The Archive of Recorded Sound (ARS) recently took an active role in two courses during the spring semester, one in the Stanford Music Department and the other in the Program in Writing and Rhetoric, to encourage students to deposit their final projects into the Stanford Digital Repository (SDR). The purpose of working with these courses was primarily to introduce students to the SDR and its many benefits, and to walk them through the process of using the SDR's self-deposit tool. This instruction was backed up by customized online screencasts that guided students through the deposit process for the particular sets of materials within their projects. The rate of deposit for both courses was extremely high as the professors in each case elected to make the deposit of final projects into the SDR a mandatory part of the courses' requirements.
The Brompton’s Book of Violin and Bow Makers, by Jon Dilworth, is a biographical dictionary of violin (and viola, viola, ‘cello and bass) makers as well as bow makers in Europe and the United States. Jon Dilworth, violin maker and connoisseur, spent many years collecting this information in part through his association with Amati Instruments Limited, in the form of note cards, photographs, and digital files. The work builds upon the corpus of knowledge of lutherie (the art and craft of making fine stringed instruments) established by earlier seminal works such as Henley’s Universal Dictionary of Violin and Bow Makers, Vannes’ Dictionnaire universel des luthiers, and Lütgendorff’s Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart.
The Archive of Recorded Sound is delighted to announce that the Richard Maxfield Collection (ARS.0074) can now be listened to online, via the collection's finding aid on the Online Archive of California. This collection features nine distinct works by electronic music composer Richard Maxfield, composed between 1959-1964, four of which are believed to be previously unpublished (Dromenom, Electronic Symphony, Suite from Peripateia, and Wind). Additionally, as Maxfield frequently produced unique edits of his work for each performance, many of the open tape reels that form this collection include alternative edits to those previously published, such as the tapes for Amazing Grace which feature three different versions of the work.