The 2019 IAML Congress in Krakow: Brilliant Ideas in a Beautiful Historical Setting

As former capital of Poland and site of many historical buildings and architectural marvels, Krakow has been attracting visitors from around the globe for centuries. This July it drew in music librarians, musicologists and heritage sector professionals in particular. They all had the same destination: the Auditorium Maximum of the second oldest university in Central and Eastern Europe, re-named and re-founded by King Vladislaus Jagiełło almost exactly 619 years before hosting the 2019 IAML Congress.

I was lucky to be able to join the crowd pouring into this modern campus extension on the second and third day of the conference, thanks to funding from the Music Libraries Trust and a favourable reference from the Saxon State and University Library (SLUB) Dresden, whose Specialised Information Service for Musicology (musiconn) I have been supporting as a freelance after taking my leave from York St John University Library this April. Since then I have been responsible for clearing rights for one of the SLUB’s open access initiatives and for putting concert data into its newly developed musiconn.performance database. My fascination with music performance ephemera goes back 10 years further, however, when I read about the British Concert Programmes Project on the IAML website. At that time I was in the early stages of writing my PhD thesis on Mendelssohn, but already decided there and then to turn my musicological interests towards becoming a music library professional after graduation.

Since my attendance at this year’s IAML congress coincided with another imminent thesis submission – this time in order to complete my Master’s degree in Library and Information Science – I decided to make the best of it and chose to attend sessions which revolved around topics most relevant to my work and studies. Monday’s opening session was particularly interesting for me since it focused on music librarians’ and musicologists’ endeavours to re-discover, preserve and publish Polish music, some of which has been buried away in musical archives across continental Europe for 150 years. Their ongoing and committed search for the still lost scores of Polish composers such as Adolf Konrad Gużewski brought back memories to me of my own ventures into music archives in Greece in 2015 and 2016. At that time I conducted a trans-Continental scoping study in order to trace materials related to Mendelssohn’s counterpoint student Camille-Marie Stamaty and other Hellenic composers of the long nineteenth century. Thinking of Mendelssohn’s own music revivals, I am convinced that he would have loved to witness performances of re-discovered Polish musical works, as they have been featured at the International Music Festival Chopin and his Europe for several years, thanks to the concerted efforts of Artur Szklener and the artistic department of the Fryderyk Chopin Institute in Warsaw.

During coffee break I gained insights into the state of music librarianship further afar. Yifan Yu and Bin Han from the Shanghai Conservatory of Music Library told me more about China’s music libraries which are affiliated with its independent music conservatories. According to them, library staff at these institutions is rarely trained in both music and library science. Beyond that, even though library science can be studied at many universities and colleges within the country, it is practically impossible to specialize in music or any other field of librarianship while doing so. As a result, professional discourse on classification schemes for music and other issues of music librarianship is sparse across the workforce. In Greece this – in some ways previously similar – situation has improved over the years within the framework of the Hellenic Academic Music Libraries Cooperative Scheme (HAMLC) and more recent efforts to complete a nation-wide transition from AACR2 to RDA, as I found out in the following session exploring ways of “Preserving music collections and facilitating discovery”. Aris Bazmadelis, music librarian at the Aristotle University of Thessaloniki and former President of the Greek IAML branch, introduced the scheme on his own since his colleague Maria Aslanidi from the Archive of Greek Music at the Ionian University in Corfu could not be present. I still remember both of them well from my time in Greece, since their knowledge and expertise had steered my research on Thessalonician composers such as Dimitrios Lalas and Emilios Riadis in the right direction. Thanks to them and their colleagues at the “Lilian Voudouri” Music Library of Greece in Athens, communication and collaborations between Greek academic music libraries are finally increasing. When I remember their initiative and vigour, I can only agree with Aris’ quote of the English author Ashleigh Brilliant: “Good ideas are common — what’s uncommon are people who’ll work hard enough to bring them about.”

Other highlights I was able to catch on Monday included an afternoon session on open access and research impact schemes, a working meeting of the Study Group on Access to Performance Ephemera, and an evening concert at the Basilica of St. Francis of Assisi. Before enjoying the concert premiere of Józef Nowakowski’s Quintet in E flat major, Op. 17, I was thrilled to find out about the SPARC Coalition which supports affiliated institutions in their intention to make scholarly publications and other academic resources available for open access. Australian partnership models for librarians and music researchers presented by Georgina Binns also caught my full attention and enthusiasm. New service models at her home institution, the library of the University of Melbourne, allow music librarians to support researchers and academics in a truly partnership-driven role. RILAS, their Research Impact Library Advisory Service, provides users with guidance on how to engage with recent research evaluation tools and measures in order to make their research grant and academic promotion applications more sustainable and lucrative.

Partnerships and issues of collaboration were also discussed subsequently by IAML’s Study Group on Access to Performance Ephemera (whom I have joined last year) in the context of present and anticipated concert database projects. Integrative performance databases unquestionably rely on an overwhelming amount of data and materials. Hence, there is a clear necessity for libraries, publishers, research teams and HE institutions to collaborate with each other and to harvest data from existing orchestra management tools as well as digital archives and portals of concert venues. This thought was further substantiated in Tuesday’s morning session on Digital Scholarship, when André Avorio presented Alexander Street’s new Performance History Project. Currently in its beta version, his team’s events database uses its own identifiers in order to bring together performance data from the Weimar Playbill Database, the Open Music Library (OML) and the Royal Opera House. At the same time, it provides charts and diagrams which illustrate these data based on their origin and the composer performed. Back home in Durham (and fully recovered from a sprained ankle which had put a premature end to my active conference participation at Jagiellonian University), I was able to conclude my Master’s thesis with a broader discussion of such visual strategies to extend the scope of the German musiconn.performance database. Now that this task is done, I deeply regret not to have spent more time in Krakow with old and new friends from the international IAML community. Hopefully next year’s IAML Congress will provide more opportunities for doing so – let’s meet in Prague in 2020 and find out!

Sabine Koch, Research Assistant, Saxon State and University Library (SLUB) Dresden

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Don’t miss the Public Libraries Seminar

The 2019 Music in Public Libraries Seminar will take place on Friday 27th September from 1pm to 4.30pm in the ground floor Committee Room of Loxley House, Station Street, Nottingham, close to Nottingham railway station and the city centre.

Loxley House, Nottingham

Nottingham is easy to reach by public transport from many areas of the UK.

The seminar is primarily intended for library staff who work with music, in all its aspects, in a public library setting for some or all of their working week, but is open to everyone. The seminar is free to attend.

The afternoon will include talks by Christopher Scobie, Curator for Music Manuscripts at the British Library, on IAML’s resource discovery databases (Cecilia and the Concert Programmes database), and by Anna Wright, past president of IAML (UK & Irl), on current trends in performance set provision in the UK. Anna will also provide an update on the Surrey/NewSPALS situation. (If you don’t know what that is, why not come along and find out?)

For further information and bookings please contact Ros Edwards at or by phone at 0161 234 1976

There is plenty of space for other talks/presentations during the afternoon, so if you have introduced a new service, want to report on a project in your library, or simply share some library news, please do let Ros know. The Public Libraries Seminar is an important networking opportunity for music staff in public libraries. Don’t miss out! 

Ros Edwards, Henry Watson Music Library, Manchester

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Hunting for dragons, CAM(e)L(s), and musical lions in Krakow

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The morning commute to the IAML Congress along the bank of the Vistula.

I’ve just returned from a delightful fortnight in Krakow, part business, part holiday. The business part, thanks to Cambridge University Library, and the Music Libraries Trust, was spent at IAML’s annual congress. Having been involved with IAML (UK & Ireland) for some years on various committees, I, along with the rest of the UL and Pendlebury team, have attended a few of their Annual Study Weekends, but this was my first opportunity to meet the worldwide community of, what is popularly known as “Big” IAML.

So one thundery day in July, music librarians and archivists from all over the world assembled at the Jagellonian University‘s Auditorium Maximum. They came from all over Europe, with a huge contingent this year from Eastern Europe, from the United States and Canada, Hong Kong, Japan, New Zealand and Australia. From national libraries, universities, conservatoires, museums, and specialist collections. Some were retired, but delighted in returning each year to meet old friends, while some, like myself, were first-timers. All had a shared passion for music collections.

Proceedings opened with greetings to first time Congress attendees, I had been paired up with a mentor from Toronto – Janneka Guise (photo top right), and became an honorary member of CAML (the Canadian Association of Music Libraries, surely one of the coolest acronyms around) for the week. I was delighted to discover that CAML really do have their own camel mascot, who attends music library conferences regularly, including the one in Krakow.

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Members of CAML in Krakow

After the opening reception, it was time for some early Polish music, before jet-lagged librarians headed back to their hotels.The following day we were back again to talk, meet, and listen. It was a great opportunity to meet publishers and suppliers, and chat to other librarians about music library related issues. It’s amazing what you find out – from the lost music of Central Europe, and the effects of war on cultural heritage, to the papers of Alma Rose (Mahler’s niece) in Canada; one of the last music hand copyists in a conservatoire in London, and recollections of war and music in Australia.

A fascinating range of Polish music was on show throughout the week. Papers discussed the dissemination of music through Central Europe, and included the unexpected role of the Jesuits in this, and also introduced us to the “Mozarts” of Krakow and Warsaw; while evening concerts regularly featured music that was previously unknown to many of us. I particularly enjoyed Tuesday evening’s organ recital in the beautiful St. Anne’s church with its mix of J.S. and C.P.E. Bach, along with lesser known local composers.

On the Tuesday afternoon I went to the Paderewski Institute, and was able to admire Paderewski’s library (he was a fan of British adventure stories). It was librarian heaven as the shelving in the current music section, dated from a previous owner with an interest in French history, as was evident from the directions on the cases. This, combined with old, but sturdy library ladders, gave everyone a good dose of nostalgia.

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Thursday was the highlight of my week. In the morning there was a visit to the wonderful Jagellonian library. Every librarian was entranced by the book lift, a clever system which collected books from their relevant area, and, via a series of overhead tracks and a specialist book box, delivered them safely to the appropriate reading room. There were coos of delight as the book lift sprang into action, and sped off to the correct area of the building.

The staff at the Jagellonian had arranged an extraordinary exhibition for the Congress, featuring many of their star manuscripts including such musical lions as Beethoven, Mozart, and Chopin autographs. My special moment came when I saw the opening of Bach’s Double violin concerto, one of my favourite works, in his own hand. It felt very special to hold my hand above it, only separated by a few inches of glass.

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That afternoon I gave a paper about the lives of British music copyists in the early-mid twentieth century. I was feeling rather nervous, but didn’t need to be as it was a very supportive audience. The paper immediately before mine had been very interesting – auditions at the Metropolitan Opera, and the African-American singers who auditioned in the 20th century. In fact so interesting, that it largely took my mind off my own nerves.

If Thursday was the highlight for me, there were many other sessions that I thoroughly enjoyed. The Copyright working group that I had the opportunity to sit in on, gave an insight into forthcoming changes in the law, and was also a chance to see what happened with copyright across the world. Another working group on Performance ephemera ranged across all sorts of material that might be useful in charting a history of performance from concert programmes to diary entries, letters, and doodles on programmes.

The last day of the Congress came all too soon. There was a chance to buy a last piece of musical memorabilia, before heading off to the beautiful Royal Castle of Niepołomice to talk, eat, dance, and relive memories of the week.

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Musical memorabilia

One of the very best things about the Congress was the opportunity to meet so many music librarians, to put faces to familiar names, to discuss issues in music librarianship, and to learn that some problems are truly universal.

Music librarians (if I say so myself) are an enthusiastic bunch, who love to share their enthusiasms with others. We also enjoy being musical sleuths, as many of the papers this week demonstrated, whether it was finding lost pieces of music, or resurrecting the lives of forgotten musicians. It was a fascinating week, that raced by. One colleague, who had attended many Congresses, said to me early in the week that one Congress was never enough. I suspect that he may be right.

And so, it was back to my hotel in the south of Krakow for the final time, passing Smok, the dragon, the symbol of the city, having had a wonderful week and along the way finding dragons, cam(e)l(s), and musical lions.

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Smok, the fire-breathing dragon of Krakow.
Public domain via Wikimedia Commons

Margaret Jones, Music Collections Supervisor, Cambridge University Library

IAML (UK & Irl) Blog editor.

Previously published on the blog of Cambridge University Library, Music Department’s blog MusiCB3.

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‘It’s (Not) Only Rock ‘n’ Roll’ at Barbican Music Library

This exhibition showcases the music photography of Mark Allan, who has spent over 30 years in the music and entertainment photography business. David Bowie, Lady Gaga, Tina Turner, The Rolling Stones, and Jay-Z are just some of the leading performers and groups which feature among the 72 images on display.

© Michael Southwell

Other highlights in the free exhibition include Freddie Mercury on stage at Live Aid, and U2, who were photographed backstage at the Manchester Etihad Stadium for the Radio Times ‘Live 8’ cover. The images, in both black-and-white and colour, span the full breadth of Mark’s career and include examples of his early work, such as George Michael’s first solo show in Tokyo in 1988, as well as more recent photos of artists such as Stormzy and Childish Gambino.

Copyright Mark Allan
Copyright Mark Allan

Mark has worked with a range of broadcasters including ITV, Channel 4 and MTV, as well as for magazines such as Mixmag, Q, and Select. For much of the last decade he has documented performances for the BBC, many of them at Maida Vale Studios, for shows such as Zane Lowe, Annie Mac, and Live Lounge. As well as taking location and studio portraits and photographing live performances, he has also covered major events such as the Royal Wedding and the London Olympics. He is a regular photographer at the Barbican Centre, and a section of the exhibition features his images of renowned conductors – including Bernard Haitink, Mariss Jansons, and Sir Simon Rattle – which were taken during live concerts.

Copyright Mark Allan

The display cabinets and plinths contain a selection of the concert tickets and backstage passes which Mark has accumulated over the years, as well as a few of the Nikon cameras that he used before the advent of digital photography.                                                          

Copyright Michael Southwell

Mark Allan said: “There’s as much drama and excitement in a classical music performance at the Barbican as there is at a rock concert at Wembley, and I hope that this exhibition will convey some sense of that, and how it feels to be there. Since the 1980s, I’ve been hugely privileged to work with some legendary performers, many of them featured in this show at Barbican Music Library, so I hope that visitors will enjoy the selection of images that I’ve chosen.”

A private view was held in April which was attended by a number of prominent rock photographers and various representatives from the music industry.


‘It’s (Not) Only Rock ‘n’ Roll’ – the music photography of Mark Allan, which runs until June 29th, was curated by Mark Allan and Michael Southwell (Principal Library Assistant, Barbican Music Library).

Richard L. Jones

(Music Librarian, Barbican Music Library)


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Excellence Abounds

IAML (UK & Irl) celebrated both institutional and individual excellence at the Excellence Awards ceremony held at College Court, Leicester on Sunday 14th April 2019.

The Excellence Awards are presented every three years and acknowledge activity in music libraries which demonstrates sustained good work and good practice with the potential to be adopted and adapted by others. Music collections from any sector in the UK and Ireland can be nominated for the Award, no matter what their sector, size or type.

The range of music libraries in the UK and Ireland is diverse. No two are alike, each reflecting, supporting and engaging its own user community with a range of collections and services which underpin the vibrant diverse musical life and heritage in the UK and Ireland. This variety was reflected in the range of libraries receiving the Excellence Award in 2019.

New for the 2019 Awards – institutions which were judged to have achieved the highest standard of Excellence in all compulsory criteria were eligible for an Excellence Award “with distinction”. Congratulations to the Gerald Coke Handel Collection and the Royal Northern College of Music Library which both received the Excellence Award for Music Libraries – With Distinction.

Katharine Hogg of the Gerald Coke Handel Collection
Staff of the Royal Northern College of Music

The Awards also recognise outstanding personal achievement by individuals with two Personal Achievement Awards being given in 2019 – so, again, congratulations to Claire Marsh (Leeds College of Music) and Jude Paton (Nottingham Performing Arts Library Service) on receiving this Award.

Claire Marsh of Leeds College of Music
Jude Paton of Nottingham Performing Arts Library Service

The nominations for the 2019 Awards were judged by a panel of experts from both the music and library worlds, chaired by Dr Charles Inskip, Senior lecturer, Programme Director, MA Library and Information Studies, Department of Information Studies, University College London.

The full list of the 2019 Excellence Award winners is listed here – 11 institutional libraries and 2 individuals:

Excellence Award for Music Libraries – With Distinction

  • Gerald Coke Handel Collection
  • Royal Northern College of Music Library

Excellence Award for Music Libraries

  • Cardiff University Music Library
  • City of London: Barbican Music Library
  • Community & Youth Music Library (CYML)
  • Henry Watson Music Library, Manchester
  • Jerwood Library (Trinity Laban)
  • Nottingham Performing Arts Library Service (NPALS)
  • OUP Music Hire Library
  • Royal College of Music Library
  • Trinity College Dublin Music Library

Personal Achievement Award

  • Claire Marsh (Leeds College of Music)
  • Jude Paton (Nottingham Performing Arts Library Service)

Citations for the Awards can be seen here.

IAML Award winners

Frances Allott, Convenor, 2019 Excellence Awards

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Bursary report

In the latest of a series of blogs about the recent ASW. An insight into a maiden ASW from Masters student, Kirsty Morgan…

Having received the Music Library Trust bursary, I was very lucky and pleased to be able to attend IAML’s Annual Study Weekend in Leicester this year – and what an amazing and enlightening experience it was. As a music graduate, studying an Information and Library Studies Masters at the University of Strathclyde while also really enjoying working supply in public libraries, I am keen to work towards a career in music librarianship. This study weekend was, therefore, a fantastic opportunity to discover more about music librarianship, learn about some of the current issues surrounding music libraries, and meet and chat with very friendly and knowledgeable people who already work in the field.

This was my first conference so I found the buddy system, where first-time study weekend attendees are paired with someone who is more familiar with the conferences, to be a really helpful entry point. I was immediately put at ease and welcomed into the very inclusive atmosphere, and it was exciting to be surrounded by such an intense wealth of musical expertise and passion. I was a little intimidated, but mostly inspired by the high level of musical knowledge that everyone I talked to at the conference had; I am now a lot more familiar with the broad range of music provision and encoding software, Indian singing practices and necessary considerations for providing musical scores to suit performers’ requirements. The group-wide discussion on the challenges and decisions around printed music vs. digital tablets was fascinating, raising issues that I hadn’t considered before around licencing, performer preference and accessibility for disabled performers. The musical conversations were pervasive throughout the three days, even outwith the presentations and workshops, which I absolutely loved. In fact, it was the first evening at dinner, when one of the people at my table described the weather as “like the second act of Into The Woods”, that I felt like I was definitely in the right place!

I was interested when library concepts that I’d studied on my Masters course came up. The recurrence of copyright concerns throughout the study weekend really highlighted to me how particularly central copyright is within music libraries – and I was grateful that my Masters course had provided me with an up-to-date grounding in copyright law. I liked the framing of music publishers and music librarians as on the same side, working to provide a fair outcome for both composers and performers, and I think it will help me in my future library roles to be better able to visualise copyright conversations in this light.

Talking with other librarians also showed me that there’s a library vocabulary that I hadn’t realised my course had given me – describing a website as using faceted classification, for example, or being able to recognise Linked Data. My Masters dissertation, which I’m currently working on, examines using Linked Data to make smaller archives more visible online, so I found the British Library’s Digital Delius talk and the talk from the Vaughan Williams library about making folk music more accessible online to be particularly relevant. While I was already aware that these kinds of projects require a high level of financial and resource investment, both of these talks really drove home for me the vast extent of such an enterprise. I think this will really help any suggestions my dissertation makes for archives with fewer resources to be realistic. In addition, having made contact with the speakers of these talks, and learned about their projects, I feel it would be useful for me to contact them during my research to request interviews, in order to broaden the perspectives I can discuss and make my dissertation the best it can be!

Cecil Sharp House. Home of the Vaughan Williams Memorial Library.

It was exciting to discover the wide variety of roles that music library professionals could hold. Alongside academic subject librarians, conservatoire librarians, and music librarians from public libraries were music publishers, performance librarians and music archivists. I was very interested to hear about the Cecilia database, which aims to provide information about every musical collection in the UK. Although I can see many possible uses for such a database, for my current situation as a graduate looking to enter the music librarianship field, this resource will be invaluable for guiding me towards institutions that I can follow for job openings. I’d actually tried to find a resource like this when job searching in the past but despite Googling various search queries along the lines of “list of music libraries UK” and similar, I never found the Cecilia database – and, without attending the conference, I’d have probably never found it. If IAML decides to continue to support such a database, I think it might be worth examining how the database could be more widely publicised outside the IAML community and optimised for search engines.


A talk on the final day discussed the challenges of recruiting Library Studies graduates into music libraries, and the considerations raised were really informative. Music libraries need librarians who are knowledgeable about music, but they also require them to understand library systems. Although there are American music library courses, Aberystwyth is the only British university that provides specific music library training – in a single module. While I agree with the speaker that it wouldn’t be especially feasible to devote an entire postgraduate course to music librarianship due to the small number of students who would be interested, able and willing to narrow their scope so early in their career path, I will say that it was really nice to meet a few other students from different library courses across the UK who are also interested in music librarianship and I enjoyed finding out about the differences between the modules that the other library courses offer.

The weekend provided an insight into the world of music librarianship and really cemented for me that this was a profession and community that I want to be part of. All that remains, I think, is to thank IAML, the Music Library Trust, and my sponsors Stainer & Bell for providing me with this fantastic opportunity; and thank you to everyone who attended this year’s conference for being really friendly and making me feel welcome.

Kirsty Morgan (University of Strathclyde)

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IAML ASW Dining Hall Table decoration
Table decorations in the Dining Hall, College Court

On a sunny Friday afternoon, Kate and I set off from Cambridge for College Court, Leicester for the IAML Annual Study Weekend.  It was a great chance to meet other colleagues working in music libraries and to put some faces to names.  After settling in to our rooms in College Court – a purpose built conference centre for the University of Leicester – we headed to the meeting rooms to hear firstly about orchestral & hire libraries and then about a BL Discovering Music exhibition.
Interesting to learn that the hire of a work/parts does not convey rights of performance with choreography, costumes etc.  This is aimed at preventing hirers from performing extracts (staged) without getting a licence from the Performing Rights Society.  A fascinating talk by Georgina Govier, Head of Music Library, Welsh National Opera, described what her job entails, including coming to the rescue with lost parts for last-minute panicking conductors and negotiating performance rights and licence fees.

IAML ASW Cecilia Anniversary cake
Cecilia 20th anniversary cake!

Saturday morning started bright and early with news and updates before a talk from local musician and teacher Viram Jasami of the Asian Music Circuit gave us an insight into the relevance of South Asian Music in the 21st century.

A look at Cecilia and other IAML databases followed, with attendees being encouraged to promote these to their students, before a coffee break with cake to celebrate the 20th anniversary of the Cecilia database.  Cake featured quite highly throughout the weekend, it has to be said!

Lauren Smyth of the Vaughan Williams Memorial Library discussed the project to make folk songs findable, using digitisation projects and tools to aid discovery.  Their “Take 6” pilot project of digitising six of their own items and then taking them on outreach projects was a successful idea, which led to them being able to bid for more funds for “The Full English” project.

A useful session by Peter Linnitt of the Royal College of Music Library investigated digital sheet music options of libraries, which looked at what is commercially available, what is (or is not) affordable and what sort of licencing arrangements are being looked at for libraries and institutions.  Ultimately, our library users want the widest range of decent scores available digitally and not have to rely solely on IMSLP which has out of copyright (and therefore older) scores.

An afternoon session offered a practical insight into South Asian Music with Viram Jasami, with lots of participation and was very much enjoyed by the attendees.  Taking “God Rest ye Merry Gentlemen” as a tune that everyone would know, he then split it up into sections to sing as a Raag with drone accompaniment – the braver souls attempted to then sing it!

Saturday evening we attended a reception hosted by Cramer Music followed by the conference dinner which was delicious.  Lots of networking in the bar followed late into the evening…

IAML ASW E T Bryant Kate Crane
Kate Crane, E. T. Bryant Joint Prizewinner 2019

Sunday morning saw us back in the meeting rooms after a hearty breakfast for more news and updates.  Charles Inskip, Department of Information Studies, University College London was the next speaker, talking about the challenges of attracting new graduate trainees into Music Librarianship.  He encouraged the audience to offer their services to local institutions teaching librarianship, by giving talks, career sessions to encourage students.

Finally, the AGM where the Oldman and E. T. Bryant prizes were presented and excellence awards for library institutions and individuals.  Congratulations to Kate on her award!

Finally – the last word goes to the Easter
“Pick-n-Mix” – thanks College Court!

Easter pick-n-mix at the IAML ASW 2019

Helen Snelling & Kate Crane – Pendlebury Library of Music/University Library Music Department, Cambridge.

Previously published on the MusiCB3 blog of Cambridge University Library Music Collections.

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