How can we best make sense of the digital strands and data that comprise a 21st century life? Explore innovative solutions to this challenge and others facing both individuals in the digital age, and scholars in the cultural heritage and digital humanities sectors, at the Personal Digital Archiving (PDA) 2017 Hackathon. The Hackathon is sponsored by Stanford University Libraries and will be held from March 31 - April 1, 2017 at the Jen-Hsun Huang Engineering Center on the Stanford University campus.
The Libraries are resuming limited in-person research activities by appointment only as part of the University's Research Restart Plan.
Learn more about the Libraries' entry requirements and available services.
Blog topic: Manuscripts
Carl Maria von Weber, 6 Lieder und Gesänge, op. 66
Memorial Library of Music, MLM 1141
Guest blogger: David Wilson
Carl Maria von Weber is remembered today primarily for his opera Der Freischütz, almost to the exclusion of all else. Yet Weber was, in fact, a prolific, and widely respected composer—even Chopin, a notoriously cantankerous critic of other composers, admired Weber’s work. His compositional output includes several symphonies, chamber music, piano music, and dozens of art songs. While a few of the examples of this latter category are still performed today, many of Weber’s songs are almost completely unknown to contemporary audiences.
Purcell remembered: The history of the autographed manuscript of Purcell’s Te Deum & Jubilate for Voices and Instruments Made for St. Cecilia’s Day 1694
Henry Purcell. Te Deum & Jubilate for Voices and Instruments made for St. Cecilia’s Day 1694.
Memorial Library of Music, MLM 850
Guest blogger: Michael Evans Kinney
While not much is known about the early St. Cecilia’s Day celebrations circa 1683, England’s premier composer, Henry Purcell (1659-1695), wrote many pieces for the festivities. In 1694, he wrote one such piece, titled Te Deum & Jubilate for Voices and Instruments made for St. Cecilia’s Day 1694. The landmark work sets an English translation of the St. Ambrose Hymn and revolutionized church music with its scoring for violins, viola, basso continuo, and two trumpets, with soloists and choir.
On October 14, the exhibit, “Mario Paci and Music Culture in Shanghai: A Special Exhibition in Commemoration of Mario Paci,” opened at Shanghai Symphony Hall to commemorate 70 years since the death of the Symphony’s revered founding conductor. The exhibit is a collaborative project between the Stanford University Libraries, the Shanghai Conservatory of Music, and the Shanghai Symphony Orchestra.
It's time to follow up to our original September blog post announcing our upcoming move from 425 Broadway to 500 Broadway, because now those moves are behind us. Read on for details, including to what extent we are "open for business".
The Stanford ePADD team has been invited to demo the software at the Computation + Journalism Symposium 2016. Demonstrations will take place on September 30, 5-7 pm, in the courtyard adjacent to Paul Brest Hall on the Stanford campus.
Most of the community is aware of the planned development for Stanford’s Redwood City Campus. What few of you may be aware of is that four departments from the Stanford University Libraries (SUL) moved out to Redwood City three years ago. We have been working out of 425 Broadway which is one of the buildings slated for demolition. The development of the new campus necessitates SUL’s relocation from 425 across the street to 500 Broadway – the former home of AMPEX.
The four units moving are: Stanford University Press, Conservation Services, Stanford Media Preservation Lab, and Technical Services branch of Special Collections. SUL staff in these four units have been working for over a year with SUL’s Facilities Department on planning for this interim space. I say interim, because in another 2.5 years, we’ll be moving back onto the new campus.
A few weekends ago I went to the relatively-newly reopened SFMOMA. Their exhibition "About Time: Photography in a Moment of Change" features artist Jason Lazarus' installation Recordings #3 (At sea), 2014-2016. It's a wall of found photographs hung so that the actual photograph faces the wall, with only the text written on the back of the photo visible to the viewer.