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Arrival of native digital documents in the Music

Departement: the example of legal deposit of

electronic scores , BNF Les entrées de documents nés numériques au des partitions numériques 1 by Antoine Provansal, manager of the legaldeposit & Clotilde Angleys, coordinatorfor digitizationand cataloguing

Bibliothèque nationale de France,

département de la musique

Digital information in the music libraries

80s : Beginningof the digitalizationof primary

information Music engravingsoftwares : first proprietary(Finale , thenLilyPond, musiXteX

Digitalizationof the publication

-publisheddocument itselfproducedwithdigital technologies -extendsupstreamto the wholeprocess: sketches, digital "manuscripts»,

As a result: the earlierversions of a workare no

longer preserved(unlessspecificwillof the author)2

Impact of the Web on music publication

First consequences:

-massive increaseof content supply -appearanceof a "get-it-for free» culture

All the public domainmusic islikelyto beavailable

online eitherfromthe digitizationof an early editionor a new digital engravingthroughseveral institutionalor collaborative projects 3

Thesesheetscanbedownloaded, mostlyfor free, from

the wholeplanet

Uncertainqualityof the newlyengravedscores

= OK for amateur or pedagogicalneedsbut not always suitablefor professionalor scientificuses

Challenges for music edition& libraries

For music publishers

-theycompetewithfree supplyand loststrategic marketsegments (pedagogicalsectorfor ex.) -theyare forcedto a radical re-thinkof thereproducts and relatedservices

For libraries

-In thisnew ecosystemanybiglibraryisexpectedto providea digital library(withopen or restrictedaccess) -The new activityof digitizingthe ancientcollection may competewiththe traditionalones, as the new formsof online use sometimescompeteswiththe traditionalvisits of the readingroom -Theyare alsoforcedto a radical re-thinkof theiroffers and services! 4

The legaldepositof music in France

The legaldepositof printedmusic has been

establishedby the French revolution(1793)

Former printedmusic arrivedbeforethisdate by

the system of the "privilège du roi»

The legaldepositchangedthe statusof the

national collections of music whichwasbefore exclusive propertyof the king

Throughthe legaldepositduringthe XIX

th and XX th centuries hundredsof thousandsof printedscores and music sheetsarrivedin the Bibliothèque nationale, belongingto all repertoires 5

Legaldepositof electronicscores : WHY?

Needto maintainthe continuityof legaldeposit

1)if the legaldepositisinterrupted, itcouldbe

impossible to go back

2)itisthe continuouswillof the French State

3)itfulfilsthe commitmentsto the international

agreementsconcerningthe universalbibliographic control

In 1993, the legaldepositwasextendedto

broadcastingproductions (French TV channelsand radio)whowasallocatedto the INA (Institut audiosuel) 6

Legaldepositof electronicscores :

the legalgrounds In 2006, the National Assemblyadoptedthe DADVSI Law = lawon right and relatedrightsin the information society) -Transposition intothe French Heritagecode of the European directive 2001/29/CE -Alsorequiresthe depositof online electronicdocuments communicatedto a public: "Sont également soumis au dépôt légal les signes, signaux, écrits, images, sons ou messages de toute nature faisant l'objet d'une communication au public par voie électronique. [CP, L 121-2]» 7

Intellectualpropertyand legaldeposit

accordingto the DADVSI law

The depositedelectronicdocuments must be

communicatedin a specificvenue the BnFin Paris and a short listof librarieson the

French territory

The BnFisallowedto transferthe document to an

othermedium onlyfor preservationpurpose The depositormust givea copy free of digital right management system

The lawalsocoversthe legaldepositof the french

part of the Web, entrustedto the BnFand the INA 8

Legaldepositof electronicdocuments :

the french Web

Whichwebsitesare concerned?

-Sites witha French domainname(fr, .bzh, .re) -Sites domiciliatedon the French territory(.gouv, .edu, also.com How ? -Bulk harvesting by robots. 2 or 3 times a year -Human selection for several sites that are more completely collected -For more information, see the dedicated page on the

BnFWebsite

9

The robot collectingthe Web legaldepositcould

harvestscores hostedon websitesbut isstoppedby paymentor identification requests:

Commercial documents cannot becollectedby

legaldepositof the Web

The legaldepositof publishedformslikenotated

music or e-books involvestechnicaland legislative measures -legislative: the libraryiswaitingfor the adoption of a specificdecreefor e-books and otherelectronic publisheddocuments -technical: implementationof an entry and deposit line for electronicdocuments 10

Legaldepositof electronicdocuments:

the publishedressources

Whatisan electronicscores ?

An e-book isa publisheditems identifiedby

-aspecificISBN (differentfromprintedmaterial) -aspecificformat files (pdf, EPUB) -consultable via a specificreader

The electronicscore isnot as mature as the e-book

(itisnot as wellknownand usedby the final users, at least in France)

E-scores are distinct fromapplications running on

electronicscores (Smartmusic, Weezikwhich provideservices addedto the score (easyturn, pointingon a measure, autocorrect 11

An entry line for e-documents at the BnF

The BnFstartedto set up a line of entries and

documentaryprocessesfor e-books:the CEDN -developpedsince2015 -testedin Febr. 2016 with2 distributors

2 possible modes:

1)Unit processing: metadatasare enteredmanually

by the depositor

2)Flow processing: metadatasare automatically

enteredwiththe e-document

Flow processinghas been made possible by the

adoption of a commonstandard of Metadata: ONIX for books 12 The e-book entry line canbereplicatedfor e-scores : -books and scores are verysimilar: originallyprintedor manucripts, materialcarrier, international identification number, electronicformat, etc., especiallycompared withothertype of material(audio recordings, moving images, maps -The main differencebetweenthe medias laysin the structure of musical edition(full score, sheetswhich has no equivalencein publishedbook. The CEDN relies on severalalreadyexistingapplications

1.1. Input (via a specificextranet for depositors)

2.2. Cataloguing(automaticor manual)

3.3. Preservation(SPAR project)

4.4. Communication (Gallica)13

An entry line for e-documents at the BnF

14

1. Input : the extranet

Aims -giving depositor a view of the internal steps of the documentary process -showing the new publications on the specific BnFWebsite

Nouveautéséditeurs

-collecting associated data like book -integrating the metadata flow from the publishers in a standard format The entry itself is a short operation which consist in -deciding if the document meets the requirements of the legal deposit -verifying if it is complete, readable and in a format that can be preserved -giving it an entry and shelf numbers which integrate the document to the national collection 15 http://depotlegal.bnf.fr/ 16 http://nouveautes-editeurs.bnf.fr/ 17

The CEDN acts as a virtual book trolley:

it gives the cataloguer a view on the bibliographic sources the cataloguer has the possibility to adapt or correct (manually entered or automatically retrieved by the ONIX flow) the cataloguer can create connections with the authority file

2. Cataloguing: metadatamanagement

18 systèmede préservationet réparti (SPAR) is the BnFproject for the perennial preservation of its digital documents (digitized version of a physical document or digital original) SPAR is established on OAIS (Open Archival Information

System, ISO 14721)

For more information, see the dedicated page on the

BnFWebsite

The system stores the data in several distributed sites with a constant replication, so as to keep it readable for the future

3. Preserving: the SPAR project

19 Gallica(digital library of the BnF) was initially created in BnF Consulting of non public domain documents is reduced to the reading rooms of the research library (in 2012 a specific application was designed: GallicaIntramuros) The CEDN uses the Gallicaviewer to provide access to the e-books collected by the electronic legal deposit on

GallicaIntramuros

4. Communicating: new items in the

digital library The supplyof electronicscores in France : a breaking point for French music publishers?

Currentweaknessof the music publishingsector:

Manyhistoricalpublishinghouseshave been purchased

by major companiesor foreigninvestors:

Durand, Eschigby BMG in 1994 and thenredeemedby

Universal Music in 2007

Alphonse Leduc by Music Sales in 2009

Lessmusical practice thanin main Europeanand

North-American countries

especiallyin schooland non professionalsectors

The network of music bookshopsisquicklydecreasing

SomeFrench composerspreferto bepublishedby

Germanor British Publisherswichare more reactive20 The supplyof electronicscores in France and the market(1)

Somepublishersduplicate theirphysicaloffer

theyprovidea pdfscore identicalin content to paper scores (homotheticeditions)

Pierre Lafitan: https://www.lafitan.com/

Mezzo Vocce: http://www.jeanpascalchaigne.com/editionsmezzavoce.html

Somepublishersuse the electroniceditionto meet

demandon smallmarketsegments Usedfor scientificpublishingwichwouldbetoocostlyto publishon paperform

LADDA projectof CMBV:

editionof the Centre de

Musique Baroque de Versailles

21

Somepublishersare sellingboththe e-score and an

application

Editions Lemoine, pedagogicalpurpose

The mostambitiouswantto control the wholesupply

chain

Theyintendto distributethemselvestheirproductsand

thoseof theirpartners

Theyprovidean online-onlyaccess

Editions Soldano: http://editions-soldano.fr/

BabelScores: https://www.babelscores.com/fr/catalogue (at once a publisherand a databaseof e-scores) 22
The supplyof electronicscores in France and the market(2) The supplyof electronicscores in France : a few statistics

The averagenumberof paperscores and music

methodsenteringthe National collections by legal deposithas been almost2000 items a yearfor the last

10 years

The publishersdo not communicateon theirprojects

and achievementsin electronicpublishing

There isa lackof seriousstudyfroman independant

point of viewon thissubject In comparision, the shareof e-books in the publishing sectorisas follows 23

US = 24 %

UK = 16 %

Sp= 10 %

DE = 8,2 %

FR = 6,5 %

NL = 4,9 %

IT = 4,3 %

Conclusion : the legaldepositof e-scores as itis

todayin France

Still a lot to do!

Legal issues: need of a specific decree to freely

collect the documents but the library has few levers to act in this domain

Technical issues: preparing the library to

-receive the documents in its collections -perennially preserve it

Closely watching the development of a more mature

e-score offer on the French market 24

Thankyoufor yourattention!

For more information, contact

antoine.provansal@bnf.fr 25
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