Ricardi Redmeri. Superius. 1610.. British Library K.2.f.7.
Byrd followed the publication of his three settings of the Ordinary of the Mass with an even more daring venture. His Gradualia is one of the most comprehensive provisions of Mass Propers and related music for the Roman church’s year ever attempted by a single composer. When the first book appeared in 1605 he evidently felt that the times were less dangerous, for it was printed with a titlepage and a dedication to the Catholic Privy Councillor Henry Howard, Earl of Northampton.
But the moment proved ill chosen: it was the year of the Gunpowder Plot and anti-Catholic sentiment was rife. Despite having been approved before its publication by Richard Bancroft, Bishop of London and an ecclesiastical censor of books, Byrd’s Gradualia became dangerous currency. The Frenchman Charles de Ligny was arrested merely for having a copy of the ‘papistical books’ in his possession. The image above shows the communion sentence from the Corpus Christi mass and Ave verum corpus, a Eucharistic prayer in the version printed in the Primer, for private devotions.
Gradualia Book II, 1607
William Byrd. Gradualia: seu cantionum sacrarum quarum aliæ ad quatuor, aliæ verò ad quinque et sex voces editæ sunt.
Liber secundus. London: Thomas East, assign of William Barley, 1607. Bassus. British Library K.2.f.6.
Despite the hostility shown to Book I of Gradualia, Byrd went ahead and published Book II in 1607, openly declaring that the music had been composed for use in the house of its dedicatee, Lord Petre. But he may have found it necessary to withdraw both books until 1610, as the sheets were reissued then with new title pages. The partbook of Book I shown here has the substitute title page of 1610, but those of Book II are from the only surviving set with the original 1607 title pages. On the wrapper of the bassus part the unknown first owner has written ‘Mr William Byrd his last Sett of Songs geven me by him Feb. 1607.’
William Byrd. Gradualia: seu cantionum sacrarum quarum aliæ ad quatuor, aliæ verò ad quinque et sex voces editæ sunt.
Liber secundus. London: Thomas East, assign of William Barley, 1607. Bassus. British Library K.2.f.6.
Byrd’s handwriting: Certificate concerning an annuity granted to Dorothy Tempest.
The letter below, a similar copy of which is also in the British Library (Egerton 3722), along with the two signatures to his will are the only known examples of Byrd’s handwriting.
One of those implicated in the Catholic plot of 1570 in favour of Mary Queen of Scots was Michael Tempest, who was convicted of treason but managed to escape to France entering the service of Philip II. His wife Dorothy and their five children were left without means of support, and Queen Elizabeth granted her an annuity of twenty pounds a year, to be paid quarterly. On 17 October 1581 Byrd wrote to his friend William Petre (son of Sir John, discussed above), an official at the Court of Exchequer, reminding him that a payment was due, at the same time sending the letter below to certify that she was alive and well.
02 October 2018
The British Library has the pleasure of bringing you an exciting free educational resource providing unparalleled access to our music collection: Discovering Music.
Aimed at A level students, teachers, undergraduates and the general public, the site features manuscript and printed sources as well as recordings to support the study of particular music topics. The site also sheds light on the historical, political and cultural contexts in which key musical works were composed and musicians operated.
The first stage focuses on music from the early 20th century, while other periods will be explored in the future. This present web space highlights some of the Library’s most treasured collection items, in high-resolution digitised images, including manuscripts by Benjamin Britten, Edward Elgar, Ralph Vaughan Williams, Frederick Delius, Gustav Holst, Igor Stravinsky, Maurice Ravel, Arnold Schoenberg, Alban Berg, and others. In addition, the site features a rich range of contextual material, including letters, notebooks, illustrations, newspapers, photographs and other forms of ephemera.
The Second Viennese School: Alban Berg, Arnold Schoenberg and Anton Webern
Mark Berry introduces the three composers labelled as key members of the ‘Second Viennese School’, each influential in his own way on musical modernism throughout the remainder of the 20th century.
Music and the creative process: Elgar’s Third Symphony
The composer Anthony Payne, who completed Elgar’s unfinished Third Symphony, describes Elgar’s compositional methods as seen in the surviving sketches for this work at the British Library.
Delius in performance
Joanna Bullivant explores how Delius’s compositions were brought to life by various interpreters. Did he give his performers enough information? How important are the contributions made by the famous musicians with whom he worked: the conductor Sir Thomas Beecham, the pianists Theodor Szántó and Evlyn Howard-Jones, and the violinist May Harrison?
Folksong revival in the early 20th century
Eric Saylor surveys the social contexts and musical impact of the folksong revival in the early 20th century.
Ballet in Paris in the early 20th century
Jane Pritchard discusses the ballet companies and their artists who were active in Paris in the early 20th century.
British composers in the early 20th century
Jeremy Dibble gives an overview of British composers in the early 20th century and their context.
Delius, Paris, Grez
Lionel Carley explores Delius’s long association with France, and how the distinctive landscapes of Paris and Grez-sur-Loing inspired some of his most famous scores.
Exploring Elgar's 'Enigma' Variations
Julian Rushton discusses the early history of Elgar’s ‘Enigma’ Variations.
The use of the instruments of the orchestra
Lucy Walker surveys three orchestral masterpieces of the early 20th century.
Music and the First World War
Kate Kennedy examines the impact of the First World War on British composers and the music composed both during the war and in its aftermath.
Music and the Holocaust
Stephen Muir examines the impact of the Holocaust on musicians and musical life in Germany and Austria in the Second World War.
Music for film: Ralph Vaughan Williams and Benjamin Britten
Music formed an important component of the propaganda and educational films produced during the Second World War and its immediate aftermath. In this article, Nicholas Clark explores the film scores composed by Ralph Vaughan Williams and Benjamin Britten between 1940 and 1948.
Music and the Russian Revolution
Pauline Fairclough discusses the impact of the Russian Revolution on Russian composers’ lives and careers.
Delius and America
Daniel M. Grimley explains the significance of America in Delius's life, music, and career.
Stravinsky and Neoclassicism
Stephen Walsh discusses Neoclassicism as a concept focussing on the music of Stravinsky who extensively used this compositional ‘attitude’ in his music.
The Society of Women Musicians
Sophie Fuller discusses the history of the Society of Women Musicians and some of its leading members.
Daniel M. Grimley examines Delius's compositional routine and looks at the processes involved in assembling a large-scale musical work.
Tonality in crisis? How harmony changed in the 20th century
Arnold Whittall explores changing approaches to harmony and the concept of tonality in early 20th-century music.
Vaughan Williams and The English Hymnal
Simon Wright explores the role of the composer Ralph Vaughan Williams in selecting and arranging the music for The English Hymnal.
These 19 articles are accompanied by three teaching resources to support the study of 20th-century classical music at GCSE and A Level.
Composition: learning from Delius and Elgar
Use Delius's and Elgar's sketches to develop compositional skills and understand their music.
Music and place: sacred music and folksong
Learn how English composers were inspired by folksong and ideas of the sacred.
Overturning tonality: into the 20th century
Explore new ways of composing in the early 20th century
10 July 2018
As part to our commitment to bring our collections to everyone, we have digitised over sixty first editions of piano music by Frédéric Chopin, which are now available online.
As is the case with most composers, first editions of Chopin’s music are important to study the text of a given piece. Chopin would often add expression marks to the printing proofs, marks which weren't in the manuscripts provided to the publisher. Sometimes these additions were so numerous that a second proof had to be prepared for Chopin to approve for publication. In these cases they reveal a more advanced compositional state than the autograph manuscripts.
You may download a spreadsheet with the complete list by clicking here. The links on the right hand side will take you to the corresponding catalogue record. To view the score click on the "I want this" tab, and then on the red “GO” button next to "Digital Content, Collection Item". This newly digitised set will no doubt be a welcomed complement to the Chopin Online Resources, which includes other first editions from our collections.
19 June 2018
We have the pleasure of bringing you some more highlights from our collection which we have digitised in high resolution and uploaded onto our website so anyone can enjoy them remotely.
All the below are autograph, unless noted.
Egerton MS 2954 - Musical treatises (15th century)
Italian Musical Treatise by Johannes de Muris
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Egerton_MS_2954
Add MS 36738 - Franz Schubert, Piano Sonata in G major D. 894, Op. 78 (1826)
Published as the Fantasy, Andante, Menuetto and Allegretto, is the eighteenth sonata of Franz Schubert composed in October 1826.
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_36738
Lansdowne MS 763 - Musical treatises (15th century)
Treatises transcribed, and probably to a great extent compiled, by John Wylde, precentor of Waltham Holy Cross Abbey, about 1460.
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Lansdowne_MS_763
R.M.19.d.9 - George Frideric Handel, Il Trionfo del Tempo HWV 46a (c 1710)
Manuscript copy, except for the Overture on ff. 69-78, and the corrections which are in the hand of Handel.
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.19.d.9
Add MS 47849 - Joseph Haydn, Symphony no. 40 in F major (1763)
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_47849
Egerton MS 2327 - Ludwig van Beethoven, Rough copies of twelve airs for pianoforte, with accompaniment for flute or violin (c. 1817)
These are connected with his arrangements of English, Scotch, Welsh, and Irish airs. They were all published in Sechs variirte Themen (op. 105) and Zehn variirte Themen (op. 107), about the year 1817. From op. 107 are taken nos. 1-4 (nos. 9, 10, 2, 8, respectively), no. 9 (no. 4), and nos. 11, 12 (nos. 1, 5); and from op. 105, nos. 5-8 (nos. 1, 2, 4, 5), and no. 10 (no. 6).
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Egerton_MS_2327
Egerton MS 2746 - Miscellaneous, including:
Robert Schumann, March in G minor, op. 76/2
Richard Wagner, Sketch of the people's chorus (melody and bass only) from Act ii of 'Rienzi' (1839)
Richard Wagner, Largo maestoso (introductory movement) and Allegro con brio (beginning only), in C, for 4 hands
Draft of a letter, apparently by Richard Wagner, but unsigned
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Egerton_MS_2746
30 March 2018
In addition to the previous batch announced here, we are pleased to share with you a few more Music Manuscripts freshly uploaded onto our website.
One of the principal reasons that compel us to make these images available, is to preserve our collections for future generations. Every reading room request will involve at least eight pairs of hands that will handle the item from the shelf, to the reading desk and back. Naturally, this means that considerable stress is placed upon collection items which may be -as in the case of Music Collection materials- over 500 years old. Therefore, having high resolution images available on our website greatly minimizes threats to the longevity of our collection.
Please note that all of the below are Autograph Manuscripts, unless noted.
Add MS 31707 - Franz Joseph Haydn, Symphony no.103 in E-flat major "The Drumroll" (1795)
This manuscript was presented by Haydn to Luigi Cherubini, who is said to have provided the missing folios 23r, 23v, and 26r by his own hand. From the collection of Julian Marshall.
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_31707
Catalogue Record: http://searcharchives.bl.uk/IAMS_VU2:IAMS040-002023864
Add MS 32173 - Franz Joseph Haydn, Johann Michael Haydn - A collection of songs, duets, choruses, cantatas, and a divertimento (18th-19th century)
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_32173
Catalogue Record: http://searcharchives.bl.uk/IAMS_VU2:IAMS040-002025922
Add MS 47851, Ludwig van Beethoven, Concerto, op. 61, for violin or piano (1808)
Manuscript copy made for the first printed version of the concerto, with autograph corrections. This document is the main textual source for both the violin solo part and its piano arrangement. More information elsewhere on this blog.
Catalogue Records: http://searcharchives.bl.uk/IAMS_VU2:IAMS040-002104251
Digital Version: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_47851
Add MS 35272, 35273 - Franz Joseph Haydn, Collection of Scottish airs for one or two voices (c. 1803)
Manuscript Copies, mainly in the hand in the hand of his amanuensis J. Radnitzky, with autograph additions.
Digital Versions: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_35272
Catalogue Record: http://searcharchives.bl.uk/IAMS_VU2:IAMS036-002088745
Add MS 35274 - 35275 Franz Joseph Haydn, Collection of Welsh airs for one or two voices (c.1804)
Manuscript copy, with an autograph note by the composer at the beginning,
Digital Versions: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_35274
Catalogue Records: http://searcharchives.bl.uk/IAMS_VU2:IAMS040-002088748
03 June 2016
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.
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.
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.
Music blog recent posts
- Introducing the Internet of Musical Events: a project to capture the history of live performance
- Talking about research collaboration: the first British Library Digital Musicology day
- William Byrd, catholic composer
- Welcome to Discovering Music
- Chopin First Editions available online
- More Digitised Music Manuscripts available online
- Latest Music Manuscripts available on our website
- Peter Kennedy Archive
- Curatorial vacancy in the Music Collections