Brio Vol.56 no.2 Special Issue: : 'Claimed from Stationers' Hall' : papers from an AHRC-funded network project
- Submitting institution
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Royal Conservatoire of Scotland
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2844122
- Type
- B - Edited book
- DOI
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- Publisher
- IAML (UK & Irl)
- ISBN
- 0000000000
- Open access status
- Compliant
- Month of publication
- January
- Year of publication
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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16
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- My earlier research for the AHRC-funded Bass Culture project highlighted the infrequency with which Scottish fiddle collection compilers registered their publications at Stationers’ Hall, but this gave rise to the question of who did register and supply legal deposit copies. A preliminary study of the legal deposit music at the University of St Andrews led to my founding the 'Claimed from Stationers’ Hall' network, also funded by the AHRC, in order further to investigate the story of Britain and Ireland’s Georgian legal deposit music.
The corpus of ‘Stationers’ Hall music’ is scattered in ancient university and national libraries, reflecting its original dissemination, and the topic proved to have many angles, often stemming from the initial and subsequent responses of individual universities to their entitlement to printed music under British legislation. Questions included: who processed the legal deposit music, and what were the various stages leading to its retention on library shelves, or rejection? What decisions were made about its retention at the time and in later eras? Who used it? How do these matters indicate the place of music and libraries in individuals’ lives?
The research network brought together the librarians who curate these collections today, and scholars with an interest in legal music or legal deposit in general. Because of its significance in library history, as well as to music librarians, collaboration with IAML(UK) members proved key. It is for this reason that a special issue of Brio was considered an appropriate means of disseminating the work. In addition to leading the network that underpinned this research, and curating and editing the whole issue, I co-authored ‘Discovering Copyright Music in the University of St Andrews Library’ with Briony Harding and Elizabeth Henderson, and ‘The ones that got away: Sion College and King’s Inns’ with Sile O’Shea.
- Author contribution statement
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- Non-English
- No
- English abstract
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