PRIMO - Practice-as-Research In Music Online


Published on

Presentation to Repositories Support Programme event "Open Access and Repositories in the Arts"event, 14th July 2009. (

1 Like
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

PRIMO - Practice-as-Research In Music Online

  1. 1. PRIMO: PRACTICE AS RESEARCH IN MUSIC ONLINE Richard M. Davis University of London Computer Centre
  2. 2. The Institute of Musical Research, School of Advanced Study, University of London HEFCE-funded as the national facilitator for research of all kinds of music Committed to open access, collaborative ventures, innovation in research infrastructures
  3. 3. The Institute of Musical Research, School of Advanced Study, University of London Types of activity: Information gateway (bulletin boards, links, etc) Research Infrastructure (RILM, INTUTE) Research Training convenor Conference/seminar host Host for research fellows Collaborative project manager (Francophone Music Criticism, Medieval Song Network) Publications
  4. 4. The PRIMO Project A JISC Repository Startup project run by the Institute of Musical Research and the University of London Computer Centre: Why ask musical researchers to describe their research in words if they could demonstrate it better? How can we publish their work #ee to the widest audience?
  5. 5. The PRIMO Project Aim A peer-reviewed repository with full-length videos of music rehearsals, workshops and demonstrations An open-access site with downloadable files licensed for non-commercial/research use A new forum for musical thinking
  6. 6. The PRIMO Project Principles Should offer the community a new type of provision Should be designed to facilitate dialogue within the community Should be subscription-free Should embrace all musical traditions Should include a strong ‘community-build’ element
  7. 7. The PRIMO Project Rationale Using new technology to archive the ephemeral Helping release practice-based research from text- based outputs Providing a stable site to which text-based journals can link Showcasing the density/variety of activity via a ‘gathered’ site
  8. 8. The PRIMO Project Constituencies and uses Sonic research diaries Study of rehearsal technique Study of musical gesture Interpretive experimentation Development of improvisations Participant observation
  9. 9. The PRIMO Project Journal or Repository? Peer review Work in progress / research processes Skills development Culture change Open access
  10. 10. The PRIMO Project Acceptance principles Is understanding the researcher’s point dependent on the sonic/visual element of the submission? Is the researcher actively involved in producing the sonic/visual element? Is the submission self-sufficient and its research content intelligible to an outside observer? Does the submission meet PRIMO technical, IPR and ethics standards?
  11. 11. The PRIMO Project Challenges and limitations Intellectual Property Rights Research Councils UK directives for open access vs. licensing law Usability Accessibility
  12. 12. The PRIMO Project Intellectual Property Rights Whose rights need to be protected? What is the nature of researcher and performer licences? Can Creative Commons help?
  13. 13. The PRIMO Project Licensing Third-Party Rights in Music (Prelude I) Be clear about what you as a broadcaster of online material can/must be responsible for Make it clear to researchers and users about where their own responsibility lies In the interests of permanent access, do not accept responsibility for IP permissions that are time-limited Be aware that a video of a presentation invoking educational use exemptions ceases to benefit from those exemptions the moment it leaves the classroom Use your metadata systems to record the dates on which nested copyrights in a repository item will expire
  14. 14. The PRIMO Project Licensing Third-Party Rights in Music (Prelude II) Know your UK copyright timelines: Original artistic works: 70 years after the death of the author, composer, photographer, artist Films: 70 years after the death of the last of the following to die: principal director; author of screenplay; author of dialogue; or composer of music specially created for and used in the film Sound recordings, re-masterings, broadcasts: 50 years after the date of the recording, or re-mastering, or broadcast Typographical arrangement of music: 25 years from the date of the edition
  15. 15. The PRIMO Project Licensing Third-Party Rights in Music (I) How many third-party IPR items are nested in a single video? Musical text? (Composition and typography?) Film? Recorded musical performance? Images? Stage music? Can one licence cover a$ these rights?
  16. 16. The PRIMO Project Licensing Third-Party Rights in Music (II) PRS for Music Limited Online Exploitation Licence covers: Online broadcast to UK users, for limited downloading, of performances involving complete musical works which are still in copyright
  17. 17. The PRIMO Project Licensing Third-Party Rights in Music (III) Limited Online Exploitation Licence does not cover: Any rights antedating the presentation / performance which is to be posted Any in-copyright stage music Any in-copyright music to which new images have been added Any recording rights or performing rights for in-copyright recorded / broadcast music International usage Any non-musical rights (images etc)
  18. 18. The PRIMO Project Licensing Third-Party Rights in Music (V) PRS for Music Limited Online Exploitation Licence: solving the UK user’s problem Make users aware of their responsibilities before they open a ‘restricted’ file Prevent ‘deep linking’ by instituting a registration system that demands email details before a restricted file is released Invite PRS for Music members to waive the restrictions on their own work if they so wish
  19. 19. The PRIMO Project Technical Challenges File formats: which and how? Downloading/streaming: Initially only downloading envisaged Viable, free Flash components emerged during life of project Synchronisation issues Metadata and submission workflow: extensively customised to reflect licensing priorities and inheritance Location sniffing
  20. 20. The PRIMO Project The Result
  21. 21. The PRIMO Project Acknowledgements Project Manager: Katharine Ellis, Director, IMR Steering Committee: Richard Davis (ULCC), Amanda Glauert (Kingston University), Keith Howard (SOAS), Tim Hughes (University of Surrey), Peter Johnson (Birmingham Conservatoire) Advisory Group: Daisy Abbott (AHDS), Paul Archbold (Kingston University), Celia Duffy (Royal Scottish Academy of Music and Drama), David Owen Norris (University of Southampton), Tony Whyton (Salford University) IPR advice: Johanna Gibson (Queen Mary IP Research Institute) EPrints Customisation: Rory McNicholl (ULCC) Web Design: Mari Barredo (ULCC) JISC Programme Manager: Andy McGregor