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Music Libraries Online is an eLib project to create a virtual union catalogue for music in the UK, based on the nine conservatoire libraries, using the Z39.50 protocol for information retrieval. The project has particularly tackled issues of common bibliographical standards which have a significant impact on the quality of results.

The purpose of this paper is to study the role of academic music libraries in financially straitened times. The academic music library aims to cover the information needs of the academic community; yet the unique nature of music information also allows academic libraries to develop services for a broad spectrum of different user groups.

The theoretical analysis is supported by empirical evidence from a nationwide survey in Greece. The survey was carried out from July to September 2013 and presents results from interviews with the directors of all academic music libraries in Greece.

The results suggest that the period of economic crisis is also a period of challenges and innovation for music libraries which calls them to redefine policies and priorities, and further consider the needs and expectations of wider audiences, i.e. musicians outside the academic community. The financial downturn can be seen as an opportunity for restructuring the academic music libraries and for the development of a wider framework of operation which calls for an outreach strategy and cooperation with external music associations and organizations.

It is one of the very few studies providing theoretical and empirical evidence linking academic music libraries to musicians and the significance of collaborative partnerships.

The purpose of this paper is to provide a general review and historical context for cooperative and collaborative management of musical materials.

The paper explores historical instances and modern contextual parallels. It applies management of music – within collaborative knowledge creation hierarchies – to conceptual continua in collections. It applies theoretical business concepts to music libraries and vendors. It explores changing roles of subject specialists and the roles of business partnerships.

Selection of musical materials has become less the realm of subject specialists, and more that of corporations, as publisher's power spreads across supply chains. This power has influenced musical content and access, both in historical and modern contexts. Corporations should yield to the wisdom of subject specialists and librarians, to the benefit of the art of music.

For cost‐saving purposes alone, cooperative collection management of music is generally too troublesome to undertake. Assessment, in terms of mutual benefit of access, use, and conceptual continua across collections, is practically impossible, owing to myriad conditions. Problems of cooperative business partnering between vendors and music libraries relate to the material complexity and assessment. Cooperation requires standardized policy statements detailing individual and collective goals/outcomes. These policy statements are speculative and unpredictable.

The paper brings an historical champion of music library cooperation (Otto Kinkeldey) into the light of modern day, and reveals key aspects of cooperation/collaboration for music materials that remain of the same nature today as in history. It provides context for future cooperative initiatives.

The purpose of this paper is to describe the music performance collection preserved in Eastern Washington University’s institutional repository (IR). This collection of recordings of student music performances is the result of an ongoing collaboration between the university?s library and music department, which serves to provide discoverability, preservation and access to a collection of student creative works, which had heretofore been a hidden collection.

This collection of student creative work was identified as a suitable project for the Eastern Washington University’s IR while it was still in the planning stages because it was identified as an existing need that the new IR could address. Much of the groundwork for the collaboration between the library and music department was completed prior to IR implementation. Thus, the library was ready to begin work on this collection once the IR was operational.

The student music performance collection has been a successful project for the IR, which benefits the music department by making student performances discoverable and accessible, and benefits the library by providing the opportunity to demonstrate that the then-new IR could support the university’s student-centered focus on teaching and learning.

While there is a growing body of literature on IRs emphasizing student work, there is little literature on music or other creative works’ collections in IRs, much less on creative works by students. This paper adds to the limited body of literature on student creative works in the IR by describing the development, implementation and lessons learned from the successful music performances collection.

International Association of Music Libraries, Archives and Documentation Centres (IAML) aims to promote activities and cooperation between music libraries worldwide. IAML configures policies affecting to set up their working framework as well as music information services at national and international level. Furthermore, IAML’s function promotes the role of music libraries linking the cultural life of every place, fostering musical creativity. Therefore, the purpose of this paper is to present the crucial role of IAML’s function in enhancing musical creativity.

The paper provides theoretical and practical issues on topics related to music information employed for musical creativity in the context of music librarianship. It presents the function of music information management organizations and especially that of IAML as a mechanism for enhancing musical creativity, and at the same time it discusses suggestions and practices for the interrelation between them. More specifically, it discusses perspectives about educational programs on information literacy for musical creativity, the enhancement of the digital presence of all musical trends (the long tail to the demand of music information services), the strengthening of the culture of openness to a wider scale and the use of music information management software, as well as the linkage and stimulation of synergies between music information management organizations for the benefit of various music communities.

The outcomes of the study set up a theoretical connection between music librarianship issues and musical creativity, in terms of identifying that musical creativity is directly linked to music information and to the operation of the music libraries, and it can also be influenced by the availability of music information services and the information profile of the musicians involved.

The significance and originality of the study should be emphasized since it is the first study providing theoretical and practical issues linking music librarianship with musical creativity.

Universal Availability of Publications (UAP) presents special problems for music scores, which have received little attention to date in publications on the IFLA Programme. Some of these problems pose particular difficulties and are given general consideration: bibliographic peculiarities, format, publishing patterns and the international nature of the material involved. The nature of use is seen as being particularly important with factors such as a user's requirements for performance or study purposes, and the library's need to preserve or bind material, sometimes in conflict with UAP. A review of the current situation highlights a variety of national patterns of supply and provision presently in operation, few of which can be seen as adequate. General trends in music availability are discussed based on a number of recurrent themes arising from the national studies: developments in central and distributed methods of provision; perspectives on different categories of material; co‐operative against central acquisition; economic factors; new technology and the influence of publishers. General improvements in access and availability are dependent on those involved adopting a higher profile and recognizing all requirements of specialist materials.

The Maine Music Box is an interactive, multimedia digital music library that enables users to view images of sheet music, scores and cover art, play back audio and video renditions, and manipulate the arrangement of selected pieces by changing the key and instrumentation. In this pilot project the partners are exploring the feasibility and obstacles of combining collections, digital library infrastructure, and technical and pedagogical expertise from different institutions to implement a digital music library and integrate it into Maine's classrooms. This paper describes the methodology for digitizing, processing and providing access to electronic resources owned by two libraries and hosted by another, and the use of those collections to develop an instructional tool keyed to the digital library.

The provision of music on ILL has long been a difficult area, with a lack of centralised Bibliographic control a particular problem. Although standards still vary rather widely, advances are being made in the spheres of national provision of music and the number and quality of local inter/ending schemes.

While musicians contribute a great deal to the atmosphere of a city like Austin, Texas, they may be poorly compensated for their work. Their low salaries, personality traits, and lifestyle preferences may also mean that musicians may be reluctant to engage in preventative health strategies. Frequently lacking sufficient health insurance, musicians may have difficulty coping with health challenges such as depression and anxiety, hearing loss, poor nutrition, and alcohol and substance abuse.

This chapter opens with background on the music scene in Austin, Texas and moves to a description of a recent study on how musicians feel their careers impact their health. This is followed by a literature review that summarizes what is known about musicians’ personalities, their lifestyles, the economic factors they face, and their health disparities. In the last half of the chapter, the author summarizes how libraries currently serve musicians and add recommendations for how libraries might expand these services.