RILM Music Encyclopedias
2016; Music Library Association; Volume: 73; Issue: 1 Linguagem: Inglês
10.1353/not.2016.0096
ISSN1534-150X
Autores Tópico(s)Diverse Musicological Studies
ResumoReviewed by: RILM Music Encyclopedias Stephen Henry RILM Music Encyclopedias [ New York, New York]: Répertoire international de littérature musicale; [Ipswich, Massachusetts]: EBSCO Information Services, (2015–). http://www.rilm.org/encyclopedias/ (Accessed 3 April 2016). [Requires a web browser and an Internet connection. Pricing: $5,515 per year, unlimited simultaneous users] Introduction The four “R projects” (RILM, RIPM, RISM, RIdIM), founded under the auspices of the International Musicological Society and the International Association of Music Libraries, Archives, and Documentation Centres, have come to be synonymous with high-quality scholarly music bibliographic tools, with RILM Abstracts of Music Literature being the go-to source for discovering the scholarly literature on music since its inception in 1967. So naturally, RILM’s release of RILM Music Encyclopedias, offered exclusively through the EBSCOhost platform, will be greeted with interest and high expectations. Content RILM Music Encyclopedias comprises the full text of forty-one encyclopedias, some of which call themselves lexicons or dictionaries. The content runs the gamut from the well-known and indispensable (The Garland Encyclopedia of World Music, 2nd ed. [New York: Routledge, 1998–2002]; Großes Sängerlexikon, 4th ed. [Berlin: K.G. Saur, 2004]) to the esoteric (Wolfgang Suppan’s Steirisches Musiklexikon, 2nd ed. [Graz: Akademische Druck- und Verlags-Anstalt, 2009]) to the novel (Encyclopedia of the American Theatre Organ [Pasadena, California: Showcase Publications, 1985–95]). At least one title I would classify as both esoteric AND novel: Das Gothic- und Dark Wave-Lexikon: Das Lexikon der Schwarzen Szene, von Ambient bis Industrial, von Neofolk bis Future Pop und von Goth-Rock bis Black Metal, 2nd ed. (Berlin: Lexikon, 2003). Most titles fall somewhere between these admittedly cherry-picked extremes, and users will find several exceptional specialist resources within, for example Eileen Southern’s Biographical Dictionary of Afro-American and African Musicians (Greenwood Press, 1982) and Spire Pitour’s The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers (Greenwood Press, 1983–1990). A particular strength of RILM Music Encyclopedias is its ability to provide access to some excellent European resources that might not otherwise be available to libraries with less than comprehensive collections. Examples include Algemene muziek encyclopedie, 2nd ed., a 10-volume Belgian/Dutch encyclopedia of music history (Haarlem: De Haan, 1979–84); Komponisten der Gegenwart, a lexicon of 10,000 pages and counting, focused on 20th- and 21st-century composers, and formerly issued in quarterly loose-leaf installments (Munich: Edition Text + Kritik, 1992–); and Olympia N. Tolika’s Pangosmio lexiko tīs mousikīs: Historia, mousikologia, erga, prosōpa, nees taseis, archaiotīta, Vyzantio, Anagennīsī, neoteroi chronoi, sygchronos kosmos, 2nd ed., a new one to me, but according to RILM Music Encyclopedias (http://www.rilm.org/encyclopedias/) the first music dictionary written in Greek (Athens: Ekdoseis Stochastīs, 1999). At least seven titles in RILM Music Encyclopedias are available online through other sources. Of those seven, the following six well-known and well-loved titles are in the public domain and are readily available in HathiTrust or IMSLP: James Duff Brown’s Biographical Dictionary of Musicians, with a Bibliography of English Writings on Music (Paisley and London: A. Gardner, 1886); Francois-Joseph Fetis’s Biographie [End Page 149] universelle des musiciens et bibliographie générale de la musique, 2nd expanded ed. (Paris: Firmin Didot, 1866–81); Robert Eitner’s Biographisch-bibliographisches QuellenLexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des Neunzehnten Jahrhunderts (Leipzig: Breitkopf & Härtel, 1900–1904); George Grove’s A Dictionary of Music and Musicians (A.D. 1450–1880) (London: Macmillan, 1879–90); Peter Lichtenthal’s Dizionario e bibliografia della musica (Milano: Antonio Fontana, 1836); and Jean-Jacques Rousseau’s Dictionnaire de musique (Paris: Veuve Duchesne, 1775). Although these titles are freely available elsewhere, there is some usefulness to having them included in RILM Music Encyclopedias, namely the ability to cross-search them along with other titles, the conveyance of trust gained through their inclusion in a library-licensed resource, the enhanced discoverability for users who might not otherwise land on these titles through a general Web search, and in some cases improved readability of EBSCO’s HTML text...
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