Innovative By Design: The Evolution of Technology at the Canadian Music Centre

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This session will describe the evolution of technology used at the Canadian Music Centre (CMC). Through the use of innovative and cost-effective tools, the CMC has been able to better respond to user …

This session will describe the evolution of technology used at the Canadian Music Centre (CMC). Through the use of innovative and cost-effective tools, the CMC has been able to better respond to user access needs and to anticipate demands on its internal infrastructure and knowledge management requirements. Moving forward, the CMC is looking to respond to market trends through improving its online communications strategy and increasing its presence in the world of e-commerce. The CMC Management Team will elaborate on the background, planning, development and future directions of their web-based tools and projects. Created by Michele Arbuckler for the 2008 Technology in the Arts: Canada Conference.

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  • 1. Innovative by Design Evolution of Technology at the Canadian M i C t C di Music Centre
  • 2. A little bit about us… Elisabeth Bihl
  • 3. Founded in 1959 the CANADIAN MUSIC 1959, CENTRE is Canada’s only organization mandated to house and actively promote and disseminate the music of Canada’s classical music composers within Canada and internationally. As a primary resource for scores, parts, recordings p y ,p , g and information about Canadian composition, the CMC is an essential body in the cultural landscape.
  • 4. Business Functions • Archival Collections all works (approx. 500-600 yr.) upon arrival are digitized along with sound/score i l di iti d l ith d/ samples • Library Services above works are catalogued, made y g , accessible to public via online database for loan • Music Publishing Services prints unpublished scores for sales and parts for orchestral rentals to customers around world • Communications and Product development p CMC e-newsletter,press releases, marketplace outreach • Recording and Distributions Centrediscs label, and Indie Distributor
  • 5. IN 1999 CMC HAD A VISION Digitization - the beginning • 1999 - CMC became Xerox beta testing site for score scanning software • 2000 – Digitization begins of music score and audio collections • 2002 – Development of a comprehensive web strategy with web design company Ecentricarts • 2003 – – new interactive, e-commerce enabled website – fully searchable library database, – digital score and sound clips, – composer bios extensive links bios, links, – dedicated Associate Services section, – CMC Boutique (sample and buy), – digital submissions of composer works – i t interactive and i t ti d interconnected t l t d tools, • 2003 - Re-alignment of CMC staff to match our new digital reality. Significant changes to operational and organizational structures make delivery of our services more accessible, y , relevant to a broad range of user groups.
  • 6. Web 2.0 Environment: A new Roadmap • 2005 – Awarded best website design at World Expo in g p Aichi Japan • 2006 - AV Trust Audio Digitization conversion of entire 9000 plus archival recordings • 2007 - Online Audio Gallery on website (full recordings and video) • 2007 - DDownloadable repertoire guides l d bl t i id • 2007 - New online model for Interactive Composer profiles (Influences of Many Musics) ( y ) • 2007 - CMC new Strategic/ Business Plan and Stakeholder Survey (Digital Library)
  • 7. In progress 2008 and beyond • Centediscs label • Podcasts • Online Downloads • Website: Improved interactivity through user communities • User Accounts • Online order Processing • More interactive contributions, feedback, and connectivity • Library: • F ll a dio streaming Full audio • Online perusal of full scores and other musical artifacts • Online listings of Associate non-collection materials from bios • Digitization of composer vertical files • Online Exhibitions and enriched composer profiles • Music Publishing: • Digital score transfer / download sales g
  • 8. How can we help you? User Access Michelle Arbuckle
  • 9. Where are we now?
  • 10. Online Catalogue
  • 11. Automated Request System
  • 12. User Access Challenge How d we give our users H do i digital access to our collection? Ie. Scores and recordings
  • 13. User Access: The A di Response Th Audio R Online Streaming • Grant money received from AV Trust to deliver audio archive through streaming • Work flow: • Conversion of .wav files to .mp3 • Metadata clean-up – tied to scores • Mental challenge of rethinking “collection”. collection
  • 14. Ann Southam Digital Audio Archive • Includes all tracks from audio archive archive. • P Password protected, available t lib d t t d il bl to library patrons. • Will not include commercial recordings – g these must still be purchased from y Centrediscs or listened to in library.
  • 15. User Access: Scores Pdf On Screen Viewer On-Screen • Scores were already digitized • Debate over how to present them to users • Completely free/downloadable vs. View only vs. Commercial loaning software g • Unpublished collection can be viewed online in g tandem with archived recording. • Ultimately will assist in programming decisions.
  • 16. Ensuring User Access
  • 17. Steven & Greg talk eCommerce Steven Foster Gregory Newsome
  • 18. eCommerce Where We Are Now Audio - Centrediscs & CMCDS • Physical product available through Ph sical prod ct a ailable thro gh regional offices and online bo tiq e boutique. • Few opportunities for distribution to “traditional” vendors (ie. HMV). New vendor models (big box stores) ill-suited to classical music. • CMC i an “ is “arts service” organization” – f i ” i i ” few marketing resources k i • Dwindling broadcast options – the “new CBC Radio 2”
  • 19. eCommerce Challenge How do we leverage online resources to broadly distribute our g y products – in the most efficient manner? • Independent Online Distribution Alliance (IODA) – 1) Network of digital retail partners includes all the major distributors (iTunes, Amazon, eMusic, Puretracks, etc.) as well as newly emerging outlets. 2) Over 300 online and mobile retailers around the world. 3) Claim to have the most efficient delivery and content management systems in the business. • MaGaDa 1) Provides export services for physical product to e-retailers worldwide – current focusing on France & Germany 2) Maintains relationships with suppliers and retailers through an online interface
  • 20. eCommerce Response - IODA p
  • 21. CMC Music Services Balancing Mandate Fulfillment g and Revenue Generation Gregory Newsome
  • 22. CMC Music Services Overview O i Acquire • Manuscript, PDF Digitize • Scan, Clean Reproduce p • Specialized Print Shop Sell (Redirect)
  • 23. CMC Music Services Where We Are Now Wh W A N Starts with CMC Catalogue: a Shared Resource • Library • Music Services Conversion: Visitor to Customer • Passive Fill Order or Redirect • Semi-automated
  • 24. CMC Music Services Future Directions F Di i Targeted Marketing • Active Visitor Conversion • Long Tail Theory g y • “Packaging” Content Increased Automation • Integrated Shipping • Public Pricing Online Partnerships • Redirect Commission
  • 25. Greg talks Internal Infrastructure
  • 26. Internal Infrastructure Where We Are Now Wh W A N CMC s CMC’s internal organization is now largely technology or web-based, i.e. • Interlibrary loan • Royalty payments • Scanning CMC catalogue represents most internal workflows, i.e. • From acquisition to library shelf • From order to delivery
  • 27. Internal Infrastructure Case Studies
  • 28. Internal Infrastructure Music Services Order Queue – Custom web-based tool that manages the life cycle of an order – Integrated with user side of CMC website and Simply Accounting – We programmed the internal workflow, and transformed a staff position – Point • Automate wherever possible y • Build a custom software solution if necessary
  • 29. Internal Infrastructure Influences of Many Musics Project – Explores the lives and works of forty internationally-born Canadian composers – Primary goals • Education • Promotion – Built a scalable, custom content management system into CMC catalogue – Point • Leverage special p j g p projects for long-term gain g g
  • 30. Internal Infrastructure Simply Accounting – Network-based accounting software – Different accounting software in different departments led to complex account reconciliation, royalty payment process – Switched to Simply Accounting last year • Web integration with Music Se ces O de Queue eb eg a o us c Services Order – Point • Centralize and standardize wherever possible p
  • 31. Internal Infrastructure Summary – Automate wherever possible – Build a custom software solution if necessary – Leverage special projects for long-term gain – Centralize and standardize wherever possible
  • 32. Steven Communicates
  • 33. Communications Where We Are Now • Newsletters – e-mail & physical format • Regional e blasts e-blasts • Regularly updated web content – press releases, news, releases news event information etc information, etc. • CBC Radio 2 has functioned as a communications partner
  • 34. Communications Challenges Ch ll • How can we engage users and provide exposure f H d id for specific “products” as well as the collection in general? • How can we convert users to purchasers once they have been exposed to our music? • How can we personalize our communications strategies and target specific user groups?
  • 35. Communication Response – Exposure Podcast – Sounds New Online Education Projects j Audio Heritage Project External Web Radio Blogs & Social Networking
  • 36. Communication Response Conversion • Take advantage of every opportunity to move user from discovery to action – ie. direct access to item listing in database from podcast page, provide options for further exploration of similar materials. p • Establish internal links within the collection - ie. works that appear in multiple format (study score, rental parts, archival audio, commercial recording, etc.) Personalized / Targeted Communications Zookoda User Accounts
  • 37. Future Directions
  • 38. Future Web Strategy • CONTENT: Make more primary content accessible. • USABILITY M k it easier t di USABILITY: Make i to discover new music. • COMMUNITY: Foster a participatory community of users that contribute new forms of content.
  • 39. Thank You ☺