Woohoo! It’s deadline time. As you know, we’re contributing a special issue of Brio for IAML (UK and Ireland) on the Claimed From Stationers’ Hall theme. We agreed to have all writings completed by the end of August, and contributors up and down the UK and Ireland have been – and are – eagerly scribbling their considered thoughts on different aspects of the topic.
Brio does have a very general set of guidelines for contributors, but when it comes to referencing, the main requirement is to be clear and consistent within each article. Here’s a pdf of the guidelines, along with a quick screenshot of the first footnotes in the article on Edinburgh University Library’s music collections, already contributed by Alasdair Macdonald and Elizabeth Quarmby-Lawrence, Vol.55 no.2 (‘From General Reid to DCRM(M): Cataloguing the music collections of Edinburgh University Library, Part 1, The early Reid Professors and the first catalogues, 1807-1941)’, 27-49.
If the pdf doesn’t open for you, please let me know!
If you’re reading this but you’re not (yet) a member of IAML, then you might like to know more about us.
- IAML (UK and Ireland) homepage
- IAML (UK and Ireland) publications page
- IAML international parent organisation homepage. (We call it “Big IAML”!)
Today, I attended the first meeting of a new research network – the Cultural History of Glasgow Network, organised jointly between the Open University in Scotland, and Glasgow City Archives, and funded by the Royal Society of Edinburgh. It was hosted by the Mitchell Library, Glasgow’s impressive flagship central public library. It’s always interesting to be involved with a new collaboration introducing a different mix of people, and this one’s particularly interesting being so close to home, as it were!
You might ask what any of this has to do with Georgian legal deposit music? On the face of it, not a lot. This is partly because although the web announcement named UWS and the titles of the talks, it didn’t name the department or that a couple of the presentations were based on Masters students projects. The department has a contemporary and recent contemporary, rather than a centuries-old historical focus, so there was a divergence of approaches between theirs and mine. Also, partly because I saw the words “reframing heritage” and “art practice”, and I read what I wanted to read. And that’s my fault – but don’t we often do this?! Obviously, “heritage” does not have to mean Georgian. “Reframing” can also include responding musically to something other than music, whilst my own research places heritage music as the primary focus and looks for ways to reframe that, to make it relevant and appealing to people today. But my research response is not to write music (although I’ve been known to write the odd self-indulgent tune!), and – until today – it wouldn’t have occurred to me to produce a documentary film about it.
Karen McAulay, Musicologist 