Music Archiving

Over her first five hundred years of history, Gorizia was an autonomous county with strong tendencies towards expansionism. Since the late Middle Ages, inhabited by Germans, Italians and Slovenes, religious chant and secular songs had become widespread, while dancers, trumpeters and pipers entertained at weddings in the church squares and at dances held by the nobility. After Leonardo's death (1500) and the establishment of Hapsburg rule in the county (1509), there are records of organists in the service of the Cathedral's music chapel: G. Hophajer (or Hofhaimer, probably the brother of the more renowned Paulus), G. Oberpurger, G. Mainerio, N. Vicentino, G. B. Galeno, G. Cerva, P. Ragno and the cornett players F. and G. Sagabria. In the meantime, noble families organized gatherings of Lutheran music imported from Carniola, modern day Slovenia.
Among the musicians and organists active in the seventeenth century, worth mentioning are G. Marini, A. Piccelli (who dedicated a composition to Emperor Ferdinand III in 1637), the Silesian organist and organ-builder E. Casparini, the organist M. Melissa, composer of psalms in the concertato style, G. B. Scalettaris (ca. 1651), C. Scalettaris and, towards the end of the century, F. Palese. Plays with music accompaniment were also organized in the Jesuit College and the Sant'Orsola Monastery. Instrumental music, on the other hand, was cultivated in the home of F. de Stubenberg, a nobleman from Graz, appointed Captain of Gorizia in 1685. At carnival time in 1696, the first libretto for a drama called L'Odio placato was published, containing a sung prologue and final dance.
In the first half of the eighteenth century, A. Patriani and F. S. Rainer served at the Cathedral Chapel. Organs built by P. Nacchini and G. Callido were installed in the churches of Sant'Ignazio and Sant'Ilario. All this musical activity was given a new impulse when the first archbishopric C. M. d'Attems was founded in 1752. The principal musicians of the second half of the century were the Gorizians N. De Zorzi, F. De Zorzi and the Neapolitan P. Vinci. The late 1700s saw the rise of the violinist I. Gobbi (a pupil of G. Tartini) and the composer G. Fabani, both engaged at the Bandeu Theatre.
It was in this theatre that Gorizia's musical life flourished during the 1700s. Built by the nobleman G. Bandeu in 1740, the theatre staged performances of opera seria, based mainly on librettos by Metastasio and music written by composers belonging to the Neapolitan and Venetian schools. The dramma giocoso appeared in 1764 definitively supplanting opera seria. Music and poetry were also supported and continued to flourish in the noble academies, in particular the «Arcadia Sonziaca» founded in 1780 by G. Colletti, and among whose members was the poet L. da Ponte, Mozart's future librettist. The Singspiel, a genre belonging to the musical fashion characteristic of central Europe, made its first appearance at the theatre at the end of the century.
During the French occupation and the Hapsburg Restoration, instrumental music became more widespread as a result of the work of Bohemian musicians such as F. J. B. Dusík (Cormundj) and W. Wrattni, both composing instrumental music dedicated to the local nobility. The Bohemian musicians were important for introducing the Viennese Classical style, form and genres, as represented in the output of these kleinmeister preserved in the local archives.
The growth of instrumental music was further hastened with the establishment of the first music school in 1824. Meanwhile, at the theatre, the farsa and opera semi-seria gave way to Rossini and his operas. The following decade included opera performances by Bellini, Donizetti and Verdi. This was also the period when guitarist and composer Antonio Gracco tried to reorganize the music school, but it was the Bohemian P. Frinta who finally managed to start a school project under the aegis of the Municipality.
In the mid-nineteenth century, music permeated every aspect of social life because of the initiatives taken by the artistic and cultural societies, including entertainment often aimed at concealing irredentist activity. In Slovenian circles choral music was revitalized in the citalnice or reading associations and singing societies (such as the Slavec, founded by A. Hribar and J. Kociancic in 1875). The town itself was musically alive with two brass bands, numerous choirs, chamber ensembles and orchestras; the Cathedral Chapel remaining constantly active. At the music school, P. A. Tirindelli taught violin while the Neapolitan impresario G. Mugnone was the conductor of the orchestra. From the 1880s onwards and for over 25 years the composer C. Cartocci directed the music school, the Cathedral Chapel, and was also bandmaster.
Local composers tended to concentrate on sacred music, which became the topic of lively discussions among music lovers, particularly at Slovenian gatherings. Alongside this was the salon music that showed a growing interest in popular traditions towards the end of the century. S. Persoglia collected and published the first collection of Friulani songs, later to be arranged in 3- or 4-part choral style by the composer and musician of the Cathedral Chapel A. C. Seghizzi during the Great War. In the local branch of the Trieste Conservatory the violinist A. Lucarini was didactically important as a member of the teaching staff, thus giving chamber instrumental music a new impetus. At the beginning of this century, the most important Slovenian musical institution was the Pevsko in glasbeno drustvo, founded in 1901 by H. Tuma, who was to be succeeded the following year by J. Michl, a Czech bassoon player, who had studied composition with A. Dvorak. The latter gave the school a solid standard in musical training, with 129 enrolments of different nationalities in the 1909-10 academic year alone. These were also the years when the figure of Beethoven became an important reference for a generation of young intellectuals who had attended the local Staatsgymnasium and were influenced by the philosopher C. Michelstaedter.
Musical training made a slow comeback after the Great War because of serious financial problems. In the 1920s, the violinist R. Lipizer founded and conducted the orchestral ensemble of the association «Amici della musica», while the composer M. Kogoj took part in the performances of Marinetti's futurist theatre, given at the Verdi Theatre. His works reflect the influence of Viennese Expressionism as do the works of J. Jakoncic (a pupil of Strauss and Schönberg) most of which were destroyed in 1926 when the Fascists set fire to the archives of the Trgovski dom. In 1930 Lipizer was appointed director of the music school which had been reorganized and updated with the curricula of the Conservatories of the Kingdom of Italy. During Fascism, Slovenian choral associations became clandestine and composers such as V. Vodopivec and E. Komel wrote, in the main part, sacred and popular music. In 1936, Fascists killed the organist L. Bratuz.
The post-war period witnessed a stifling contrast of ideologies, forcing many musicians to look elsewhere for better work conditions. Successful, however, was the orchestra conducted by Lipizer and the Polyphonic Vocal Ensemble directed by Cecilia Seghizzi, for which most of her compositions were written. The Cathedral Chapel was directed by the composer and organist V. Toniutti, while the organist M. Filej occupied the post at Sant'Ignazio, his successor being the composer S. Jericijo. In the 1960s, the music school was once again restructured and the «C. A. Seghizzi» International Choral Singing Competition made its debut. The first edition of the international violin competition called the «Lipizer Prize» took place in the 80s. Both events are now accompanied by conferences of pedagogic and didactic interest.

Tenu les 2, 3 et 4 février 2010, le 10e Colloque international étudiant du Département d’histoire de l’Université Laval a réuni une soixantaine de jeunes chercheurs de divers horizons, tant disciplinaires que géographiques. Venus de France, de Nouvelle-Écosse, de l’Ontario ou du Québec, ces étudiants ont fait part des résultats de recherches, faisant du même coup l’étalage de toute la richesse des disciplines affiliées à ce qu’il est convenu d’appeler les sciences historiques. De l’archéologie aux sciences de l’information, en passant par l’ethnologie, les études anciennes, l’histoire, l’histoire de l’art et la muséologie, la variété des sujets traités n’a eu d’égale que la qualité des présentations. Les douze textes rassemblés dans le présent recueil ont été soumis à un examen rigoureux par un comité de direction formé de quatre pairs. Ces articles ont été successivement annotés et commentés par tous les membres du comité de manière à s’assurer que les auteurs se sont bien conformés aux normes de transparence scientifique et de rigueur logique attendues d’une publication savante. Les Actes de cette année embrassent un large éventail de sujets regroupés autour de cinq thématiques, que voici : « Autour de la pratique disciplinaire »; « Idées en formation et en circulation »; « France/États-Unis : influences politiques transatlantiques »; « Art et représentation de soi en politique »; et « Technologies visuelles et diffusion du savoir scientifique ».

"Incluye un CD con el documento: "Los libros de coro en pergamino e ilustrados de la Abadía del Sacro Monte de Granada. Estudios histórico, medioambiental, de materiales y técnicas"
En la Abadía del Sacro Monte de Granada (España) hay una importante colección de más de un centenar de libros de coro, patrimonio bibliográfico que también conocemos como cantorales, corales, libros de canto llano, libros de facistol o de canto eclesiástico. Pero, ¿qué se sabe de ellos? Y, en general, ¿cómo y para qué se hacían estos enormes libros que pueden llegar a pesar 30 kg?, ¿quiénes los crearon y los restauraron?, ¿cómo se usaban y hasta cuándo? Y, ¿qué factores les afectan y cuál es su estado de conservación? Estas dos publicaciones intentan dar respuesta a estas cuestiones gracias a un estudio interdisciplinar de los realizados en pergamino y con ilustraciones.
a) En el CD incorporado se presentan los estudios históricos y análisis científicos de los materiales y técnicas de los soportes proteínicos, textos e ilustraciones (pigmentos y aglutinantes) y encuadernaciones (cuerpo, cosido, revestimientos y elementos de las cubiertas). Se aportan además datos sobre las personas vinculadas y el protocolo de uso y entorno en que se emplearon, el medioambiente, la institución, el coro, su mobiliario y el archivo.
b) En formato impreso se analizan los factores de alteración y deterioro, extrínsecos e intrínsecos, y se hacen propuestas para la conservación de estos particulares libros de gran formato, planteamientos aplicables a colecciones similares. "

This article presents some notes towards identifying what we have come to call ‘DIY institutions’: places of popular music preservation, archiving and display that exist outside the bounds of ‘official’ or ‘national’ projects of collection and heritage management. These projects emerge instead from within communities of music consumption, where groups of interested people have, to some degree, undertaken to ‘do-it-themselves’, creating places (physical and/or online) to store -- and, in some cases, display publicly -- the material history of music culture. In these places, people (largely volunteers) who are not expert in tasks associated with archiving, records management, preservation, or other elements involved in cultural heritage management, learn skills along the way as they work to collect, preserve and make public artefacts related to popular music culture. These places are, we argue, suggestive of broader desires from within communities of popular music consumption to preserve popular music heritage.

Ses kayıt teknolojisinin 19. yüzyılda ortaya çıkışı, etnomüzikolojinin bir bilim dalı olarak gelişimine önemli etki yapmıştır. Özellikle alan çalışmalarında ses kayıt cihazlarının kullanılması, günümüze kadar kültürel bir miras olarak gelen ses kayıt arşivlerinin ortaya çıkmasına neden olmuştur. Günümüzde tarihsel etnomüzikoloji yaklaşımıyla ele alınan tarihsel müzik kayıtları, kayıtların yapıldığı dönemin müzik icrası ve müzikle ilişkili diğer konuların çalışılması açısından önemli kaynaklardır. Bu makalede, Türkiye’de Cumhuriyet’in erken dönem resmî derleme çalışmalarında eserleri kaydedilmiş olan Koçgirili Alişer Efendi’nin müzik eserleri incelenmektedir. Taki mahlaslı bir “saz şairi” olan Alişer Efendi, aynı zamanda resmî belgelerde “eşkıya Alişir” olarak nitelenen, Koçgiri İsyanı’nın (1920-21) önderlerinden birisidir. Yazdığı müzik eserleri günümüzde de popüler olarak icra edilen Koçgirili Alişer Efendi, Türkiye’de farklı müzikal kimliklerin inşasında önemli rol oynamış tarihi bir figürdür. Tarihsel perspektiften ele alınan bu konuyla ilgili olarak dönemin etnografik çalışmaları, arşiv belgeleri ve Alişer’le bizzat görüşmüş kişilerin anlatımları incelenmektedir. Makalede, Koçgirili Alişer Efendi’nin eşkıyalık ile saz şairliği arasındaki hayatı ve eserleri, tarihsel etnomüzikoloji bağlamında değerlendirilmiştir.
______________________________________________________
The emergence of sound recording technology in the 19th century has had a major impact on the development of ethnomusicology as a discipline of science. The use of sound recorders, especially in field studies, has led to the emergence of sound recording archives, which have become as cultural heritage till today. Historical music recordings, which are considered by the approach of historical ethnomusicology in the present day, are important sources for studying music during the period of recording as well as other issues related to music. This article examines the musical works of Koçgirili Alişer Efendi, whose works were collected in the early official fieldworks of the Turkish Republic. Alişer Efendi was a “bard” with pseudonym Taki, as well as he was described as “the bandit Alisir” in the official documents as the leader of the Koçgiri Rebellion (1920-21). Koçgirili Alişer Efendi, whose music works are still popular, is a historical figure who played an important role in the construction of different musical identities in Turkey. The ethnographic studies of the period, archival documents and narratives of the people who personally met Aliser are examined in relation to this issue which is taken from historical perspective. In this article, Koçgirili Alişer Efendi’s life and musical works between being bandit and bard, have been evaluated in the context of historical ethnomusicology.

In the last decade the modes of production and consumption of popular music and its heritage have shifted considerably from analogue to digital. Websites relating to cultural heritage, community archives and everyday histories have proliferated online, democratising our understanding, approach and access to traditional history and archive collections across a wide range of subjects and topics.

This chapter will explore the role of citizen archivists in creating, populating and sustaining the hundreds, perhaps thousands of sites and communities dedicated to popular music heritage and to salvaging the material objects (Leonard 2007) and culture of popular music’s past. Andy Bennett has called these practices “DIY preservation” (2009; 495) but I suggest in the online environment these practices belong to a Doing-It-Together approach to popular music heritage.

In this chapter I will highlight the practices, opportunities and challenges faced by a number of online platforms and social media sites created by citizen archivists who employ crowd-sourced methodologies in order to capture prodigious amounts of materials and user-generated musical memories that document and reveal alternate histories of popular music and the role music plays in the everyday lives of individuals and communities.

This paper discusses ethical principles in the preservation of our increasingly digital musical cultural heritage, particularly in the context of the impact of information and communication technologies. UNESCO's Information for All Programme has recently drawn attention to the digitisation of intangible cultural heritage as a primary safeguarding measure. This paper will focus on the unfolding ethical issues concerning digitisation policies, such as the likely excessive reliance on information and communication technologies, the ethics of the decision-making powers regarding the selection of what musical heritage is worth keeping, the vulnerability of digital depositories, and future ethics-oriented paths.

A quasi due anni dalla scomparsa, non è banale ripetere che la mancanza di Anna Maria Mandillo si sente, e tanto. Nella quotidianità delle vicende lavorative e professionali, il pensiero corre a ricordarla ogni qualvolta ci si confronta con determinate tematiche, con quelle criticità mai del tutto risolte o periodicamente riaffioranti ora legate al diritto d'autore, ora all'applicazione delle norme sul deposito legale, piccole o grandi questioni cui abitualmente non si poneva mano prima di aver ascoltato un suo parere. Resta, a confortarci, il riscontro della persistenza del suo insegnamento, non solo nel merito della pratica professionale, ma anche a un livello più superficiale -che chi scrive ha sperimentato più di una volta -una sorta di "riflesso condizionato", per cui in certe situazioni ci si sorprende a domandarsi «Cosa avrebbe detto Anna Maria?».

Avrupalı araştırmacılar 19. yy sonunda kendileri için bilinmeyen müzik türlerini incelemek, kültürel evrimin parçalarını bulmak ve karşılaştırmak için dünya üzerindeki farklı coğrafyalardan ses kayıtları toplamaya başlamıştır. Bu durum kısa sürede müzik arşivleri için yeterli bir zemin oluşturmuş ve 1899'da Viyana'da, 1900 yılında Berlin'de fonograf arşivleri kurulmuştur. Dönemin karşılaştırmalı müzikoloji anlayışıyla paralel bir yapılanma içinde olduğu gözlenen müzik arşivleri, etnomüzikolojinin disiplin olarak ortaya çıkışı ve gelişmesi ile 20. yüzyılın ikinci yarısında kabuk değiştirmek durumunda kalmıştır. Değişen arşivcilik anlayışı, arşiv kullanıcılarının amaç ve beklentilerini çeşitlendirmiş, süreç içerisinde gelişen ses kayıt teknolojileri, arşivlerdeki teknolojik yenilenmeleri zorunlu kılmıştır. 2000’lere gelindiğinde yeniden biçimlenen müzik arşivlerinin dijitalleştirme çalışmaları ya tamamlanmış ya da bir şekilde başlatılmıştır. Bu durum müzik arşivlerinin yapısına direkt etki ederken, arşivlerin iç işleyiş mekanizmaları, organizasyon şemaları ve personel ihtiyaçları değişmiştir.
Bu bildiride geleneksel arşiv modellerine kısaca değinilerek, arşivlerin dijital müzik arşivciliğine geçiş ve uygulama süreçleri incelenecektir. Ayrıca, müzik arşivlerindeki teknoloji kullanımının çalışma prensiplerine vurgu yapılarak dijital medyanın etnomüzikoloji çalışmalarındaki veri sağlama işlevinin önemi üzerinde durulacaktır.
Bildirinin amacı, uluslararası alandaki dijital müzik arşivlerinin teknoloji ve medya kullanımında geride bıraktığı süreci değerlendirmek ve eriştiği noktayı tespit etmek; ülkemizdeki dijital müzik arşivciliği çalışmalarının bu standartlara yükseltilmesi hedefiyle desteklenerek yaygınlaştırılması için farkındalık yaratmaktır.
Çalışma sürecinde, Avrupa'nın önemli müzik arşivlerinde bulunularak çok sayıda müzik arşivisti, arşiv yönetici ve çalışanları ile yüz yüze görüşmeler yapılmış, katılarak gözlem ve yaparak öğrenme yöntemleri uygulanmıştır. Uluslararası alanda tanınmış bazı arşivlerin yetkilileriyle konu hakkında yazışmalar yapılarak, bu arşivlerin internet sayfası, sosyal medya hesabı gibi medya organları incelenmiştir.

This article draws upon ethnographic research in small towns in north India with local small-scale initiatives to archive oral vernacular musics-musics described as folk and tribal. It explores the varied ways in which digital audiovisual archives of vernacular musics may materialize and circulate in the present day. Such community-based initiatives present curious alternatives to formal audiovisual archives, emerging through located relationships between people, musics, and technologies. My concern is with tracing the evolving relationships between communities, archivists, and musics through the mediation of digital technologies, examining how contextual technological practices may contribute to archival forms. I suggest that such archives may be fruitfully viewed as gestures of community members towards claiming multivalent subjectivities--as cultural mediators and as technological experts. Archiving functions in these contexts as an aspirational practice, a mode of reification of precariously located vernacular identities and the coalescence of communities through technological modes around the notion of music in particular, and culture in general.

This paper presents the first Optical Audio Reconstruction (OAR) approach for the long-term digital preservation of stereo phonograph records. OAR uses precision metrology and digital image processing to obtain and convert groove contour data into digital audio for access and preservation. This contactless and imaging-based approach has considerable advantages over the traditional mechanical methods, such as being the only optical method with the potential to restore broken stereo records. Although past efforts on monophonic phonograph records have been successful, no attempts on 33rpm long-playing stereo records (LPs) have been reported.

The main research field of this study is the coastline of Eastern Black Sea Region of Turkey. However, it is an inevitable necessity to analyze the relations of that culture with surrounding environments and present cultural bonds which have been established up to now in order to understand that culture. The most needed material for determining such relations is sound records as well as written sources. It is one of the most important reasons for accessing these sources, especially the sound records located in Berlin Phonogramm-Archiv, Germany, because the local written sources of the literature established by local cultural elements compiled in the Eastern Black Sea Region are small in number and most of these records are unusable due to they keep in original wax-cylinder or band and not digitized.
In this paper, I will discuss Adolf Dirr 1909-1914, Prussian Phonographic Commission 1915-1918, Kurt Reinhard 1963, 1968 and 1972, Felix Hoerburger 1965, 1970 and 1972, Christian Ahrens 1972, Ursula Reinhard 1983 and Susanne Ziegler 1991 collections, which I examined in the archive.
The purpose of this paper is to present an overview about many data and sound recordings from the Black Sea Region and its surroundings which were found in Berlin Phonogramm-Archiv and bring them into focus. The results of this paper will contribute to develop research activities, increase cooperation in international fields and create background in terms of producing joint projects.

XV Aniversario del SEMINARIO DE MÚSICA EN LA NUEVA ESPAÑA Y EL MÉXICO INDEPENDIENTE y del sistema Musicat en el marco del X Aniversario de la inscripción en la lista del patrimonio mundial del Campus Central de la Ciudad Universitaria de la UNAM

Another part of my conversation with Richard Paul and the The Kennedy Center's ArtEdge podcast "Civil Rights on the B-Side" has been produced and podcasted by Public Radio International's Studio 360. As noted in the last podcast about rare and largely unknown protest songs, the music of the Civil Rights movement can not be confined to Freedom Songs popularized by the Freedom Singers and socially conscious folk music. African Americans' desire to respond to what was happening to them in the most tumultuous time since Reconstruction was not contained to a chosen talented and brave few....

Our work focuses on optically reconstructing the stereo audio signal of a 33 rpm long-playing (LP) record using a white-light interferometry-based approach. Previously, a theoretical framework was presented, alongside the primitive reconstruction result from a few cycles of a stereo sinusoidal test signal. To reconstruct an audible duration of a longer stereo signal requires tackling new problems, such as disc warping, image alignment, and eliminating the effects of noise and broken grooves. This paper proposes solutions to these problems, and presents the complete workflow of our Optical Audio Reconstruction (OAR) system.

Given their emphasis on oral pedagogy and improvisatory approaches, Indian classical music genres present a challenge for constructing historically nuanced studies of musical practices, shifts in them over time and their links to broader developments. Much scholarship on Indian classical music tends to maintain loyalties to disciplinary silos such as social and cultural history, cultural studies and ethnomusicology, often sacrificing aspects of the spectrum of musical experiences. The dispersed nature of musical networks has meant that the archive for studying the phenomena of listening to, learning and disseminating music is fragmented, mobile and multi-local, not easy to capture with conventional methodologies of historical reconstruction or even purely ethnographic fieldwork. A central concern that drives the articles in this issue is a focus on exploring musical sound, repertoire and practices as archives. Such a focus raises two kinds of challenges. One is the identification of archives that can capture the ephemerality and immediacy of these musical practices; the other is the question of interpretive methods that can faithfully reflect the aesthetic and affective dimensions of musical practice. The contributors to this Special Issue explore a range of historical records centred on music – notations, compilations, repertoires, biographies, texts, anecdotes, perfor- mances, recordings, pedagogic tools – as their primary archives. Drawing upon disciplinary insights from cultural history, ethnomusicology and sound studies, and often in conversation with musicians and listeners, they offer conceptual and methodological lenses for reading such archives productively.

Abstract
The discipline of musicology, which was systematized in the final quarter of the 19th century
in Europe, attaches importance to archiving with its content including data collection,
classification and saving. Music archiving is important in terms of maintaining cultural
sharing and tradition along with preserving and conveying musical sound. In addition to
visual and audial material such as photographs and videos, note archives and printed
publications are enriching musical elements. In the world, studies on folk culture and music,
as well as instruments, notes and sounds especially in Vienna and Berlin have been
institutionalized with archives established in various countries especially since the 1900s.
Efforts of compilation for the identification and preservation of folk music has started since
the 1920s in Turkey and some of these studies have been published in print. The transferof
printed resources, visual materials and note archives into digital domain is as important as
the creation of them. The aim of this study is to address the current resources related to the
studies on the archiving and digitization works at the I.T.U Turkish Music State Conservatory
Professor Dr Ercüment Berker and Prof. Ş. Şehvar Beşiroğlu Library Archive and
Documentation Unit and the introduction of the process planned for future.

As times change, so too does technology, and along with it, contemporary compositional techniques and trends. When a performance work is embedded in the technological Zeitgeist there are bound to be obstacles that arise as time passes. Canadian-Argentinian composer, conductor, and pianist Alcides Lanza has been affiliated with the Columbia-Princeton Electronic Music Center (with a Guggenheim Foundation fellowship) in New York and McGill University's Electronic Music Studio (as professor of composition) in Montréal, where he now calls home. I had a substantial discussion with Alcides on February 25, 2016, about composition and music technology, as well as practical issues concerning moving this practice forward. The following text includes selections from our overall discussion, edited and arranged with considerations of narrative and length.

This course, run in partnership with the School of Music and National Film and Sound Archive (NFSA), utilises both ANU School of Music facilities and specialist locations and equipment at the NFSA, to equip students with the theoretical and practical underpinning of audio preservation. Using the School of Music's own tape archive of performances, recitals and events as source material, students will prepare these recordings as digital files for an open source, publicly accessible database.

This course will introduce students to sound archiving, and explore the historical, philosophical and ethical implications of audio archiving, as well as preservation needs assessment and planning. Students will tour the NFSA , and the School of Music's tape collection, and have the opportunity to gain hands-on, practical experience of equipment and processes such as analogue tape recorders and magnetic tape; tape machine technology and operation; the handling of tape, tape deterioration, maintenance and restoration techniques; the practicalities of digitisation: preparation, recording, software, editing, file creation, and metadata management and storage.