National Library of New Zealand

Contact: Barbara Brownlie

barbara.brownlie@natlib.govt.nz

Notes/Comments: I am replying on behalf of the Alexander Turnbull Library, the heritage library within the National Library of New Zealand.
1. Does your instution maintain holdings of concert programs? Yes. The Library holds concert programmes in two sections:
(a) In the Manuscripts & Archives Section, as groups within the papers of individuals or organizations.
(b) In the Ephemera Collection, where they are arranged by size, date, and (to some degree) by orchestra or musical group.
2. Apart from concert programs, does your institution have significant holdings of other types of documents that can be useful for performance research such as libretti, playbills, historical journals with concert reviews, etc.? Yes. We hold: libretti, playbills, historical journals with concert reviews. We also hold posters, some relevant drawings and paintings, an extensive Photographic Archive, manuscript music, and sound recordings
3. Please list major concert venues, ensembles or performing organizations, and artists that are represented in your holdings. If possible, indicate a general timeframe for each (e.g. New York Philharmonic: 1920-1950). If your holdings are so extensive it is impractical to submit a list in a timely fashion, please provide a general overview (e.g. Programs of various musical events in Stockholm: 19th and 20th centuries). (a) We hold programmes and posters of various musical events in New Zealand from the 1850s onward.
(b) We also hold some programmes featuring New Zealand performers in concerts overseas
(c) There is an inevitable concentration on the Wellington region because most of our donors are from this region. However our policy is to collect from the whole of New Zealand for the years before 1950; thereafter to collect particularly professional and national material, and material from the Wellington Region. In practice we accept programmes from anywhere in New Zealand.
(d) From the list of orchestras and musical associations whose programmes are stored separately in the Ephemera Collection (this does NOT mean that our holdings from all these institutions are complete, but more gets added as time goes by):
ACA (Auckland City Art Gallery), AFS (Auckland Festival Society), ALC (Auckland Lyric Choir), ALS (Alex Lindsay String Quartet), APO (Auckland Philharmonic Orcstra), ARO (Auckland Regional Orchestra), AUM (Auckland University Music Dept), BC (Bach Choir), BP (Baroque Players), BELCANTO, BOHAN (performances by singer Edmund Bohan), CCO (Christchurch Civic Orchestra), CHS (Christchurch Harmonic Society), CAF (Christchurch Arts Festival), CMFNZ (Chamber Music Federation of New Zealand, 1965-1971), CMS (Cambridge Music School), CMU (Christchurch Musical Union), CO (Canterbury Orchestra), CSA (Canterbury Society of Arts concerts), CANZ (Composers' Association of NZ), CANTORIS, DORIAN CHOIR, DOWSE (Dowse Gallery concerts), EMU (Early Music Union), FS (Festival Singers), GB (music performed in Great Britain), HVCMS (Hutt Valley Chamber Music Society), ISCM (International Society for Contemporary Music), JAZZ, LAURIAN CLUB, MOBIL SONG QUEST, MUSIC FEDERATION OF NZ (1972- ), NB (National Band of NZ), NO (National Orchestra, -1963), NYC (National Youth Choir), NYO (National Youth Orchestra), NZBBA (NZ Brass Bands Association), NZBCSO (NZ Broadcasting Corporation Symphony orchestra 1964-1974), NZCO (NZ Chamber Orchestra), NZFCMS (NZ Federation of Chamber Music Societies - up to 1964), NZH (New Zealand House), NZMS (NZ Musicological Society), NZMC (NZ Music Centre, 1991- ), NZNSS (NZ National Singing School), NZSO (NZ Symphony Orchestra, 1975- ), NON-NZ, OSP (concerts at Old St Pauls), ORLANDO SINGERS, ORPHEUS (CHOIR), PARKER (Robert Parker Collection), PHOENIX (Phoenix Choir Wellington), PIPE (for pipe band music), PIPE:MACKAY, RESTORATION, RCMS (Royal Christchurch Music Society), RDMC (Royal Dunedin Male Choir), RNZ (Radio New Zealand), RWCU (Royal Wellington Choral Union), St A (St Andrew's on the Terrace), St MARY (St Mary of the Angels Choir), St MATT. (St Matthews Chamber orchestra), SCHOLA CANTORUM, SCHOLA MUSICA, SCHOLA POLYPHONICA, SINFONIA OF WELLINGTON, SONIC CIRCUS, SYMPHONIA OF AUCKLAND, TAUMARUNUI (Taumarunui Choral Society), TUDOR CONSORT, UACE (University of Auckland Continuing Education), UACM (University of Auckland Conservatorium of Music), UCSM (University of Canterbury School of Music), UHMS (Upper Hutt Music Society), UOMD (University of Otago Music Dept), UPSTAGE (Music at Upstage Cafe 1985- ), VUMD (Victoria University Music Dept), VUMS (Victoria University Music Society), WCMS (Wellington Chamber Music Society), WCO (Wellington Chamber Orchestra), WCS (Wellington Choral Society), WF (Wellington Folk Centre), WHS (Wellington Harmonic Society), W POL (Wellington Polytechnic), WRO (Wellington Regional Orchestra), WS (Wellington Settlement), WSO (Wellington Symphony Orchestra), WSCM (Wellington Society for Contemporary Music), WSME (Wellington Society for Music Education), WYO (Wellington Youth Orchestra), WHITE (donated by H Temple White, prominent in music circles), YMC (Young Musicians' Competition, 1982- ).
4. Do you have collection level or title/series level descriptions of your holdings? If yes, are these descriptions available online or in print? See no. 5.
5. Have you undertaken or are you planning any item level indexing or cataloging of individual programs? If yes, please list the categories of information that are indexed for each program (e.g. date, venue, artists, works, etc.). If the details of your plan are not yet specified, please made a simple explanation of what you hope to accomplish. If your index is available online please provide the URL. If it exists in some other electronic format such as an Excel or FileMaker file please try to send it as an attachment. Our online database TAPUHI, for the Manuscripts and Archives Collection, and for the Ephemera Collection, is a work in progress. Its URL is http://tapuhi.natlib.govt.nz.
The description of the programmes differs between the Manuscripts and Archives section and the Ephemera section:
The Manuscripts & Archives section has described programmes briefly as groups, mainly without itemizing each one. The description of the Manuscripts & Archives Collection at collection level is almost complete.
The Ephemera section has as yet described very few music programmes collections online, but when they do appear they are fuller, listing each programme within the group. The database allows for hierarchical description, with collection-level records and subsidiary “child” records linked to them. So there may be a collection level record for a group of programmes, and then records for individual programmes within that group, where the need has arisen to catalogue these individually. Below this, there may even be records for individual pages or covers of programmes, where researchers have requested good quality reproductions of such pages. This links to our pictorial database, Timeframes, at http://timeframes.natlib.govt.nz, where out-of-copyright images are displayed; this includes such music programme covers or pages as have been ordered by the public.
6. Please briefly describe the clientele or research use of your holdings. Are the programs accessible to the public? Are they used for historical research or more for practical in-house institutional functions? Programmes are used for historical research, by authors, graduate students, family historians, TV producers, etc. They are accessible by appointment.
7. Are you able and willing to assist in developing a broader census of program holdings within your national branch? [awaiting response]
8. Are you able and willing to assist in developing a template or questionnaire for submitting collection level descriptions? [awaiting response]
9. Are you able and willing to participate in preparing the draft thesauri for genre and instrumentation? [awaiting response]
10. Can you refer other potential participants for the IAML project? Please provide names and email addresses if possible. [none]

Compiled by Rebecca Arnott (rja7@email.byu.edu), John Spilker (jds233@email.byu.edu), and Annie Erickson (aerickson623@hotmail.com)