Archives of Traditional Music | |
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Established | 1954 |
Location | Bloomington, IN, U.S. |
Coordinates | 39°09′55″N86°31′11″W / 39.16528°N 86.51972°W Coordinates: 39°09′55″N86°31′11″W / 39.16528°N 86.51972°W |
Branches | N/A |
Collection | |
Size | More than 100,000 recordings including nearly 7000 wax cylinders, 4600 lacquer discs, 2625 aluminum discs, 250 wires, 18,000 open reel tapes, 7500 audiocassettes, 911 films, and 1500 video recordings. The Archives holds over 2700 collections of field recordings and over 24,300 commercial recordings. [1] |
Access and use | |
Circulation | Archives do not publicly circulate |
Population served | 48,514 faculty, staff, and students at Indiana University Bloomington, additional scholars, and members of the public |
Other information | |
Director | Alan Burdette |
Website | https://www.libraries.indiana.edu/archives-traditional-music |
The Indiana University Archives of Traditional Music holds over 100,000 individual audio and video recordings across over 3500 collections of field, broadcast, and commercial recordings. Its holdings are primarily focused on audiovisual recordings relating to research in the academic disciplines of ethnomusicology, folklore, anthropology, linguistics, and various area studies.
The archive was initiated by George Herzog at Columbia University in 1936. It was modeled on the Berliner Phonogramm-Archiv, where Herzog had worked as an assistant to Erich M. von Hornbostel from 1921 to 1924. Herzog brought the nascent archive to Indiana University in 1948 [2] when he was appointed as professor in the Department of Anthropology. The archive was formally established at Indiana University in 1954 under its second director, George List, as the Archives of Folk and Primitive Music. Its present name, the Archives of Traditional Music, was adopted in 1964 when it became a division of the Folklore Institute. [3]
Date | Name | Notes |
---|---|---|
1948–1954 | George Herzog | |
1954–1977 | George List | |
1977–1981 | Frank Gillis | |
1981–1982 | Ronald Smith | Acting Director |
1982–1988 | Anthony Seeger | |
1988–1995 | Ruth M. Stone | |
1995–2000 | Gloria J. Gibson | |
2000–2002 | Ruth M. Stone | Interim Director |
2002–2007 | Daniel Reed | |
2007–present | Alan Burdette |
Holdings of the Archives of Traditional Music are cataloged at the collection level as MARC records within the Indiana University online library catalog, IUCAT. These can be searched through http://iucat.iu.edu. Using the "advanced search" capabilities of IUCAT, a user can restrict a search to only ATM Library holdings. Commercial recordings as well as many broadcast recordings are cataloged at the item level, which means there is one catalog record per physical item. Field collections, on the other hand, may consist of hundreds of recordings as well as photographs, field notes, and other materials.
Year Inducted | Title | Composer/Recorder | Year Recorded | Notes |
---|---|---|---|---|
2017 | Standing Rock Reservation Recordings | Yanktonai-Dakota singers recorded by George Herzog | 1928 | Field recordings on 195 phonograph cylinders |
2013 | Songs sung by Kwakwaka'wakw (Kwakiutl) Chief Dan Cranmer | Franz Boas and George Herzog, Interviewers | 1938 | Field recordings on 22 aluminum discs |
2006 | Interviews with William "Billy" Bell, representing the Edward D. Ives Collection | William "Billy" Bell recorded by Edward D. ("Sandy") Ives | 1928 | Field recordings on 28 open reel tapes; (other recordings also held at Maine Folklife Center, University of Maine) |
2005 | Listen to the Lambs (single) | Hampton Quartette, recorded by Natalie Curtis Burlin | 1917 | Field recording in a collection of 15 phonograph cylinders |
2004 | Stardust (single) | Hoagy Carmichael | 1927 | Pop, pre-1955; manuscript held in the archive |
2004 | Rosina Cohen oral narrative from the Lorenzo Dow Turner Collection | Rosina Cohen, Lorenzo D. Turner | 1932 | Field recording in a collection of 154 aluminum disc recordings from the U.S. Sea Islands |
2003 | Johnson (Guy B.) Cylinder recordings of African-American music | Guy B. Johnson | 1920s | Field recordings on 8 phonograph cylinders |
Following insights gained through the Sound Directions Project about a looming crisis in time-based media preservation, staff at the ATM pursued a collaborative strategy for saving its media holdings. In 2008, they participated in a small coalition of archivists and librarians at Indiana University that began a survey of the audio-visual materials held on the Bloomington Campus. The survey was prompted by the recognition that the university held a large amount of time-based media in danger of deterioration and playback obsolescence. This survey revealed that the Bloomington campus held more than a half-million audiovisual recordings across eighty units and that large portions of the university's holdings were at risk for loss. Following the publication of a survey report in 2009, the Office of the Vice Provost for Research funded a preservation planning document under the aegis of what was known as the Media Preservation Initiative (MPI). [4] Based on the recommendations of the planning document, Indiana University President Michael McRobbie announced a 15 million dollar commitment to the preservation of audio and video recordings on the Bloomington campus. The resulting endeavor was renamed the Media Preservation and Digitization Initiative (MDPI) which formed a partnership with Memnon Archiving Services to digitally preserve 280,000 audio and video recordings by 2020. [5] In 2017, 12,000 films from Indiana University's Moving Image Archives and other campus collections, including the Archives of Traditional Music, were added to the efforts of MDPI. As the largest holder of unique and rare audiovisual recordings at Indiana University, nearly all of the archives' 100,000 recordings will be digitized by 2020 through this initiative. MDPI was the first – and as of 2018 the only – university-based media preservation effort in the United States on this scale.
The AHEYM Project has collected nearly 400 interviews related to Jewish life before, during, and after World War II. Conducted primarily in Yiddish, the interviewees come from small towns throughout Ukraine, Moldova, Romania, Hungary and Slovakia. The current online exhibit cover daily life, foodways, Jewish life between the wars, religion, World War II and the Holocaust, and Jewish life after World War II. The archive can be explored by location, person, or subject. [6] Preservation and cataloging of AHEYM Project recordings was funded by the National Endowment for the Humanities.
The EVIA Digital Archive is a project created to host a digital archive of ethnographic videos for educational use. The projected originated from a collaboration between Indiana University and University of Michigan. [7]
EM publishes books and supplemental audiovisual material on Ethnomusicology in order to aid scholars in research. EM offers access to Annotation Management System (AMS), which allows authors to upload audiovisual material and link it to content in their text. EM is a joint project between Indiana and Temple Universities. [8]
The Hoagy Carmichael Project at Indiana University was a project funded by IMLS between 1999 and 2000 to digitize and preserve the extensive collection of items related to Hoagy Carmichael that are housed at Indiana University. This early digital collection website aimed to present in its entirety the complete Carmichael collection. The collection contains sound recordings, letters, photographs, lyric sheets, correspondence, as well as personal effects. It offers a biography and a virtual tour of the Carmichael Room located at the Archives of Traditional Music. [9]
The Liberian Collection was established in 2002. The Archives of Traditional Music is home to the audiovisual part of the collection. [10]
The Sound Directions Project was a joint project between Indiana University's Archives of Traditional Music and Harvard University's Archive of World Music and funded by the National Endowment for the Humanities between 2005 and 2011. Phase 1 consisted of testing and determining the best practices and workflows for digital audio preservation. The following two phases focused on the preservation of archive holdings and on the development of software tools for media assessment and technical metadata collection. [11]
Hoagland Howard Carmichael was an American musician, composer, songwriter, actor and lawyer. Carmichael was one of the most successful Tin Pan Alley songwriters of the 1930s, and was among the first singer-songwriters in the age of mass media to utilize new communication technologies such as television, electronic microphones, and sound recordings.
Indiana University Bloomington is a public research university in Bloomington, Indiana. It is the flagship campus of Indiana University and, with over 40,000 students, its largest campus.
The Cylinder Audio Archive is a free digital collection maintained by the University of California, Santa Barbara Library with streaming and downloadable versions of over 10,000 phonograph cylinders manufactured between 1893 and the mid-1920s. The Archive began in November 2003 as the successor of the earlier Cylinder Preservation and Digitization Pilot Project.
"Washboard Blues" is a popular jazz song written by Hoagy Carmichael, Fred B. Callahan and Irving Mills. It was first recorded for Gennett Records in May, 1925 by Hitch's Happy Harmonists with Carmichael on piano. It was subsequently recorded by jazz bands Original Memphis Five (1925) and Red Nichols and his Five Pennies (1926).
Laura Boulton was an American ethnomusicologist. She is known for the many field recordings, films and photographs of traditional music and its performances and practitioners from Egypt, the Sudan, Uganda, Kenya and Tanganyika. Boulton also collected traditional musical instruments around the world. In her work with the National Film Board of Canada (NFB) during the Second World War, she is recognized as being a pioneer for women who work in the film industry.
Oral history preservation is the field that deals with the care and upkeep of oral history materials, whatever format they may be in. Oral history is a method of historical documentation, using interviews with living survivors of the time being investigated. Oral history often touches on topics scarcely touched on by written documents, and by doing so, fills in the gaps of records that make up early historical documents.
The Association for Recorded Sound Collections (ARSC) is a nonprofit organization dedicated to the preservation and study of sound recordings. Established in 1966, members include record collectors, discographers, and audio engineers, together with librarians, curators, archivists, and researchers.
The Audio-Visual Preservation Trust of Canada. originally the Alliance for the Preservation of Canada's Audio-Visual Heritage, was a charitable non-profit organization dedicated to promoting the preservation of Canada's audiovisual heritage, and to facilitating access to regional and national collections through partnerships with members of Canada's audiovisual community.
Frank J. Gillis was an American jazz pianist, ethnomusicologist and bibliographer.
Music librarianship is the area of librarianship that pertains to music collections and their development, cataloging, preservation and maintenance, as well as reference issues connected with musical works and music literature. Music librarians usually have degrees in both music and librarianship. Music librarians deal with standard librarianship duties such as cataloging and reference, but the addition of music scores and recordings to collections complicates these tasks. Therefore, music librarians generally read music and have at least a basic understanding of both music theory and music history to aid in their duties.
The Lilly Library, located on the campus of Indiana University in Bloomington, Indiana, is an important rare book and manuscript library in the United States. At its dedication on October 3, 1960, the library contained a collection of 20,000 books, 17,000 manuscripts, more than fifty oil paintings, and 300 prints. Currently, the Lilly Library has 8.5 million manuscripts, 450,000 books, 60,000 comic books, 16,000 mini books, 35,000 puzzles, and 150,000 sheets of music.
Indiana University (IU) is a system of public universities in the U.S. state of Indiana.
Jason Baird Jackson, Ph.D. is Professor of Folklore and Anthropology at Indiana University Bloomington. He is "an advocate of open access issues and works for scholarly communications and scholarly publishing projects." At IUB, he has served as Chair of the Department of Folklore and Ethnomusicology and as Director of the Folklore Institute. According to the Journal of American Folklore, "Jason Baird Jackson establishes himself as one of the foremost scholars in American Indian studies today."
Folklore Institute refers to the folklore studies program of Indiana University Bloomington (USA). The Folklore Institute, together with the Ethnomusicology Institute, constitute the larger Department of Folklore and Ethnomusicology. The Department of Folklore and Ethnomusicology is a unit of the College of Arts and Sciences.
The National Recording Preservation Plan is a strategic guide for the preservation of sound recordings in the United States. It was published in December 2012 by the Council on Library and Information Resources (CLIR) and the National Recording Preservation Board of the Library of Congress. The plan was written by a community of specialists, but is prominently credited to Brenda Nelson-Strauss, Alan Gevinson and Sam Brylawski
The Ethnographic Video for Instruction and Analysis (EVIA) Digital Archive Project is a collaborative project that aims to create a digital registry of ethnographic field video for use by instructors and scholars. It is a collection of digitized, unedited videos which represent ethnographic research and its corresponding scholarly documentation. Collections gathered by EVIA Project include a diverse range of traditions from around the world.
The Indiana University Libraries Moving Image Archive (IULMIA) is a major repository for nontheatrical film, video, and related archival materials located in Bloomington, Indiana.
Mathers Museum of World Cultures was a museum of ethnography and cultural history that features exhibitions of traditional and folk arts at Indiana University in Bloomington, Indiana. It also offered practicum studies at the university for graduate and undergraduate students. The museum also worked to promote local artists. In 2020, the Mathers Museum officially merged with the Glenn A. Black Laboratory of Archaeology and was closed for renovations. The combined institutions are now the new Indiana University Museum of Archaeology and Anthropology (IUMAA). Located at 416 North Indiana Avenue, the IUMAA is scheduled to reopen in 2023.
The Indiana University Archives of African American Music and Culture (AAAMC), established in 1991, is a material repository covering a range of African American musical idioms and cultural expressions from the post-World War II era. The collections highlight popular, religious, and classical music, with genres ranging from blues and gospel to R&B and contemporary hip hop. The AAAMC also houses extensive materials related to the documentation of Black radio.
The Archives of the Languages of the World is a collection of sound recordings and documentation held at the Archives of Traditional Music at Indiana University, Bloomington, focused on documenting endangered languages around the world, particularly from the Americas. The collection is also known as the C.F. and F.M. Voegelin Archives of the Languages of the World.