Littérature scientifique sur le sujet « Music manuscripts from the great English collections »

With the proliferation of comprehensive commercial microfilming of major music collections, careful consideration needs to be given to the production of hard-cover books of facsimiles that traverse the same ground. Of course, a book is still a convenient way of storing and handling certain kinds of material. In compensation for its bulk it is tangible, accessible and portable, not to mention the fact that it can be annotated. And certain kinds of facsimile volume are obviously still going to be desirable: those reproducing single sources of great importance; those containing the contents of smaller libraries and obscure or less accessible collections; and those that comprise within a single volume an important cross-section of some scattered repertory or corpus of sources. In the light of those considerations, the publication of these two volumes of facsimiles of late-medieval English polyphony is most welcome. They make widely available at reasonable quality and price a vast amount of buried treasure found up to now only in the file drawers of a few specialists. The hoard consists of a large proportion of the surviving English polyphony from the era between the Worcester fragments and the Old Hall manuscript. This is an important and little-known repertory, spanning the entire fourteenth century but dispersed among numerous fragmentary sources. Both volumes will be necessary and welcome additions to public collections as well as to the private libraries of specialists in medieval music. They are also an essential complement to the four-volume edition of this same repertory recently published by Editions de L'Oiseau Lyre in the series Polyphonic Music of the Fourteenth Century, and they will surely prove invaluable for the teaching of surveys and seminars on early English polyphony.

ABSTRACTThis survey of the mise-en-page of manuscripts that include medieval monophonic song focuses on complex multigraphic written artefacts presenting music on staves. Comparing the formatting of thirteenth-century French chansonniers and fifteenth-century collections of monophonic songs (BnF fr. 9346 and BnF fr. 12744), there are obvious differences in the mise-en-page. But when, where and why did the changes in the production of manuscripts and the materialisation of songs take place? This article proposes a distinction between entirely pre-ruled ‘“full” music manuscripts’, ‘music manuscripts’ employing pre-ruling and ‘manuscripts with music’ where the staves were drawn only after the text has been written. Moreover, ‘songbooks’ mainly interested in lyrics can be distinguished from ‘song books’ focusing on the music. The interrelation of production process, content and manuscript type is discussed using the example of the conductus In hoc ortus occidente. The emergence, interrelation and particularities of layouts are discussed for vernacular thirteenth- or fourteenth-century songbooks with Dutch, English/Anglo-Norman, French, Galego-Portuguese, German, Italian and Occitan texts. The two-column layout is found in songbooks all over Europe (except for Italian laudari). This article examines models such as rolls, libelli, Dominican liturgical books, particularities of layouts such as different strophic page layouts and as the separation of verses in some troubadour chansonniers and Galego-Portuguese cancionieros as well as the dissemination in German speaking regions through minstrel schools. Comparing French, German and Italian song books of monophonic song as well lais/Leich and/or polyphony reveals differences in the production process of Italian ‘“full” music manuscripts’ (BAV Rossi 215/I-OST, I-REas and I-Fl Mediceo Palatino 87), German ‘music manuscripts’ (A-Wn 2701, A-Wn 2777 and CZ-Pu XI E 9) and French ‘manuscripts with music’ (BnF fr. 146 and the Machaut-collections).

The long-term process of the byzantinization of Serbian culture and art, intensified in the framework of complex political relations at the beginning of the 15th century, is testified, among others, by the preserved bilingual Greek-Slavonic musical manuscripts. As the primary sources in the reconstruction of the Serbian church chanting art in the late Middle Ages, but also the Byzantine-Serbian musical connections, the neum manuscripts unambiguously confirm the existence of the bilingual worship practice at the time of Despotovina Serbia. The long-held views on the dated two neum anthologies from the Great Lavra (E 108) and the National Library of Greece (EVE 928), their scribes, composers and songs in this paper are critically examined for the first time.

In tsarist Russia, the musical legacy and views of Vladimir Ivanovich Rebikov (1866–1920) — the "father of Russian modernism" — were often perceived with irony and misunderstanding, being called quackery and pretentious. In Soviet times Rebikov and his music were simply ignored for a long time, being categorically attributed to musical decadence. Interestingly, the British press spoke of Rebikov in a positive way. The publication of sheet music and frequent concert performances of the composer's music in London, in particular at the Proms in autumn 1916, laid the interest of the British audience in the composer, which lasted throughout the 20th century. And in general, the fate and work of Rebikov turned out to be full of unexpected twists, profound and beautiful, and the looming image of the composer is quite different from the usual one. The analysis of academic publications, as well as viola transcriptions of the distinguished British violists Lionel Tertis and Watson Forbes, hitherto unknown in Russia, is based on archival collections from British libraries.

In the Garden of EdenThe covers of the first three volumes of Kuml show photographs of fine Danish antiquities. Inside the volumes have articles on the Stone Age, the Bronze Age and the Iron Age in Jutland, which is to be expected as Kuml is published by the Jutland Archaeological Society. However, in 1954 the scene is moved to more southern skies. This year, the cover is dominated by a date palm with two huge burial mounds in the background. In side the book one reads no less than six articles on the results from the First Danish Archaeological Bahrain Expedition. P.V. Glob begins with: Bahrain – Island of the Hundred Thousand Burial Mounds, The Flint Sites of the Bahrain Desert, Temples at Barbar and The Ancient Capital of Bahrain, followed by Bibby’s Five among Bahrain’s Hundred Thousand Burial Mounds and The Well of the Bulls. The following years, reports on excavations on Bahrain and later in the sheikhdoms of Qatar, Kuwait and Abu Dhabi are on Kuml’s repertoire.However, it all ends wit h the festschrift to mark Glob’s 60th anniversary, Kuml 1970, which has three articles on Arab archaeology and a single article in 1972. For the past thirty years almost, the journal has not had a single article on Arabia. Why is that? Primarily because the character of the museum’s work in the Arabian Gulf changed completely. The pioneers’ years of large-scale reconnaissance and excavations were succeeded by labourous studies of the excavated material – the necessary work preceding the final publications. Only in Abu Dhabi and Oman, Karen Frifelt carried on the pioneer spirit through the 1970s and 1980s, but she mainly published her results in in ternational, Englishlanguage journals.Consequently, the immediate field reports ended, but the subsequent research into Arab archaeology – carried out at the writing desk and with the collections of finds– still crept into Kuml. From 1973 , the journal contained a list of the publications made by the Jutland Archaeological Society (abbreviated JASP), and here, the Arab monographs begin to make their entry. The first ones are Holger Kapel’s Atlas of the Stone Age Cultures of Qatar from 1967 and Geoffrey Bibby’s survey in eastern Saudi Arabia from 1973. Then comes the Hellenistic excavations on the Failaka island in Kuwait with Hans Erik Mathiesen’s treatise on the terracotta figurines (1982), Lise Hannestad’s work on the ceramics (1983) and Kristian Jeppesen’s presentation of the temple and the fortifications (1989). A similar series on the Bronze Age excavations on Failaka has started with Poul Kjærum’s first volume on the stamp and cylinder seals (1983) and Flemming Højlund’s presentation of the ceramics (1987). The excavations on the island of Umm an-Nar in Abu Dhabi was published by Karen Frifelt in two volumes on the settlement (1991) and the graves (1995), and the ancient capital of Bahrain was analysed by H. Hellmuth Andersen and Flemming Højlund in two volumes on the northern city wall and the Islamic fort (1994) and the central, monumental buildings (1997) respectively.More is on its way! A volume on Islamic finds made on Bahrain has just been made ready for printing, and the Bronze Age temples at the village of Barbar is being worked up. Danish and foreign scholars are preparing other volumes, but the most important results of the expeditions to the Arabian Gulf have by now been published in voluminous series.With this, an era has ended, and Moesgård Museum’s 50th anniversary in 1999 was a welcome opportunity of looking back at the Arabian Gulf effort through the exhibition Glob and the Garden ef Eden. The Danish Bahrain expeditions and to consider what will happen in the future.How then is the relation ship between Moesgård Museum and Bahrain today, twenty-three years after the last expedition – now that most of the old excavations have been published and the two originators of the expeditions, P.V. Glob and Geoffrey Bibby have both died?In Denmark we usually consider Bahrain an exotic country with an exciting past. However, in Bahrain there is a similar fascination of Denmark and of Moesgård Museum. The Bahrain people are wondering why Danish scholars have been interested in their small island for so many years. It was probably not a coincidence when in the 1980s archaeologist and ethnographers from Moesgård Museum were invited to take part in the furnishing of the exhibitions in the new national museum of Bahrain. Today, museum staff from Arab countries consider a trip to Moesgård a near-pilgrimage: our collection of Near East artefacts from all the Gulf countries is unique, and the ethnographic collections are unusual in that they were collected with thorough information on the use, the users and the origin of each item.The Bahrain fascination of Moesgård Museum. was also evident, when the Bahrain minister of education, Abdulaziz Al-Fadl, visited the museum in connection with the opening of the Bahrain exhibition in 1999.Al-Fadl visited the museum’s oriental department, and in the photo and film archive a book with photos taken by Danish members of the expeditions to the Arabian Gulf was handed over to him. Al-Fadl was absorbed by the photos of the Bahrain of his childhood – the 1950s and 1960s – an un spoilt society very different from the modern Bahrain. His enthusiasm was not lessened when he saw a photo of his father standing next to P.V. Glob and Sheikh Salman Al Khalifa taken at the opening of Glob’s first archaeological exhibition in Manama, the capital. At a banquet given by Elisabeth Gerner Nielsen, the Danish minister of culture, on the evening following the opening of the Glob exhibition at Moesgård, Al-Fadl revealed that as a child, he had been on a school trip to the Danish excavations where – on the edge of the excavation – he had his first lesson in Bahrain’s prehistory from a Danish archaeologist (fig. 1).Another example: When attending the opening of an art exhibition at Bahrain’s Art Centre in February 1999, I met an old Bahrain painter, Abdelkarim Al-Orrayed, who turned out to be a good friend of the Danish painter Karl Bovin, who took part in Glob’s expeditions. He told me, how in 1956, Bovin had exhibited his paintings in a school in Manama. He recalled Bovin sitting in his Arabian tunic in a corner of the room, playing a flute, which he had carved in Sheikh Ibrahim’s garden.In a letter, Al-Orrayed states: ”I remember very well the day in 1956, when I met Karl Bovin for the first time. He was drawin g some narrow roads in the residential area where I lived. I followed him closely with my friend Hussain As-Suni – we were twentythree and twenty-one years old respectively. When he had finished, I invited him to my house where I showed him my drawings. He looked at them closely and gave me good advice to follow if I wanted to become a skilful artist – such as focusing on lines, form, light, distance, and shadow. He encouraged me to practice outdoors and to use different models. It was a turning point in our young artists’ lives when Hussein and I decided to follow Bovin’s instructions. We went everywhere – to the teahouses, the markets, the streets, and the countryside – and practised there, but the sea was the most fascinating phenomenon to us. In my book, An Introduction to Modern Art in Bahrain, I wrote about Bovin’s exhibitions in the 1950s and his great influence on me as an artist. Bovin’s talent inspired us greatly in rediscovering the nature and landscape on Bahrain and gave us the feeling that we had much strength to invest in art. Bovin contributed to a new start to us young painters, who had chosen the nature as our main motif.”Abdelkarim Al-Orrayed was the first Bahrain painter to live of his art, and around 1960 he opened a studio from which he sold his paintings. Two of his landscape watercolours are now at Moesgård.These two stories may have revealed that Bahrain and Moesgard Museum have a common history, which both parts value and wish to continue. The mutual fascination is a good foundation to build on and the close bonds and personal acquaintance between by now more generations is a valuable counterbalance to those tendencies that estrange people, cultures, and countries from one another.Already, more joint projects have been initiated: Danish archaeology students are taking part in excavations on Bahrain and elsewhere in the Arabic Gulf; an ethnography student is planning a long stay in a village on Bahrain for the study of parents’ expectations to their children on Bahrain as compared with the conditions in Denmark; P.V. Glob’s book, Al-Bahrain, has been translated into Arabic; Moesgård’s photos and films from the Gulf are to become universally accessible via the Internet; an exhibition on the Danish expeditions is being prepared at the National Museum of Bahrain, and so forth.Two projects are to be described in more detail here: New excavations on Bahrain that are to investigate how fresh water was exploited in the past, and the publication of a book and three CDs, Music in Bahrain, which will make Bahrain’s traditional music accessible not just to the population of Bahrain, but to the whole world.New excavations on BahrainFor millennia, Bahrain was famous for its abundance of fresh water springs, which made a belt of oases across the northern half of the island possible. Natural fertility combined with the favourable situation in the middle of the Arab Gulf made Bahrain a cultural and commercial centre that traded with the cities of Mesopotamia and the IndusValley already in the third millennium BC.Fresh water also played an important part in Bahrain’s ancient religion, as seen from ar chaeological excavations and Mesopotamian cuneiform tablets: A magnificent temple of light limestone was built over a spring, and according to old texts, water was the gods’ gift to Bahrain (Dilmun).Although fresh water had an overwhelming importance to a parched desert island, no studies have been directed towards the original ”taming” of the water on Bahrain. Therefore, Moesgård Museum is now beginning to look into the earliest irrigation techniques on the island and their significance to Bahrain’s development.Near the Bahrain village of Barbar, P.V. Glob in 1954 discovered a rise in the landscape, which was excavated during the following years. It turned out that the mound covered three different temples, built on top of and around each other. The Barbar temple was built of whitish ashlars and must have been an impressive structure. It has also gained a special importance in Near East research, as this is the first and only time that the holy spring chamber, the abzu, where the god Enki lived, has been un earthed (fig. 2).On the western side of the Barbar temple a monumental flight of steps, flank ed on both sides by cult figures, was leading through a portal to an underground chamber with a fresh water spring. In the beautiful ashlar walls of this chamber were three openings, through which water flowed. Only the eastern out flow was investigated, as the outside of an underground stonebuilt aqueduct was found a few metres from the spring chamber.East of the temple another underground aqueduct was followed along a 16-m distance. It was excavated at two points and turned out almost to have the height of a man. The floor was covered with large stones with a carved canal and the ceiling was built of equally large stones (fig. 3).No doubt the spring chamber was a central part of the temple, charge d with great importance. However, the function of the aqueducts is still unknown. It seems obvious that they were to lead the fresh water away from the source chamber, but was this part of a completely ritual arrangement, or was the purpose to transport the water to the gardens to be used for irrigation?To clarify these questions we will try to trace the continuations of the aqueducts using different tracing techniques such as georadar and magnetometer. As the sur roundings of Barbar temple are covered by several metres of shifting sand, the possibilities of following the aqueducts are fine, if necessary even across a great distance, and if they turn out to lead to old gardens, then these may be exposed under the sand.Underground water canals of a similar construction, drawing water from springs or subsoil water, have been used until modern times on Bahrain, and they are still in use in Iran and on the Arabian Peninsula, especially in Oman, where they supply the gardens with water for irrigation. They are called qanats and are usually considered built by the Persians during periods when the Achaemenid or Sassanid kings controlled Arabia (c. 500 BC-c. 600 AD). However, new excavation results from the Oman peninsula indicate that at least some canal systems date from c. 1000 BC. It is therefore of utmost interest if similar sophisticated transportation systems for water on Bahrain may be proven to date from the time of the erection of the Barbar temple, i.e. c. 2000 BC.The finds suggest that around this time Bahrain underwent dramatic changes. From being a thinly inhabited island during most of the 3rd millennium BC, the northern part of the island suddenly had extensive burial grounds, showing a rapid increase in population. At the same time the major settlement on the northern coast was fortified, temples like the one at Barbar were built, and gigantic ”royal mounds” were built in the middle of the island – all pointing at a hierarchic society coming into existence.This fast social development of Dilmun must have parallelled efficiency in the exploitation of fresh water resources for farm ing to supply a growing population with the basic food, and perhaps this explains the aqueducts by Barbar?The planned excavatio ns will be carried out in close cooperation between the National Museum of Bahrain and Aarhus University, and they are supported financially by the Carlsberg Foundation and Bahrain’s Cabinet and Information Ministry.The music of BahrainThe composer Poul Rovsing Olsen (1922-1982) was inspired by Arab and Indian music, and he spent a large part of his life studying traditional music in the countries along the Arabian Gulf. In 1958 and 1962-63 he took part in P.V. Glob’s expeditions to Arabia as a music ethnologist and in the 1970s he organised stays of long duration here (fig. 4).The background for his musical fieldwork was the rapid development, which the oil finds in the Gulf countries had started. The local folk music would clearly disappear with the trades and traditions with which they were connected.” If no one goes pearl fishing anymore, then no one will need the work songs connected to this work. And if no one marries according to tradition with festivity lasting three or sometimes five days, then no one will need the old wedding songs anymore’’.It was thus in the last moment that Rovsing Olsen recorded the pearl fishers’ concerts, the seamen’s shanties, the bedouin war songs, the wedding music, the festival music etc. on his tape recorder. By doing this he saved a unique collection of song and music, which is now stored in the Dansk Folkemindesamling in Copenhagen. It comprises around 150 tapes and more than 700 pieces of music. The instruments are to be found at the Musikhistorisk Museum and Moesgård Museum (fig. 5).During the 1960s and 1970s Rovsing Olsen published a number of smaller studies on music from the Arabian Gulf, which established his name as the greatest connoisseur of music from this area – a reputation, which the twenty years that have passed since his death have not shaken. Rovsing Olsen also published an LP record with pearl fisher music, and with the music ethnologist Jean Jenkins from the Horniman Museum in London he published six LP records, Music in the World of Islam with seven numbers from the Arabian Gulf, and the book Music and Musical Instruments in the World of Islam (London 1976).Shortly before his death, Rovsing Olsen finished a comprehensive manuscript in English, Music in Bahrain, where he summed up nearly twenty-five years of studies into folk music along the Arabian Gulf, with the main emphasis on Bahrain. The manuscript has eleven chapters, and after a short introduction Rovsing Olsen deals with musical instruments, lute music, war and honour songs of the bedouins, festivity dance, working songs and concerts of the pearl fishers, music influenced front Africa, double clarinet and bag pipe music, religious songs and women’s songs. Of these, eighty-four selected pieces of music are reproduced with notes and commented in the text. A large selection of this music will be published on three CDs to go with the book.This work has been anticipated with great expectation by music ethnologists and connoisseurs of Arabic folk music, and in agreement with Rovsing Olsen’s widow, Louise Lerche-Lerchenborg and Dansk Folkemindesamling, Moesgård Museum is presently working on publishing the work.The publication is managed by the Jutland Archaeological Society and Aarhus University Press will manage the distribution. The Carlsberg Foundation and Bahrain’s Cabinet and Information Ministry will cover the editing and printing expenses.The publication of the book and the CDs on the music of Bahrain will be celebrated at a festivity on Bahrain, at the next annual cultural festival, the theme of which will be ”mutual inspiration across cultural borders” with a focus on Rovsing Olsen. In this context, Den Danske Trio Anette Slaato will perform A Dream in Violet, a music piece influenced by Arabic music. On the same occasion singers and musicians will present the traditional pearl fishers’ music from Bahrain. In connection with the concert on Bahrain, a major tour has been planned in cooperation with The Danish Institute in Damascus, where the Danish musicians will also perform in Damascus and Beirut and give ”masterclasses” in chamber music on the local music academies. The concert tour is being organised by Louise Lerche-Lerchenborg, who initiated one of the most important Danish musical events, the Lerchenborg Musical Days,in 1963 and organised them for thirty years.ConclusionPride of concerted effort is not a special Danish national sport. However,the achievements in the Arabian Gulf made by the Danish expeditions from the Århus museum are recognised everywhere. It is only fair to use this jubilee volume for drawing attention to the fact that the journal Kuml and the publications of the Jutland Archaeological Society were the instruments through which the epoch-making investigations in the Gulf were nude public nationally and internationally.Finally, the cooperationon interesting tasks between Moesgård Museum and the countries along the Arabian Gulf will continue. In the future, Kuml will again be reporting on new excavations in the palm shadows and eventually, larger investigation s will no doubt find their way to the society’s comprehensive volumes.Flemming HøjlundMoesgård MuseumTranslated by Annette Lerche Trolle

AbstractThis essay adds to our existing understanding of what it meant to be a member of the English Catholic community during the late Elizabeth and early Stuart period by exploring Catholic musical culture in Lancashire. This was a uniquely Catholic village, which, like the majority of villages, towns and cities in early modern England, was filled with the singing of ballads. Ballads have almost exclusively been treated in scholarship as a ‘Protestant’ phenomenon and the ‘godly ballad’ associated with the very fabric of a distinctively Protestant Elizabethan and Stuart entertainment culture. By investigating the songs and ballads in two manuscript collections from the Catholic network surrounding the Blundell family this essay will show how Catholics both composed and ‘converted’ existing ballads to voice social, devotional, and political concerns. The ballads performed in Little Crosby highlight a vibrant Catholic community, where musical expression was fundamental. Performance widened the parochial religious divide, whilst enhancing Catholic integration. This essay uncovers the way Catholics used music to voice religious and exhort protest as much as prayer. Finally, by investigating the tunes and melodies preserved in the manuscripts, I demonstrate how priests serving this network used ballads as part of their missionary strategy.

A ‘hindostannie air‘ may be defined as a short piece derived from an Indian original but arranged in a European idiom. The genre came to prominence among the English inhabitants of Calcutta during the 1780s and 1790s. A small group of women, reflecting the currently fashionable interest in anything oriental, began to employ professional musicians to ‘collect’ Indian songs – that is, to notate them as best they could from the performances of leading Indian singers. Once the melodies had been transcribed, they were arranged as solo keyboard pieces or as songs, a process which necessitated the use of a key signature, a time signature and a harmonization in a European idiom. At the height of the fashion, pieces were performed regularly at the fashionable soirées of Calcutta society, often to great applause, with the singers sometimes adopting Indian dress to add to the ‘authenticity’ of the presentation. At the same time the repertory began to attract the attention of the small group of orientalists led by Sir William Jones, who were engaged in the first serious European attempt to understand the principles that lay behind Indian music. By the turn of the century, with Anglo-Indian attitudes to Indian culture becoming steadily more hostile, the genre began to decline in popularity, but it was then taken up by scholars in England. ‘Hindostannie’ specimens from collections brought back from India provided important material for the compilations of national airs published by Crotch, Jones and others. Having thus established a small but distinctive niche in popular English culture as exotic imports, Indian tunes of one kind or another continued to appear throughout the nineteenth century.

The article presents the information about the documents on the history of Russia stored at the Humanities Research Center at Texas State University at Austin (USA). The Harry Ransom Center for humanitarian studies owns an extensive collection of the documents received from individuals (free of charge or on a reimbursable basis) in the form of collections, funds, scattered documents, books, art objects from across Europe and America. The archive accepts for keeping not only the documents, but also the works of fund-makers. Visitors to the archive have an opportunity to conduct research in various fields of humanitarian knowledge: from the English dramatic poetry of the 17th century to the works of modern African novelists, from the modern French musical compositions to the Italian poetry of the 13th century. The Humanities Research Center has also collected a set of documents on Russian history, literature, music, and painting. The information on the history of Russia is contained in the diaries, letters, memoirs of Russian emigrants and American citizens. The most extensive part of the collection consists of the letters discussing the organization of political movements in the emigration environment, the issues of everyday life, the matters connected with moving from Europe to the United States. The documentary complex also includes the sketches of theatrical costumes and scenery, music score manuscripts, the photographs of the Russian artists, composers, actors who left Soviet Russia in 1918–1925. The chronological framework of the documentary complex covers the period from the First World War to the beginning of the Thaw period.

International scientific and practical conference “Rumyantsev Readings” in 2020 was held in absentia. The Publishing house of the Russian State Library “Pashkov Dom” prepared the conference proceedings in two parts, which included 176 articles. Among the participants of the conference there are specialists from libraries of all levels and different departmental subordination, museums, archives, Universities, scientific research institutes in Russia, Belarus, Great Britain and Kazakhstan. The articles cover a wide range of issues on the theory and practice of library science, bibliography science, book studies, the history of librarianship and library activities at the present time. Considerable part of the reports was prepared under the theme “Libraries in the context of history: private collections and state book repositories”. In the year of the 75th anniversary of the Victory, many researchers turned to the history of libraries during the Great Patriotic War. The conference proceedings include materials about outstanding representatives of librarianship, researchers and collectors, where the authors analyse and evaluate their activities. Traditionally, “Rumyantsev readings” present a large number of works on the disclosure of the collections of libraries and archives, description of stored materials: manuscripts, rare books and book monuments, art editions, maps and printed music. Within the topics of the section “Library classification systems” there are presented the articles devoted to separate sections of Library Bibliographic Classification and general issues of system modernization and implementing it in practice, publication of LBC schedules and the value of its public e-version for the development of classification search and improving efficient use of library collections. Issues related to the current activities of foreign and, primarily, domestic libraries are presented in extremely wide range: from understanding the place of libraries in the modern space of socio-cultural communication and strategic approaches to innovation management to highlighting specific projects under implementation. The reports raise the topics of training future librarians in higher education institutions and improving their skills in future, developing and implementing standards, digitizing library collections, and bibliometric analysis. The article analyses the state of digitalization of scientific — information activities in libraries, presents characteristics of separate online information resources, raises questions on the development of regulatory framework for labour rationing and the formation of the library’s image in social networks and information publications about it. Publication of the proceedings will serve to achieve the main goal of the conference — to draw attention to the issues of preserving and studying the world cultural heritage, problems of functioning of libraries at the present historical stage, search for ways of innovative development, expand cooperation between cultural, educational, scientific institutions and intercultural interaction.

Ancient mushafs are important works that carry the writing experience of the first centuries of Islam to the present day. Early mushaf manuscripts, the way the words are written, the beginning of the chapter information, the number of verses, the signs of verse/stop/prostration, letter points, movements, illumination etc. From many points, it is a source of information for sciences such as calligraphy, history of mushaf, recitation, resm-i mushaf. At the same time, they are works that prove that the Qur'an has not been harmed, and that it has survived to the present day without any distortion, in written form. Despite these spiritual, scientific and historical importance, the early period mushafs were not sufficiently sought after by the researchers of our country. Although it is seen that there are studies of some mushafs in terms of calligraphy, it should be expressed with regret that there are very few studies based on mushaf history and recitation science in our country. Many factors affecting this situation can be mentioned, but the most effective reason is that it is considered unnecessary to do research on the written form of the divine word, the mushafs. On the other hand, orientalists have focused on the early mushafs for nearly two centuries and they still maintain this interest. It does not seem possible to express clearly whether there is an innocent scientific research intention behind this interest, or whether there is an effect of prejudices containing doubts that the Qur'an is a divine book. However, the fact that the West especially showed great interest in the early period mushafs and allocated serious budgets for research can be considered as a sign that the field should not be seen as unnecessary. This article deals with the researches completed abroad, especially in the West, on the early mushafs. The aim is to provide general information about the abundance of foreign studies and how they are, and to contribute to researchers who are interested in the field. For this purpose, a catalog was prepared by determining the names of foreign studies prepared in different languages about the early period mushafs by researchers in various countries. First of all, the printed version of the works whose names are included in the catalog, and if it is not possible, the digital file is tried to be reached. All of the studies, the text of which can be accessed, were examined and introductory summary information was recorded. Along with this summary information about them, the tags, language and subject of foreign studies have been classified and included in our article. As a result of the research, it has been seen that besides the codicological, paleographic and orthographic studies related to the ancient mushafs, there are also studies dealing with one or more early period mushafs in terms of their ornaments. It has been determined that a total of 97 works, including catalogs of museums/collections in which many early period mushafs are located, were prepared in German, Arabic and Persian languages, especially in English and French. Considering that there are many more studies that are not included in this article due to the inaccessibility of the text, it turns out that our country is far behind in the field of ancient mushafs. It is our aim at the end of this study that, as people with Muslim identity, our faith should be a means of giving importance to the field, studying and encouraging work so that we can become a dominant party in the early stages of our life.

Abstract SHORTLY after 1900 a young English musician travelled from Cambridge to Munster in Westphalia, in search of manuscripts containing works by Alessandro Scarlatti that were said to be in the local Diocesan Museum. His attention may have been drawn to Munster by a handwritten catalogue in the British Museum that had been compiled by Vincent Novello in 1843. This listed some of the manuscripts and printed music in the library of the Abbate Santini in Rome. The young musicologist—it was Edward Dent—found far more than he had imagined. In addition to the Scarlatti manuscripts he was looking for, the music collection of the Diocesan Museum contained innumerable manuscripts and a large amount of printed music from the sixteenth, seventeenth, and eighteenth centuries. These holdings had been ignored by scholars for decades, and had been quietly gathering dust. Dent was the first musicologist to draw attention to the importance of this Collection.

Abstract THE great collections of manuscript copies of Handel’s music formed in the eighteenth century by such people as Elizabeth Legh, Charles Jennens, and Bernard Granville are dual testimony to the originators’ devotion to Handel’s music and to their desire for a distinctive personal library: these enthusiasts wished to own a collected edition of Handel’s works in an age when such an enterprise could not have been expected of London’s music publishers. Sometimes the identity of the original collector is disguised by the fact that the collection is now known by the name of a later owner, who may have added new materials to the received collection: thus, for example, ‘the Newman Flower Collection’ and ‘the Aylesford Collection’ describe entities that are not the same as the foundation corpus of material collected by Jennens. The problem of a collection’s identity occurs in a particularly acute form in the case of the Lennard Collection. On one hand, the sixty-seven manuscript volumes now in the Fitzwilliam Museum, Cambridge, (MU.MS. 789—855; see App. 2) that have been conveniently described as ‘The Lennard Collection’ or ‘The Barrett-Lennard Collection’ in modern Handelian literature bear the name of a fairly recent owner, while the identity of the original collector remains unknown: on the other hand, these volumes formed only a part of the (now dispersed) library of Henry Barrett Lennard.1 Since the manuscripts now in Cambridge are certainly the most significant part of Lennard’s Collection, they will be the prime concern of this article, but attention will also be given to other manuscripts from Lennard’s Handelian library.

Abstract John Dowland’s final lute song–air collection, A Pilgrimes Solace (1612), reads and sounds differently from his previous music anthologies, both in content and substance. A more advanced, complex compositional style is immediately evident. The poetry Dowland set, including verses by Nicholas Breton, reached a previously unseen level of sophistication and the music attains levels of difficulty that may not have been as accessible for domestic music makers as his earlier songbooks were. These are only some of the reasons that this final songbook, as masterful as it may be musically, did not reach the level of popularity of Dowland’s First Booke, which was still yet to receive its fourth reprint, or even his second or third song collections, as evidenced by the lack of transcriptions and adaptations of the volume’s pieces found in English or Continental manuscripts, when compared with his previous work. Yet in this songbook, Dowland expresses a new level of personal spirituality in songs such as “Go nightly cares,” “If that a sinners’ sighs,” and “Where sin sore wounding,” that does not occur in his earlier musical anthologies. The volume also includes dramatic dialogues that point to his involvement in theatrical entertainments for Queen Elizabeth I and volume dedicatee Theophilus Howard, Lord Walden. A full consideration of the volume’s prefatory material, organization, and musical content presents the image of a somber Dowland, reflecting back on his career and life choices, thus providing a self-administered Pilgrimes Solace.