To Our Readers,
We’re excited to announce that the content of this blog has been integrated into the blog of the Baylor University Libraries Digital Collections (http://blogs.baylor.edu/digitalcollections). Future updates on the Black Gospel Music Restoration Project will be available at the Digital Collections blog, and all existing posts from the blog you’re currently reading have been added there as well.
Please update your bookmarks to point to this page (http://blogs.baylor.edu/digitalcollections/category/collections/black-gospel-music-restoration-project/) to see all the BGMRP content on our new blog, and we welcome your feedback as we move into this new phase of our important project.
– The Black Gospel Music Restoration Project Team
Amanda Harlan presented at the Music Library Association Annual Meeting, Wednesday, March 24th. She did a comparison of the metadata workflow between two major digital music collections at Baylor University: the Frances G. Spencer Collection of American Popular Sheet Music and the Black Gospel Music Restoration Project. She wanted to show the similarities and differences that an audio collection has with a sheet music collection. The presentation covers four main points: 1. What type of staff does the metadata creation work and how are they trained; 2. What legacy metadata is re-used and enhanced in the project; 3. What technologies and systems are used for the metadata creation and quality control processes; and 4. What metadata formats are involved and how the selection was made?
Link to Presentation: http://tinyurl.com/y27tdo3
I think we all have our ministries, but gospel music is such a compelling ministry, because souls don’t come in cultures Lea Gilmore
Please see http://www.baylor.edu/lib/gospel for some interviews of Robert Darden and Bob Marovich about the Black Gospel Music Restoration Project.
Our own Robert Darden is part of the following documentary. Please click to view the video.
Looking for Rare Gospel Vinyl
As a result of the preservation work of the Black Gospel Music Restoration Project, these recordings are presented here free for personal, non-commercial use as a contribution to education and scholarship. Baylor University does not own the rights in this collection and therefore cannot grant or deny permission to distribute material in this collection. It is the user’s obligation to determine and satisfy copyright or other use restrictions when publishing or otherwise distributing music from the BGMRP.
If you have any more information about the music available from the Black Gospel Music Restoration Project, or if you are the copyright owner and believe this collection has not properly attributed your work to you or has used it without permission, we want to hear from you. Please use the BGMRP Interest/Comment form to get in contact with the project staff, including your contact information and a link to the relevant content.
Ashley Cleveland Performs at Baylor University
We thank Ashley and her husband, Kenny Greenberg, for their support of our project.
A new endowment for Baylor University, the Lev H. Prichard III Traditional Black Music Restoration Endowed Fund, was created recently. For more information see http://www.baylor.edu/pr/news.php?action=story&story=63770. We are grateful to the Prichard family for their generous support of the Baylor Libraries.
On February 19th, 2009, Bob Marovich, Amanda Harlan, and Tony Tadey represented Baylor University’s Black Gospel Music Restoration Project at the Music Library Association Annual Conference in Chicago. Bob Marovich (gospel historian) presented on gospel music in Chicago during the Golden Age of Gospel (1940s-1970s) and how the project at Baylor University is so important from a private collector’s standpoint. Amanda Harlan (metadata & catalog librarian) presented on the history of how this project got started, what metadata standards are being used, how to describe an album once digitized, and other technical procedures involving metadata transformation for the gospel project. Tony Tadey (audio specialist) presented on the creation of the digitization workflow for audio and image files using student workers, the basics of what type of equipment and software is being used for audio digitization, and what standards are being followed in terms of audio digitization. Below is a link to our PowerPoint. We would love to hear any feedback or comments anyone has concerning the Black Gospel Music Restoration Project here at Baylor University.
Link to presentation: Preserving America’s Black Gospel Heritage
I think we all have our ministries, but gospel music is such a compelling ministry, because souls don’t come in cultures — Lea Gilmore
We are well into lot 34, a lot which contains 50 7-inch discs. Most of the collection seems to be of 45s from the Chicago area and the greater mid-west. So far, for me some of the highlights include recordings by the Wind City Four and The Flying Clouds.
Please stay tuned for further updates.
The question we receive the most from people interested in this project is related to information on how they can listen to or obtain copies of these recordings. Unfortunately, the material we are collecting was produced between 1940 and 1970, and all of this material is most likely protected by copyright.
We have made some attempts to identify the copyright holders, but there are several issues that impede this process:
- Music produced prior to 1970 was copyrighted at the state level, not the national level, and the copyright laws (and expiration of copyright) varied from state to state.
- Many of these recordings were produced by small, little-known producers. At some point in time, these producers went out of business and disappeared or were bought by larger recording labels.
- Some recordings were produced live at radio stations, some were produced at local churches or entities that may or may not still exist today.
Because of these copyright issues, we have determined that in an open environment we can provide detailed information that describes the recordings and 30-second sound bites of the music (using streaming technology). However, the full sound recordings will only be made available to researchers who are physically present at Baylor University.
The Black Gospel Music Restoration Project is purely a non-profit, preservation, and scholarly-oriented project. We want to preserve this music for the long term while adhering to and respecting the copyright of the individuals who produced this music. –brp