Museums of Music: A Review of Musical Collections in the United Kingdom
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Acquisitions and collecting care and use of collections interpretation national collections recommendations and conclusions contributors to review collections listed.Keywords:
Kingdom
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As well as its museums, galleries and libraries, the University of Melbourne owns a number of other research and historical collections available to students, staff and the wider community.
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Museum education
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Statement 1 : South African museums are not engaging in contemporary collecting
Statement 2 : Three-dimensional objects have been overlooked when creating museum exhibitions
Statement 3 : Past collections are not relevant to the majority of South Africans
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Private music collections and archives are an important part of the holdings of the National Library (NL) of Estonia. The article presents an overview of seven private music collections stored in the Library. The author analyses their composition, characterizes the most significant publications and presents biographical information about the creators. The history of the deposited collections is considered in the context of the history of the NL of Estonia and formation of the Music Department. In 1959, based on the existing collection of musical literature in the NL of Estonia, founded in 1918, the Music Department was established and the service of readers was organized. The priority in acquisition of music collections were the works by Estonian composers and recordings of Estonian musicians, as well as retrospective publications. The pride and glory of the Music Department are complete collections and private archives. The NL became the holder of 40 different private collections and archives of organizations, including 14 private collections related to music. These are the private libraries and manuscript collections of six composers, music and recording collections of two opera performers, creative archives of two conductors and one pianist. The collections have reached the NL in different ways: the Library accepted the first two in the 1960s, the next eight came only in the 1990s, and four have been added to the holdings over the last ten years. The author emphasizes the cultural significance of the collections: they enrich the Library’s collections and are important for the Estonian nation. Each collection carries valuable information about its owner, gives joy of new discoveries to researchers and to all who are interested in music. Additional value comes from knowing that a person who completely loved and knew about music has designed that private collection. Emotional influences and personal contacts often play a key role in the decision to give private collection to the library. Thus, cultural exchange and partnership are important areas of library work.
Estonian
Special collections
Glory
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During the past decade a number of individual museums have found imaginative ways of using their collections and of making them accessible. However, museum collections as a whole are enormous in size and quantity and the question of how can they can be put to best use is ever present. When conventional exhibitions can only ever utilise a tiny proportion of them, what other uses of the collections are possible? Will their exploitation and use now destroy their value for future generations? Should they simply be kept safely and as economically as possible as a resource for the future?Fragments of the World examines these questions, first reviewing the history of collecting and of collections, then discussing the ways in which the collections themselves are being used today. Case studies of leading examples from around the world illustrate the discussion. Bringing together the thinking about museum collections with case studies of the ways in which different types of collection are used, the book provides a roadmap for museums to make better use of this wonderful resource.
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Artifacts of local music scenes are increasingly being collected and documented in cultural heritage institutions such as libraries, archives, and museums. Managing local music materials requires specialisation that falls outside standard approaches to collection management. Collection managers often work independently and there is little professional literature that addresses best practises for working with local music materials. This study aims to summarise the professional practises of local music collection managers in cultural heritage institutions using a qualitative systematic review of the literature. The content of fifty scholarly and professional sources was analysed using a qualitative content analysis. Findings document the challenges and solutions for managing, preserving, and providing public access. Four overarching categories are identified: Collection Development, Collection Management, Access, and Context. The article proposes a new conceptual framework, which outlines themes pointing to the implications of this study for practise. The framework places local and institutional context at the centre of decisions related to community engagement, content, systems and infrastructure, workflows, and technology. This research has relevance to institutions, collectors, and practitioners who are interested in building or developing local music collections, working with local music communities, or supporting local musicians.
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Collections management
Local Community
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