Tesi: "Musikbibliothek"

1

Geyer, Brigitte. "Die Musikbibliothek Peters". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-130284.

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Sieben Jahre langes Bangen um den Erhalt der Musikbibliothek Peters für die Öffentlichkeit und in Leipzig ist nun Vergangenheit. Die langen und manchmal zähen Verhandlungen um den Verbleib dieser weltweit bekannten und einzigartigen Sammlung von Musikalien und Musikliteratur sind mit dem Ankauf im Februar 2013 zu einem positiven Ende gekommen. Der Verbleib dieser Sammlung am Standort Leipzig, deren Heimat seit Eröffnung im Jahre 1894 schon immer die Musikstadt Leipzig war, ist dauerhaft gesichert.

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2

Staub, Alexander. "Die Musikbibliothek von Carl Ferdinand Becker". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-107292.

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Die Ausstellung veranschaulicht vom 24. Januar bis 14. April 2013 mittels einiger ausgewählter Handschriften und Drucke die Entstehung und Bedeutung der Bibliothek Carl Ferdinand Beckers. Es werden erste Stücke der Sammlung, seltene Drucke, unikale Quellen und Objekte gezeigt, die aufgrund ihrer Provenienz kulturgeschichtlich und musikhistorisch wertvolle Informationen enthalten. Oft besprochen, aber selten zu bewundern, überragt dabei das „Andreas- Bach-Buch“, eine Sammelhandschrift mit größtenteils einmaligen Klavier- und Orgelkompositionen des 17. und 18. Jahrhunderts aus dem Umfeld und partiell von der Hand Johann Sebastian Bachs die anderen Exponate.

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3

Geyer, Brigitte. "Alte Noten in neuem Gewand: Eine multimediale Präsentation zeigt die Geschichte der Musikbibliothek Peters in Leipzig". SLUB Dresden, 2016. https://slub.qucosa.de/id/qucosa%3A7386.

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Die 1.000-jährige Ersterwähnung einer Stadt feiern zu können ist ein stolzes Jubiläum. Die Geschichte Leipzigs bietet aber noch mehr. Die viel gepriesene Musikkultur ist historisch ebenso gut dokumentiert. Ganze 800 Jahre währt die Klangtradition inzwischen. Die Musikbibliothek Peters bewahrt dieses Erbe nicht nur, sondern hat der Stadt und ihren Bewohnern ein Geschenk gemacht, das althergebrachte Akustik mit modernem digitalem Auftritt verbindet.

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4

Gabel, Cornelia. "Das Musikinformationswesen in Schweden Typologie, Organisation und Dienstleistungen /". [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11612109.

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5

Domes, Stefan. "Der Groove der Langrillen: 90 Jahre Musikbibliothek der Städtischen Bibliotheken Dresden". SLUB Dresden, 2016. https://slub.qucosa.de/id/qucosa%3A7387.

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Kaum eine Form von Bibliothek hat einen so starken Medienwandel erlebt wie Musikbibliotheken. Aber wo auf der einen Seite Videotheken praktisch nicht mehr existieren, kramen Musikbibliotheken jetzt wieder ihre alten Vinyls hervor und starten neu durch. So auch die Musikbibliothek in Dresden.

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6

Wolff, Peggy. "Evaluation ausgewählter Websites von Musikbibliotheken in Deutschland". [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675836.

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7

Münzmay, Andreas. "Lesen und Schreiben im digitalen Dickicht. Musikwissenschaft, Digital Humanities und die hybride Musikbibliothek". De Gruyter, 2018. https://slub.qucosa.de/id/qucosa%3A36382.

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Digitalisierung generiert ‚hybride‘ Objekte, die zwar als digitale Datei lesbar und manipulierbar sind, das zugrundeliegende kulturhistorische Objekt jedoch weiterhin ‚enthalten‘. Eine Bibliothek, die Objekte aus ihren Beständen digitalisiert, begründet also eigentlich keine sog. digitale Bibliothek, sondern eine hybride Bibliothek. Im Falle musikalischer Überlieferung ist die Sachlage aufgrund der medienhistorischen Komplexität musikalischer Artefakte besonders unübersichtlich. Verschärft wird die heutige Situation noch durch die Erzeugnisse der Digital Humanities, die keineswegs bloß ‚Informationen‘ sind, sondern ihrerseits komplexe und in der Regel hybride Textgebilde, die häufig komplette digitalisierte Re-Publikationen von Kulturobjekten einbinden, die digital ‚beschriftet‘ und vernetzt werden. Das digitale ‚Dickicht‘ erfordert einen gleichsam genetischen und relationalen Katalog, in dem die konkreten kulturhistorischen Objekte in ihren konkreten Sammlungskontexten – also als Unikate – Ankerfunktion haben.
Digitization produces ‚hybrid‘ objects that are readable as digital data files but at the same time still ‚contain‘ the original cultural-historical object. In this perspective, ‚digital collections‘, ‚digital libraries‘, etc. are in fact hybrid collections, or libraries. For musical artefacts, the range of historical media is especially complex, which again concerns the digital world. Digital Humanities publications also contribute to the complex and confusing situation as they themselves are not only ‚information‘, but as a rule, complex and hybrid textual systems that often contain complete digitized re-publications of cultural objects, providing them with digital ‚inscriptions‘, and interlinking them. So the hybridity of ‚digital libraries‘ increases as soon as Digital Humanities publications are integrated. Therefore, metadata should mirror precisely the hybrid nature of the digitized/digital objects catalogued.

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8

Kluge, Evelyn. "Das Musikforum im Tietz". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61217.

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Seit die Stadtbibliothek 2004 ihr neues Domizil „DAStietz“ bezog, wurde aus der vormals eigenständigen Musikbibliothek ein Musikforum im Bestandsbereich Jugend und Musik. Der persönliche Austausch, die Entspannung und das Stöbern nach Literatur und Musikalien ist nebeneinander möglich. Neben der Arbeit mit historischen Beständen, gehört auch die Pflege und Bewahrung regionaler Musik zu den wichtigsten Aufgaben der Chemnitzer Musikbibliothek.

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9

Ankele, Gabriele, e Heidrun Renger. "Zum 200. Geburtstag Robert Schumanns". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61312.

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Die Musikbibliothek Bautzen widmet sich jedes Jahr einem Jubilar. Das Jahr 2010 steht ganz im Zeichen des 200. Geburtstages von Robert Schumann. Es werden Ausstellungen gestaltet und Neuerscheinungen seiner Werke präsentiert. Höhepunkt ist eine gemeinsame Lesung mit Musik mit der Kreismusikschule Bautzen.

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10

Geyer, Brigitte, e Barbara Wiermann. "Die musikalische Bibliothek Carl Ferdinand Beckers". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61242.

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Bereits in jungen Jahren hatte Carl Ferdinand Becker eine Sammelleidenschaft an jeglicher Art von musikhistorischer Betrachtung. Vor allem Musikdrucke und –handschriften sowie musikhistorische Werke aus dem 15. Jahrhundert bis zu seiner Zeit gerieten in sein Blickfeld. Das zu seiner Zeit völlig vernachlässigte und unbekannte Repertoire wird heute als musikalische Universalbibliothek angesehen. Im Jahre 1865 übergab Becker seinen „Schatz“ an die Stadtbibliothek Leipzig. In den Jahren 2010-2012 wird die gesamte Sammlung nun in die internationale Quellendatenbank RISM und in den SWB eingepflegt.

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11

Wiermann, Barbara. "Vom „Numeriren der Musik“". SLUB Dresden, 2016. https://slub.qucosa.de/id/qucosa%3A7385.

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Was mit einem kleinen Bestand an Büchern und Musikalien begann, entwickelte sich über zwei Jahrhunderte lang zu einem umfangreichen Musikarchiv. Das Jubiläum feiert die SLUB das ganze Jahr über mit zahlreichen Veranstaltungen.

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12

Tentler, Isabell, e Barbara Wiermann. "Musikwissenschaft total". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-130438.

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Die Arbeit wissenschaftlicher Bibliotheken setzt eine klare Orientierung an Nutzeranforderungen voraus. Die Weiterentwicklung der Dienstleistungsangebote erfordert präzise Definitionen der Bedürfnisse in Lehre und Forschung, die sich nur mit der wissenschaftlichen Community finden lassen. Die Jahrestagung der Gesellschaft für Musikforschung bot Gelegenheiten für diesen Austausch: das „Forum Virtuelle Fachbibliothek Musikwissenschaft“, den Roundtable „Musikgeschichtliche Quellen digital“ und den „SLUB-Tag“.

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13

Geck, Karl Wilhelm. "Still going strong". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2007. http://nbn-resolving.de/urn:nbn:de:swb:14-1193221456226-96250.

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14

Hedström, Elisabeth. "Att katalogisera kyrkomusik En studie av Dübensamlingen och Statens musikbibliotek". Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16447.

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rary of Sweden Statens musikbibliotek [51][pdf.gif] The aim of this study is to investigate how bibliographic description of music materials has improved through history. The historical aspect is given by a study of bibliographic data in different catalogues of a specific collection. The aim is also to understand what specific problems will arise in the work of cataloguing music materials and how the problems are discussed in the literature. The study is focusing of church music material and the history of churchmusic is therefore given an exposition. The origin of musical notation, which took place within the church, is also discussed. The empirical study is performed in two specific collections, mainly in The Düben Collection at the University of Uppsala but also at The Music Library in Stockholm. The catalogues in each collection are studied. In the discussion a comparison is given by the empirical material and the questions of this study. The empirical material should be seen as good examples rather than general conclusions. Churchmusic and musical notation has jointly improved over the years, which is seen in the improvement of music material. The art of cataloguing is influenced by the change of its material. By examining the two collections we can see how the bibliographic data has changed depending of the aim of the catalogues. Examples from the collections show how the problems with cataloguing music material are solved in each collection.
Uppsatsnivå: D

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15

Hedström, Elisabeth. "Att katalogisera kyrkomusik : en studie av Dübensamlingen och Statens musikbibliotek = [Cataloguing church music] : [a study of the Düben Collection (Dübensamlingen) and The Music Library of Sweden (Statens musikbibliotek)] /". Borås : Högsk. i Borås, Bibliotekshögskolan/Biblioteks- och informationsvetenskap, 2004. http://www.hb.se/bhs/slutversioner/2004/04-42.pdf.

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16

Tenggren, Karin. "Digitalt material. Hur två musikbibliotek och två musikarkiv arbetar med att tillhandahålla material via sina webbplatser". Thesis, Uppsala University, Department of ALM, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-101857.

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17

Nordengren, David. "Musikbiblioteken i kulturpolitiken : En diskursanalytisk studie av musikpolicy i två statliga myndigheters biblioteksverksamhet i förhållande till rådande kulturpolitik". Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353869.

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This paper examines the way music in libraries is described in the current state cultural policy as laid out mainly in two government bills which form the basis for Swedish cultural policy. By using discourse analysis as its research method, it examines the way music and libraries are described in current cultural policy and the role music libraries are given as a part of this policy. It then looks at the way this discourse is reflected in Swedish libraries by examining the way two state owned cultural institutions treat music in their library activities as stated by them through their publicly accessible policy documents and information given on their web pages. Official cultural policy is compared to how the two institutions speak about their music library work in order to deter-mine whether or not the discourse on music libraries in the examined documents is one and the same. The re-sults of this two-part analysis were compared to a couple of common cultural discourses using a method inspired by discourse analysist Norman Fairclough with the goal of determining whether the discourses on music in cul-tural policy and in the libraries are indicative of or influenced by other common discourses in society.Results showed that there is no explicit policy concerning music libraries in Swedish cultural policy. In so far as the state is willing to actively support music, this involvement is largely concentrated in one single institution, Statens musikverk, which is also one of the two state owned cultural institutions examined in this paper. The goals of this institution as stated both in one of the government bills examined and in their own policy docu-ments are two-fold, and concerns music as a part of the Swedish cultural heritage and the uplifting and support of Swedish musical life. Overall the state is quite reluctant to interfere in the cultural sphere, an attitude which stems from an established tradition in Swedish politics and a Western view of culture and art as an autonomous region in society. There are however certain attitudes towards libraries, music and culture in general present in current cultural policy, one of the more important for this investigation being that libraries and music are treated as belonging to different areas of cultural policy. Where libraries are associated with learning, democratic values and literature, music is treated as part of a group of other expressive or scenic arts such as theatre and dancing.

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18

Stöcklin, Christian. "Musikstücke im Internet mit dem MP3-Format eine neue Herausforderung für die Musikwirtschaft und die Kundschaft der Musikbibliotheken? /". [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675540.

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19

Larsson, Mattias. "Tre perspektiv på musikavdelningarna vid Stadsdelsbiblioteken i Göteborg : En kvalitativ studie om målsättning och utbud". Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18325.

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The aim with this master thesis is to study which ambitions and strategic aims Gothenburg’s district libraries have regarding their music sections. I have utilized my theory from Sanna Talja, a Finnish researcher in Library and Information Science. She identifies three perspectives in maintaining a music library. She calls them, general education, alternative and demand. I have performed a qualitative study, in interviewing ten librarians responsible for the music section at the district libraries. The results, from analysing, the interviews were discussed in relationship to Taljas research findings. Thereby, I could easily distinguish each libraries working methods at the music section and link them to Taljas perspectives. The conclusion of this study is that there are just a few libraries, in my material, who express that they have guidelines to follow and strategic aims to work toward. It was also shown that few of those responsible for the music sections had a strong interest in music. This lack of interest can also be translated into deficiency in competency. It can be assumed that this played a role in the way two libraries stagnated when it came to purchasing new music. Furthermore this study shows that quality is not considered very important when the libraries buy in music. Another conclusion from the study is that the libraries show low levels of knowledge on local users. Rhetorically, librarians stated that their knowledge of users was large. However, none of them have researched their local inhabitants on a deeper level.
Uppsatsnivå: D

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20

Grut, Johanna. ""Din sökning gav tyvärr inga träffar" : en kvalitativ enkätstudie om användares svårigheter med att söka noter i Statens musikbiblioteks onlinekatalog". Thesis, Uppsala University, Department of ALM, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-107795.

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The purpose of this Master’s thesis is to study how well the online catalogue of The Music Library of Sweden works when ordinary users are searching for sheet music. The issues studied are: Why do the users fail to find the sheet music they are looking for? Do the users take advantage of the possibilities that the classification codes of the SAB system offer? If not, why?

The source material of the study is 144 comments from a user questionnaire about the online catalogue and, in addition, the search log for one day (513 queries). The comments were sorted into seven groups depending on the type of information need, for example searches for certain instrumentation or genres and problems with spelling. Each analysis ends with suggestions for improvements of the catalogue and its instructions.

The thesis show, according to the Zipf’s principle of least effort, that sheet music searching in the online catalogue is demanding too much effort and knowledge of the users. Searching with SAB classification codes is too complicated which may be the explanation why only 2 percent of the queries in the log are code searches. In 51 of the 76 cases where users failed to find sheet music the queries would have succeeded if the patrons had used classification codes. The SAB system is thus not used as often as it deserves.

The variety and amount of failed queries in the material show that sheet music is difficult to search, for several reasons, for example the complex construction of uniform titles of musical works and that the searchable vocabulary of the online catalogue often differ from the users’ own.

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21

Thegel, Esther. "Musikavdelningar ur ett tidsperspektiv : En kvalitativ studie av musikavdelningarna på fem folkbibliotek". Thesis, Uppsala University, Department of ALM, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-105851.

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The aim of this study is to examine how work at music departments in public libraries has changed with time. To analyze this, the role of music libraries as well as music library users, selection, holdings, acquisition and technological development have been examined. The examined data consists of qualitative interviews with music librarians and library assistants at public libraries in Sweden. To get a time perspective, handbooks and articles about music departments in libraries have also been analyzed.

This study emanates from Sanna Talja’s discourse analysis of music libraries in Finland. In her study of Finnish music libraries she has found three discourses that give the library different roles in society. The first discourse, The General Education Repertoire, states that the role of the music library is to educate the citizens by supplying a broad record collection with “classics” from all kinds of genres. The second discourse, The Alternative Repertoire, states that the role of the library is to be an alternative to commercial music and the record industry by providing alternative music, that can’t be found everywhere. The third discourse, The Demand Repertoire, states that the role of the library is to satisfy the library users’ needs and thus adapt the collection and acquisitions to the local demand.

The study shows that all three discourses are present at the public libraries examined in this master’s thesis. My interviewees state that they want to offer a broad collection with all genres represented but they find it also important to provide alternative music that is difficult to find elsewhere. At the same time, a demand repertoire, where the collection is more adapted to users’ wishes and needs, gets more common and librarians have a less critical attitude towards certain genres that were formerly banned at public libraries.

The study also shows that work at public libraries has changed a lot with time. The music departments started with only listening service, began later to loan their music collections to the users and now even provide music files that can be downloaded and played on mp3-players. Loan figures of phonograms remain high, but have started to drop, which can partly be due to downloading and the fact that the number of young music library users, such as adolescents, has gone down. The technological development has also changed work at the music library, among other things information research, acquisition and selection. Even though technological development has changed the work and tasks at music libraries, the role of the librarian is still quite the same. An important task still is to search for and provide information even though the strategies and facilities are different.

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22

Klang, Kent. "”Vi är till för kommuninvånarna” : En kvalitativ studie av musikavdelningen på Enköpings kommunbibliotek". Thesis, Uppsala universitet, Institutionen för ABM, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-160810.

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The aim of this study is to examine the significance of having a music department at the public library in Enköping, and how the organization of the phonograms is handled. The different areas examined are the reason of the reintroduction of a music department, its budget, its users, the work with selection, the marketing, statistical data concerning loans, the work with classification, indexing, and organization of the phonograms and the future of the music department. The empirical material consists of qualitative interviews with staff connected to the music department at the public library in Enköping. For the theoretical frame, Sanna Taljas discourse analysis of music libraries in Finland is used. Talja presents three discourses which all show different views on what kind of material a music library should contain. The first discourse, The General Education Repertoire, advocates that the music library should supply a collection that could serve as educational and represent the history of music and its different genres. The second discourse, The Alternative Repertoire, advocates that the music library should serve as an alternative to the sources of commercial music and offer material with a more alternative character. The third discourse, The Demand Repertoire, advocates that the music library should build its collection based on the users demands and needs. The study shows that all three of the discourses are present when material for the collection is selected, even though The General Education Repertoire and The Demand Repertoire are the two most conspicuous. The study also shows that a music department was reintroduced in the library stock based on things like an interest in the art form as such in the library management. The department has had a positive impact on the library's entire statistics, even though loan figures of phonograms have showed a negative trend since the opening. The figures still remain fairly high so the music department is believed to have a future, even though its future also appears uncertain. When classifying phonograms, judgements made by other libraries regarding the work in question, and different sources on the Internet are helpful tools in the process before making a final decision. The organization of the phonograms on the shelves do not in detail follow their classification. Instead they are organized in more rough divisions in order to make the music department more user-friendly.

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Utterström, Frans. "Musikfrämjande folkbiblioteksarbete i en tid av streaming och upplevelseorientering". Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354739.

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The purpose of this master’s thesis is to find out how free music can be promoted in a meaningful manner towards young people living in an age of streaming and experience-orientation. This is achieved by investigating what music library work consists of, and how music streaming is perceived in relation to this. The investigation consists of qualitative interviews with library personnel working with music at public libraries in Sweden. The results show that there is a democratic reason to keep physical media such as CDs, although they are currently borrowed by a limited audience. This indicates a vacuum in terms of offering music free of charge to the entire population. While licencing commercial streaming services could prove too costly and might be regarded as somewhat superfluous, the interviewees in general seem positive towards libraries offering their own service. A library-specific service would ideally promote local musicians and could according to the author put public libraries on the map in a national as well as international sense. In conclusion suggestions are made to consider the value in keeping physical media by putting them in experience-oriented contexts, for example in involving adolescents in active listening and music discovery; regenerate Demoteket by working with it in a digital context; and focus on reaching adolescents by offering musical instruments and putting music in a context where the adolescents are rather than viewing the music department as exclusively an adult section. There is also reason for putting music in historical, lingual and geographical contexts, something that current streaming services lack. Both the physical space and the web can play important parts in exposing the music collection, which should be used as a means for experiences rather than as a goal in itself.

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Pampel, Ines, e Peter Horton. "Dresden – London 2012". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-130345.

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Jede außergewöhnliche Geschichte beginnt mit Kreativität, Mut und Freiheit. Da braucht es Menschen, die Neuartiges kreieren sowie Menschen, die die Chance erkennen, den Weg frei zu machen und sich beteiligen. Eine solche erfreuliche Konstellation führte an der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) im letzten Jahr erstmalig zum europäischen Personalaustausch. Zwei Musikbibliothekare aus London und Dresden wagten Neuland: für mehrere Wochen tauschten sie ihren Dienst- und Lebensort, um in den anderen Bibliotheken mitzuarbeiten, sich fachlich sowie sprachlich weiterzuentwickeln und erfuhren dabei vielfältige Unterstützung.

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Bergel, Erik. "Musik i förvandling : Bibliotekens övergång av klassifikationssystem från SAB till DDK och dess inverkan på musikområdet". Thesis, Uppsala universitet, Institutionen för ABM, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297633.

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In November 2008, the National Library of Sweden decided to change their standard classification system from the Swedish Library Classification System (SAB) to the american Dewey Decimal Classification (DDC). One of the main reasons to this transition was the assumption of gaining the possibility to exchange and import catalogue posts by using an outspread international classification system. Throughout the years, it has been disputed whether DDC’s treatment of music has been the most suitable. The system has been criticized for being biased in favor of Western music and not being updated with the growth of new music. The purpose of this study is to examine the opinions among librarians connected to the music area on how this classification transition went, and how it has affected their work. The primary questions concerned with this study are if the interviewees perceive that there is a problem by using DDC for music and if so, how? Additionally, does this change also affect the library users, or is it only the librarians? The method I am using to examine these questions is qualitative interviews based on Steinar Kvale and Svend Brinkmann’s thoughts in their book Den kvalitativa forskningsintervjun. The theories that will be used for this thesis are theories concerning functional requirements of classification systems. The results show that the interviewees’ opinions are that DDC’s notation tends to be long, which affects the usability of the system. The interviewees’ perception is that DDC is also lacking in its treatment regarding musical recordings and the popular music area. One of the main reasons for this shortage is because there is basically no other library outside of Sweden that is classifying such material with DDC, which means that the information exchange with countries abroad has so far been rather exiguous.

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Rabe, Roman, Martina Reinhold, Juliane Linke, Karin Schoppe, Sylvia Meißner, Petra Hochwald e Lena Schulz. "Sechs Bereiche – eine Bibliothek: Die Teams der Zentralbibliothek stellen sich vor". SLUB Dresden, 2017. https://slub.qucosa.de/id/qucosa%3A16605.

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Für die Zentralbibliothek wurde in den Jahren der Planung ein neues Organisationskonzept erstellt, das die besten Elemente aus den Strukturen der Hauptbibliothek, der Musikbibliothek und der medien@age verbindet. Die positiven Erfahrungen von medien@age und Musikbibliothek mit eigenverantwortlichen kleineren Teams bilden die Basis für die neue Struktur. Von 2014 bis 2016 absolvierte das Team-Modell, in der Haupt-und Musikbibliothek etwas eingeschränkt, eine erfolgreiche Erprobungsphase. Seit 1. Januar 2017 ist es umgesetzt. In der Zentralbibliothek betreuen sechs Teams folgende Bereiche: • Jugend, • Musik, • Sach- und Fachliteratur, • Schöne Literatur/Spielfilm, • Heimatkunde/Kunst/Reisen (aus Sachund Fachliteratur ausgegliedert) und • Kinder. Auf der Suche. Sein. \\ Wir erzeugen Klang! \\ Wissen schafft Macht \\ Die einzige Literatur ist die belletristische… \\ Von Dresden in die Welt… \\ lesen, lachen, lernen…

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Uhlemann, Silvia. "Ein Geben und Nehmen". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-25699.

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Wie in BIS 2/2009 bereits angekündigt, fand im vergangenen September die Jahrestagung 2009 der AIBM-Gruppe Deutschland in Dresden statt. Die in Paris gegründete Association Internationale des Bibliothèques Musicaux vereinigt alle Arten von Musikbibliotheken, -archiven und -dokumentationszentren wie z.B. Musikhochschulbibliotheken, kommunale Musikbibliotheken, Orchesterbibliotheken oder Rundfunkarchive. Die Vereinigung ist in 22 Ländergruppen weltweit organisiert, wodurch die Jahrestagung der deutschen Sektion neben dem im Vordergrund stehenden nationalen, stets auch dem internationalen Austausch der Kollegen aus musikbezogenen Spezialbibliotheken dient.

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Horak, Jakym, e Severyn Tykhyy. "Die Musikbibliothek von Volodymyr Sadovs’kyj". 2015. https://ul.qucosa.de/id/qucosa%3A16136.

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Volodymyr Ìvanovyc Sadovs’kyj trug zu seiner Zeit in Galizien eine der größten Musikbibliotheken zusammen. Der Inhalt dieser privaten Sammlung ist wichtig für viele Bereiche der Musikkultur im ost- und mitteleuropäischen Raum sowie für die Erforschung verschiedener Bereiche der Musik.

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Paczkowski, Szymon. "Aus der Geschichte der Musikbibliothek von Jakob Heinrich von Flemming". 2019. https://slub.qucosa.de/id/qucosa%3A36355.

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Leibnitz, Thomas. "Musikbibliothek im europäischen Kontext: Zur Entstehung der Musiksammlung der Österreichischen Nationalbibliothek". 2020. https://slub.qucosa.de/id/qucosa%3A71267.

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