Conferencia conjunta de la Asociación Internacional de Bibliotecas Musicales y de la Sociedad Internacional de Musicología
Joint conference, International Association of Music Libraries (IAML) and International Musicological Society (IMS), New York, Junio 21–26, 2015, The Juilliard School.
“Music Research in the Digital Age,” the theme of the IAML/IMS conference in New York, not only focuses attention on the past, present, and future of digital musicology, but also evokes a long tradition of cooperation between the International Musicological Society and the International Association of Music Libraries, Archives, and Documentation Centers. The conference will include a celebration of RILM’s 50th anniversary. RILM’s Editor-in-Chief, Barbara Dobbs Mackenzie, is President of IAML and Director of the Barry S. Brook Center for Music Research and Documentation at The Graduate Center, CUNY. The vast legacy of Barry S. Brook, founder of RILM (1965) and co-founder of RIdIM (1971), IAML President (1977–1980), and already a pioneer in computer applications to musicology in the 1960s, stands as a symbol of the symbiotic relationship between musicology and music librarianship that has driven the work of many scholars before and since his time. Barbara Dobbs Mackenzie; Jane Gottlieb, Vice President for Library and Information Resources, Graduate Studies, The Juilliard School; and Jim Cassaro, Head, Theodore M. Finney Music Library, University of Pittsburgh, are co-chairs of the overall Organizing Committee. Stanislaw Hrabia, Music Librarian in the Department of Music at the Jagiellonian University in Krakow, is the chair of IAML’s Program Committee; Malena Kuss, Professor Emeritus of Musicology, University of North Texas, Denton, and IMS Vice-President, is chair of the IMS Program Committee. Both IMS and IAML program committees have collaborated to create joint sessions.
The IMS Program Committee invited papers on digital musicology, links between musicology and librarianship, and, in general, on the impact of technology on musical culture and musicological research. “Music Research in the Digital Age,” broadly defined, should not only focus on digitized resources and how connectivity can remap scholarly disciplines, but also represent both, reflections on the meta-discourse generated by this connectivity and the diversity of conceptual frameworks that inform the practice of musicology in the intercultural age.