music libraries, librarianship and documentation in sweden — an overview

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Music Libraries, Librarianship and Documentation in Sweden —an Overview Author(s): Anders Lönn Source: Fontes Artis Musicae, Vol. 33, No. 2 (April-Juni 1986), pp. 128-134 Published by: International Association of Music Libraries, Archives, and Documentation Centres (IAML) Stable URL: http://www.jstor.org/stable/23507190 . Accessed: 15/06/2014 23:15 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaborating with JSTOR to digitize, preserve and extend access to Fontes Artis Musicae. http://www.jstor.org This content downloaded from 194.29.185.216 on Sun, 15 Jun 2014 23:15:51 PM All use subject to JSTOR Terms and Conditions

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Page 1: Music Libraries, Librarianship and Documentation in Sweden — an Overview

Music Libraries, Librarianship and Documentation in Sweden —an OverviewAuthor(s): Anders LönnSource: Fontes Artis Musicae, Vol. 33, No. 2 (April-Juni 1986), pp. 128-134Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23507190 .

Accessed: 15/06/2014 23:15

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaboratingwith JSTOR to digitize, preserve and extend access to Fontes Artis Musicae.

http://www.jstor.org

This content downloaded from 194.29.185.216 on Sun, 15 Jun 2014 23:15:51 PMAll use subject to JSTOR Terms and Conditions

Page 2: Music Libraries, Librarianship and Documentation in Sweden — an Overview

128

Music Libraries, Librarianship and Documentation in Sweden - an Overview Anders Lönn (Stockholm)'

In synoptic form, the music library scene in Sweden can be characterized as follows: - numerous collections of older source material, music and music literature (in the university

libraries, the Library of the Swedish Academy of Music, the Royal Library, a few public libraries and one private foundation) - one special library (the Music Academy Library) as a national resource for scholars and

performers alike - a public music library system that leaves much to be desired - libraries of varying size at the music conservatories and modest collections at university

musicology departments - a number of special area documentation centres (Swedish music history in general, folk

music and jazz, contemporary serious and popular music, hymn research, electronic music)

complement the general library system - a National Archive for Recorded Sound and Moving Images (ALB) with responsibility not

only for commercial sound, film and video recordings but also for radio and television

programs - a Swedish Radio Company (a public service monopoly, but not formally a state body) with

by far the best-stocked sound recording library,1 cooperating with the national sound

archive; and a music library with modern collections at least on a par with and sometimes

surpassing the Music Academy Library but not open to the public, and somewhat outside

the general library community - a central lending collection of orchestral scores and parts at the Academy Library plus

good-sized libraries at the major professional orchestras and opera houses as well as the

radio - limited education and training opportunities at the country's one library school - few music library positions, but a fairly strong "family feeling" and close-knit professional network.

Several of the libraries and other institutions are described in separate articles in this

Fontes issue. In the following I will deal briefly with those which are not, and develop some

of the genral aspects of Swedish music librarianship and documentation.

The university libraries

In addition to Kungl. biblioteket (the Royal Library) in Stockholm, Sweden has university libraries in-in order of foundation-Uppsala, Lund, Göteborg, Stockholm, Umeâ and

Linköping (the last three date from the 20th century). Of these, Uppsala, Lund and the

Royal Library have significant holdings of older music materials (books and printed or

manuscript music). Göteborg is the only research library to have a noteworthy collection of sound recordings. None of them has a special music division, however, and not all of them

have subject specialists in charge of the material.

By historical happenstance, the collections of older sources are neatly divided among the main repositories:

* Anders Lönn is Chief Librarian at the Library of the Swedish Academy of Music and chair of the Swedish Music Library Association (Swedish IAML). 1 Described by its director, Claes Cnattingius, in the Phonographic bulletin issue for the Stockholm conference.

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Page 3: Music Libraries, Librarianship and Documentation in Sweden — an Overview

Anders Lönn: Music Libraries, Librarianship and Documentation in Sweden 129

- medieval: Uppsala University Library, Royal Library - 16th and 17th centuries: Uppsala University Library - 1st half of 18th century: Lund University Library - 2nd half of 18th and early 19th century: Library of the Swedish Academy of Music

(This is a convenient rule-of-thumb guide to the main strengths of their holdings. It is not to

say that these libraries do not have sources from other periods.) In addition, a few public libraries (some of them former diocesan libraries) have notable

collections of rare materials, e.g. Norrköping, Skara, Västeräs, Växjö.2 There is also one

remarkable private collection of autographs of major European composers, now a trust:

Stiftelsen musikkulturens främjande. A detailed description of many of these older

collections is given in Âke Davidsson's article below.

The Royal Library is the national library, and responsible for the (separately issued) music section of the national bibliography, Svensk musikförteckning. All university libraries

receive deposit copies as well (i.e. 7 in all), printed music included, but only the Royal

Library and the Lund University Library are obliged to keep them. The other copies may be

disposed of a the library sees fit (usually to selected libraries in the region, e.g. a music

conservatory or a musicology department). Deposit copies of sound recordings go to ALB, the national sound, film and video archive (cf. separate article). The Music Academy

Library does not receive deposit copies. Swedish research libraries, for all that they mostly have closed stacks, are quite accessible.

With material for reading room use there are no formalities : you can walk in from the street

(no testimonials or applications in writing three months in advance), there are no readers'

tickets, you are not asked who you are or what business you have with this precious stuff -

that is regarded as your business, the library's is to make the material available to you.

Normally, it will also supply copies with no questions asked (one exception may be if you order wholesale copying of entire collections). This liberal attitude is probably influenced by the fact that Sweden's Freedom of Information Act, which gives any Swede unlimited access

to any government document that does not actually have a security classification, dates back

to 1766. Access to official information is an ingrained right, and this extends to the libraries

that are part of the public sphere. (Regrettably, for copyright reasons it does not extend to

sound and video recordings; cf. the article on ALB.)

Conservatory libraries and Musicology institutes

Musicological research at the universities is sharply distinguished from the training of

teachers and performers at the conservatories. Sweden has state conservatories in

Stockholm, Göteborg, Malmö, Ingesund (Arvika), Örebro and Piteâ, which all have their

own libraries, usually staffed by one qualified librarian (not necessarily full-time) and one or

two support staff. Their collections vary considerably in extent, but they all contain music

for the study and performance needs of the schools, including orchestral sets (they also

handle hire materials), sound recordings and music literature. Although these libraries are

part of the university structure, most of them are relatively independent units.

The libraries at the departments (called Institutes) of musicology at the universities of

Uppsala, Stockholm, Göteborg and Lund are rather more modest affairs: a reference

collection of the most essential literature and a selection of periodicals, gramophone records

and sometimes taped broadcast performances, etc., perhaps some collected editions; they

are usually in the charge of an undergraduate appointed by the institute. The main university

library assists them with cataloguing, and usually coordinates acquisitions. For anything out

of the ordinary, loans from the Academy library in Stockholm are resorted to.

See the Directory of Music Research Libraries and Rita Benton's article Libraries in: The New Grove.

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Page 4: Music Libraries, Librarianship and Documentation in Sweden — an Overview

130 Anders Lönn: Music Libraries, Librarianship and Documentation in Sweden

Libraries in performing organizations

The major professional, government-subsidized orchestras and opera houses have their

own libraries of performance materials, in addition to what they need to hire. They will

usually circulate the works among themselves, but - understandably enough, since the

material is specially marked and somtimes restricted by copyright - not to semi-professional

or amateur bodies. Regionmusiken (the Regional Music Authority), which oversees the 22

regional (former military) music corps, has a central library primarily of band music.

(A transfer to the Music Academy Library has been suggested.)

Specialized documentation and research centres

In addition to the Swedish Music History Archive, the Swedish Centre for Folk Song and

Folk Music Research (with a jazz department) and the Swedish Music Information Center

(with a popular sheet music archive), which are described in separate articles and all of

which are well-established institutions, there are smaller collections of the same kind (i. e. of

information on a special area or subject, with literature, copies of sources, etc.), e. g. at the

Institute of Musicology at Lund University "documentation archives" for the Lutheran

chorale in Sweden, for electro-acoustic music and for music therapy. These are not

institutionalized: they owe their existence to individual enthusiasts. Besides the nation-wide

activities of the Centre for Folk Song, there are regional centres established by individual

efforts in several places, sometimes supported by local government, housed in local history museums, or the like.

Music library associations

Svenska musikbiblioteksföreningen (the Swedish Music Library Association), the Swedish branch of IAML, was founded in 1953, under the chairmanship of Gösta Morin, then Chief

Librarian of the Library of the Swedish Academy of Music. For many years, the association

was practically synonymous with Swedish RISM, which started in 1954 and was carried out

at the Academy Library, a cooperation that after Morin's retirement was not without its

complications, and occupied most of the board's energies. When the RISM cataloguing was

completed in 1977, the association was free to branch out in other directions. It was felt

particularly that for the association to develop, more attention had to be given to public music library concerns, and these have been one focus of interest in the present "age of

austerity". Apart from various support measures, the association has sought to improve the

training and continuing education of music librarians (see below). It also initiated a report on the state of music librarianship by the official Public Library Commission (cf. Bibbi Andersson's article), and has undertaken a supplementary survey of printed music in public libraries.

Other projects have included: contributions to the new cataloguing rules and the revision of the Swedish classification scheme; the Third Meeting of Nordic Music Librarians (in Stockholm and Mariehamn 1981);3 and, since 1981, the publication of a newsletter,

Musikbiblioteksnytt (4 issues a year). The increased activity has partly been made possible by a small but essential grant from the Swedish National Cultural Council (in 1985 Sw. kronor 10,000), which has also served to keep membership dues down. As a sign of its

shifting emphasis, the association changed its name in 1980 from the slightly nondescript Swedish Section of AIBM to its present appellation. The membership, which at that time stood at 75, has grown to 115: the potential for further growth is probably limited. - Chairs after Morin have been Folke Lindberg, Bengt Kyhlberg and (since 1981) Anders Lönn.

3 Tredje Nordiska musikbiblioteksmötet 13-16 maj 1981 i Stockholm och Mariehamn: Rapport. Red. Birgitte Home

Jensen. Stockholm: Svenska musikbiblioteksföreningen: Musikaliska akademiens bibliotek, 1981.

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Page 5: Music Libraries, Librarianship and Documentation in Sweden — an Overview

Anders Lönn: Music Libraries, Librarianship and Documentation in Sweden 131

Specialgruppen för AV-media (the Special Group for Audio-Visual Materials) is one of the

subject groups within the Swedish Library Association. The Group is almost exclusively

public-library oriented, and concerned with all AV media, although music has a large share

of its attention. With its channel to the Library Association, it has been quite effective as a

pressure group. Its relations to Swedish IAML have always been friendly, but closer

cooperation has been achieved during the past few years. The two bodies have undertaken

several joint projects, among them a very successful conference in 1983 on The Library in

the Musical Life of the Community, bringing together musical directors, local politicians and

public librarians. - The Group has been chaired for many years by Anna-Maria Kylberg,

Heisingborg Public Library, who has also served as chair of the IFLA Audio-Visual Round

Table.

Cataloguing and classification

Until quite recently, Sweden had no generally accepted cataloguing rules for music or

sound recordings. In the 1970s, new codes for research libraries (1974) and public libraries

(1976) were introduced, both based on ISBD(M): neither made any provisions other than

for printed texts (books and serials). For music, a variety of in-house rules or the general book rules (with or without modifications) were used; sound recordings

- apart from the

radio, almost exclusively a public library concern - were catalogued by the central service

agency, Bibliotekstjänst, with rules based on those of the radio, and later after a modified

ISBN(NBM). With the publication of a Swedish version of AACR2, Katalogiseringsregler för svenska

bibliotek (KRS) in 1983, public and research libraries were presented with their first joint code, and, also for the first time, with a code that covers all library media. (These were two

major reasons why it was decided to adopt it in the first place.) KRS is a somewhat revised

version rather than a mere translation.

The code was prepared by a committee appointed by the Swedish Library Association

with representatives from various types of libraries. Rather unusually, music libraries were

given a place on the committee (by a happy coincidence one other member, appointed in a

different capacity, was an erstwhile music librarian as well). Swedish IAML set up a music

sub-committee, on which the two committee members (Anders Lönn, Per Halberg) served

as chair and secretary, and the music rules were undoubtedly more thoroughly discussed and

vetted than any other part of the new code. Not surprisingly, the music chapters contain the

most differences in detail from the original. (Also not surprisingly, they are not sufficient.)

ISBD(PM) and ISBD(NBM), neither of which existed when the Anglo-American code was

prepared, were drawn on in some instances, and several Library of Congress interpretations were incorporated into the Swedish rules.

KRS has been adopted by the two computerized library networks in Sweden (cf. below),

and by most other libraries, e. g. the conservatory libraries. The only major music library

that has not made the change is that of the Swedish Radio. Nor has the national sound

archive, which follows the (different) system of the Radio Record Library. The Anglo

American rules for construction of uniform titles have caused some headaches ; on the other

hand, they have necessitated closer contacts between Swedish music libraries, and in that

respect will have a salutary influence. (Incidentally, KRS follows AACR1 rather than

AACR2 in the choice of language for distinctive uniform titles: that is, an established

Swedish title is preferred for "uncommon" languages.)

With regard to subject access, the picture is similar in some respects, dissimilar in others.

Swedish libraries almost invariably have a classified catalogue and if they have open shelves

use the classified arrangement there as well. The public libraries and many research libraries

(at least in the humanistic disciplines) use the identical classification system, though a number of local variants exist. Unlike the cataloguing rules it is a purely national scheme.

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Page 6: Music Libraries, Librarianship and Documentation in Sweden — an Overview

132 Anders Lönn: Music Libraries, Librarianship and Documentation in Sweden

Known as SAB (the acronym of its sponsor, Sveriges allmänna biblioteksförening, the

Swedish Library Association), it seems to be used by only one library outside Sweden:

Odense University Library, Denmark. Subject headings are not as common in Sweden, and

when they occur they are mostly from in-house lists: there is nothing even remotely

approaching the status of, e. g., the Library of Congress List of Subject Headings. The

subject index to the revised SAB scheme attempts to do something towards standardizing the terminology, however.

SAB is a general scheme and music, although included, has not been well served by it.

Revisions have been called for repeatedly, not least by Swedish IAML, but not until 1985, when a new edition of the entire scheme was completed, were the music classes reworked to

permit greater specificity, accomodate research library needs for genre classifications and

provide for jazz and popular music. (SAB has separate but virtually parallel classes for music

literature, printed music, and music sound recordings. In the revised system, other sound

recordings -

spoken word, birdsong, etc. - are grouped with the corresponding texts and

distinguished by a common auxiliary for medium.) As with the cataloguing rules, Swedish

IAML was consulted throughout, and provided much of the input for the music sections.

The result is not ideal, since existing notations had to be respected whenever possible and

the revision was accomplished in the minimum of time and with the minimum of money, but

it does provide even a large music library such as the Academy Library with a scheme that

meets most of its needs. Numerous music terms have been added to the subject index.

Automation

The use of computers in Swedish libraries goes back to the mid-1970s, when a shared on

line cataloguing system, LIB RIS, was adopted by the major research libraries. Administered

by the national library, it has since been joined by all general research and many special libraries, and is now a well-functioning and stable system, but still with rather limited

capabilites other than the basic cataloguing and location functions (e.g. subject search

facilities were not available until 1985, there is no authority file, it does not support inter

library loan or circulation, communication is not well-developed, etc.). The system produces

catalogue cards for all participating libraries: hardly any Swedish library has yet closed its card catalogue.

The central service agency for the public libraries, Bibliotekstjänst (Btj), developed its own system (its acronym, BUMS, can also be interpreted as "on the double", and has none of the unfortunate English connotations), focussing on circulation control rather than

cataloguing. Unlike LIBRIS, it is a centralized, not a cooperative system, and the output is

on microfiche, not on-line. Less than half of the Swedish public libraries have joined, but all

of them receive laser-printed catalogue cards from Btj, produced from the data base. (The LIBRIS cards are printed by Btj as well.)

From their separate beginnings, the systems have moved closer to one another. (One admirable feature they have shared from the outset: the insistence on only one record for

any one item in the file.) BUMS has improved its cataloguing facilities and now allows selected public libraries to input on-line, and on-line searching on a wider scale is on its way. Each system uses its own version of the MARC format. After the adoption of the new

cataloguing rules, some of the differences have been ironed out, but enough remain to

prevent the two systems to communicate, though this is the eventual goal. Local turn-key systems are emerging as a complement (or a threat?) to the national networks.

What about music and sound recordings in these systems? The lack of national

cataloguing rules was an obstacle to concerted efforts, and the Music Academy Library, the natural institution to take the lead, has awaited the appearance of KRS, as well as being in a

quandary about which of the systems to join. Still, LIBRIS does contain some printed music, almost exclusively Denkmäler and collected editions, catalogued according to the former

rules, without uniform titles. From 1986 on, it will also contain the Swedish music

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Page 7: Music Libraries, Librarianship and Documentation in Sweden — an Overview

Anders Lönn: Music Libraries, Librarianship and Documentation in Sweden 133

catalogued for the national bibliography by the Royal Library. BUMS contains sound

recordings catalogued by Bibliotekstjänst for the public libraries, and after the adoption of

KRS a growing amount of printed music. To pave the way for the eventual communication

between the systems, the Academy Library, which now expects to join LIBRIS as soon as

funds become available, and Bibliotekstjänst cooperate closely on rule interpretations, an

authority file for uniform titles, etc. So far, neither of the systems copes successfully with the

special problems of music uniform titles.

Education and training

Until recently there was no special education for music librarians in Sweden. The country

has only one School of Librarianship, in Borâs near Göteborg, which offers a general two

year course, with some specialization during the second year. About 48 hours on music

(repertoire studies, formats and selection of printed music, cataloguing, classification) are

included for all students, most of whom, of course, have no music background. There is no

further specialization in music during the basic education. There is, however, a required ten

week internship, which can be spent at a music library, though the country's few such

libraries cannot accept more than a small number of interns.

From time to time the school has arranged brief (two-week) continuing education courses

in music librarianship, recently planned and taught by Swedish IAML. For the rest, on-the

job training and such information as one can pick up from meeting with colleagues must

make up for the lack of formal education opportunities.

In 1984, after discussions with Swedish IAML and the AV Group, a pilot project to

provide some music specialization during the basic education was launched. A year's study

at the Institute of Musicology, Göteborg University, is interpolated between the first and

second year at the library school. However, there are only five places a year, and apart from

a certain emphasis on music library matters during the two years at Borâs, the students

receive the same training and the same degree as everyone else. (If they did not, their future

career opportunities would be severely limited.) Since there have almost always been

students at Borâs with a grounding in musicology, the differences are more apparent than

real, and at the time of writing it is uncertain if the program will be continued. The basic

fault of the scheme is that very little subject specialization can be crammed into a two-year

general library education.

A market for music librarians?

The prospects for the newly graduated librarian who wants to work with music are bleak.

Apart from the Academy Library, the Radio Music Library and the couple of specialist

institutions, which hardly ever have a vacancy, there are only a handful of positions as music

librarian in the public library domain and at the conservatories. At best, one can obtain a

post in a public or university library that will include music among the duties, and where,

with initiative, luck and a sympathetic director, one might eventually develop into a fuller

fledged music librarian. *

Perhaps because of the isolation that often goes with a music librarian's job-and, of

course, their shared love: music - those who are active in the field tend to form a close-knit

community. (This seems to be true of any country, small or big.) Opportunities of meeting

with one's like-minded are seized upon. Conferences organized by the two Swedish

associations have been enthusiastically attended, and continuing education courses are

always fully subscribed. There are meetings of informal special interest groups within the

special interest, such as conservatory librarians and orchestra librarians, in addition to the

annual general meetings of the national bodies. Swedish IAML's newsletter is now another

and welcome means of information.

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Page 8: Music Libraries, Librarianship and Documentation in Sweden — an Overview

134 Anders Lönn: Music Libraries, Librarianship and Documentation in Sweden

If there are few openings and little mobility within the profession, this also owes

something to the fact that outward mobility, to general librarianship for instance, is all but

non-existent. Few of us who have chosen or who have come to make music librarianship our

career seem much inclined to look elsewhere.

On peut, de façon sommaire, dresser des bibliothèques musicales suédoises le tableau suivant: - de nombreuses collections de sources anciennes, de musique et de littérature musicale réunies dans les bibliothèques universitaires, la Bibliothèque de l'Académie de musique suédoise, la Bibliothèque Royale, quelques bibliothèques publiques et une fondation privée; - une bibliothèque spécialisée réunissant une documentation nationale pour les chercheurs ainsi que pour les interprètes (la bibliothèque de l'Académie de musique suédoise) ; - un système de bibliothèques musicales publiques laissant beaucoup à désirer; - des bibliothèques d'importance variable dans les conservatoires de musique et de petites collections dans les départements de musicologie universitaires; - quelques centres de documentation spécialisés dans différents aspects de la musique suédoise et qui complètent le système général; - des archives audio-visuelles nationales (Ton und Bild) chargées non seulement des bandes sonores

publicitaires, cinématographiques et vidéo, mais aussi des programmes de radio et de télévision; - la société radiophonique suédoise qui possède de loin la discothèque la plus riche et une bibliothèque musicale comprenant d'excellentes collections modernes; mais elle n'est pas ouverte au public et se situe

quelque peu en dehors du circuit général des bibliothèques; - une collection centrale de prêt de partitions et de parties d'orchestre conservée à la Bibliothèque de

l'Académie, ainsi que des bibliothèques assez importantes attachées aux principaux orchestres

professionnels, aux différents opéras et à la radio; - des possibilités d'instruction et de formation limitées à la seule école de bibliothécaires du pays; - peu d'emplois dans les bibliothèques musicales, mais un «esprit de famille» assez fort et un réseau

professionnel très serré.

Plusieurs de ces bibliothèques et institutions sont décrites séparément dans ce numéro de Fontes. Cette introduction présente brièvement celles qui ne le sont pas et développe certains points d'ordre

générai concernant les bibliothèques et la documentation musicales en Suède. *

Die Musikbibliotheksszene in Schweden läßt sich zusammenfassend wie folgt charakterisieren: - zahlreiche Sammlungen mit altem Quellenmaterial zur Musik und Musikliteratur (in den Univer

sitätsbibliotheken, in der Bibliothek der Schwedischen Akademie für Musik, in der Königlichen Bibliothek, in einigen öffentlichen Bibliotheken und in einer privaten Stiftung); - eine Spezialbibliothek als eine nationale Hilfsquelle für Wissenschaftler und Musiker (die Bibliothek der Akademie für Musik); - ein öffentliches Musikbibliothekssystem, das viel zu wünschen übrig läßt; - Bibliotheken von unterschiedlicher Größe an Musikkonservatorien und mit bescheidenen Samm

lungen in Musikwissenschaftlichen Instituten der Universitäten; - einige Dokumentationszentren für spezielle Bereiche der schwedischen Musik ergänzen das generelle Bibliothekssystem ; - ein nationales Ton- und Bildarchiv, verantwortlich nicht nur für kommerzielles Ton-, Film- und

Videoaufnahmen, sondern auch für Radio- und Fernsehprogramme; - die schwedische Radiogesellschaft mit der wohl am besten ausgestatteten Bibliothek für Tonauf nahmen und mit einer Musikbibliothek mit ausgezeichneten modernen Sammlungen, für die Öffentlich keit jedoch unzugänglich und etwas außerhalb der generellen Bibliotheksvereinigung; - eine zentrale Leihstelle für Orchesterpartituren und Stimmen an der Akademie-Bibliothek, dazu relativ große Bibliotheken sowohl bei den wichtigsten professionellen Orchestern und Opernhäusern als auch beim Rundfunk; - begrenzte Unterrichts- und Ausbildungsmöglichkeiten an der einzigen Bibliotheksschule des Landes; -

wenige Musikbibliotheksstellen, jedoch ein ziemlich starkes „Familiengefühl" und ein enggeknüpftes professionelles Bibliotheksnetz.

Für einige dieser Bibliotheken und Institute enthält das vorliegende Fontey-Heft eigene Beschrei

bungen. Die anderen Bibliotheken werden in dieser zusammenfassenden Einleitung kurz charak terisiert. Darüber hinaus werden einige generelle Gesichtspunkte der Bibliotheksarbeit und Dokumen tation in Schweden aufgezeigt.

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