The University of Michigan Library has completed digitization of its Women Composers Collection, which contains approximately 2800 musical works by women composers. With the exception of several dozen 18th-century works, the music is almost evenly divided between the 19th and 20th centuries. The collection contains music in a variety of genres; songs and solo piano music predominate, but choral, orchestral, dramatic, and chamber music are also represented. Approximately 80% of the works are in the public domain and thus are available in full text.

Applications are invited for the Albi Rosenthal Fellowship for research into music-related topics, the main focus of which should be on an aspect or aspects of the Bodleian Library's Music collections.

The European Association of Conservatoires (AEC) had its Annual Congress and General Assembly on 10-12 November in Gothenburg. The venue was the Academy of Music and Drama, where I work. I took the opportunity to present IAML and the "enhanced role music librarians play at a conservatoire today" at the Information Forum. I informed the attendees that IAML and AEC has a Memorandum of Understanding aimed at a collaboration to promote higher education in music.The Forum opened with a one-minute presentation by all participants. There were around 250 people in the audience - all of them key persons in the area of highter music education, not only in Europe but worldwide. Then followed a so-called Marketplace where each participant had a table (like a poster presentation). I used the slogan "IAML - Music Librarians of the World" invented by our esteemed colleague Pam Thompson:-)! To my great satisfaction I had many visitors who wanted to know more about IAML and how the librarian at a conservatoire can support teaching and research.

Two new digital resources for traditional Irish music have recently become available, the Séamus Connolly Collection of Irish Music and the James Goodman manuscripts.

"There exists a significant amount of excellent historical Swedish music that is little known and seldom heard. The aim of Swedish Musical Heritage is to increase knowledge about this music and to propagate its performance. A large part of older Swedish music is notoriously difficult to perform, simply because the existing sources are unattainable for musicians, are in illegible hand writing, or are, for various other reasons, impractical to use. Surprisingly, this is true also of music by some of Sweden’s most prominent composers.