Download Guillermo Espinosa Collection

Digital Library Program
Project Proposal Form
Date Submitted: _October 10, 2008______________
Please e-mail this form with all supporting documents to [email protected]
Your Name: _Luiz Fernando Lopes_________________________________
Your Phone: _812-855-2991______
Your email:[email protected]___
Department/Campus: _Latin American Music Center (LAMC) / Bloomington_______
Project Name: _Guillermo Espinosa Collection_________________________
1. Please describe your project.
The LAMC is proposing to digitize select items from the Guillermo Espinosa Collection
and make them available to researchers worldwide. Guillermo Espinosa (1905-1990)
was a Colombian conductor and arts administrator who made a long-lasting and
influential contribution to contemporary music of the Americas. He was music chief of
the Organization of American States in Washington, D.C. between 1953 and 1975,
having started when the OAS was still known as Pan American Union. One of the
highlights of his highly successful career are the nine Inter-American Music Festivals he
either organized or was involved with between 1957 and 1982, and which presented more
than a hundred world premières of works by composers from the Western hemisphere.
The Collection contains scores, books, periodicals, recordings, newspaper clippings,
programs, photos, and correspondence related to the activities that Espinosa carried out as
a noted conductor and supporter of Latin American music and composers. In 1993 Mrs.
Lucille Espinosa, Guillermo’s widow, donated the collection to the LAMC, and it has
been housed at the William and Gayle Cook Music Library.
More information about Guillermo Espinosa and the collection are found in:
(1) the LAMC’s website: http://www.music.indiana.edu/som/lamc/collections/espinosa
(2) the attached PowerPoint presentation, which contains many links to sample searches
for the metadata as PDF files. The PDFs are available in a separate folder
(3) the attached selected bibliography.
2. Describe the significance of this project to the IU community and beyond. Will
this complement or enhance other digital resources?
The Guillermo Espinosa Collection provides primary and secondary source materials for
the study of music of the Americas in the twentieth century; it also provides important
material for the documentation of Pan-Americanism and the late ramifications of
President Franklin Roosevelt’s Good Neighbor Policy, instituted in 1933. The collection
is multidisciplinary in scope and of potential interest to scholars of music in general,
musicology, Latin American and Caribbean studies, political science, and international
studies.
The electronic availability of the collection would complement digital resources
such as the Inter-American Music Festival Foundation Collection at the Library of
Congress (http://lcweb2.loc.gov/diglib/ihas/loc.natlib.scdb.200033634/). The following
three resources, also at the Library of Congress: the Leonard Bernstein Collection
(http://memory.loc.gov/ammem/collections/bernstein/), the Aaron Copland Collection
(http://memory.loc.gov/ammem/collections/copland/), and the Irving Fine Collection
(http://memory.loc.gov/ammem/collections/fine/). At IU, the Guillermo Espinosa
Collection would naturally enhance other related resources currently held by IU but not
yet digitized, such as the recently-acquired collection of Cuban-American composer
Julian Orbón at the Lilly Library, as well as others that are currently envisioned for either
purchase or donation, such as the collection of Chilean composer and musicologist Juan
Orrego-Salas, founder of the Latin American Music Center in 1961.
3. Describe current and potential users. Is there faculty, library, or departmental
interest and support for digitizing these materials for either research or teaching
purposes?
Due to the limited resources to support processing of special collections in the Cook
Music Library, the Espinosa Collection has not been widely used. In spite of this, the
collection has attracted attention not only of students and faculty at IU but also national
and international researchers. We may cite three examples: (1) doctoral choral
conducting student Carolina Gamboa Hoyos, who wrote a seminar paper on the InterAmerican Music Festivals for a graduate seminar at IU; (2) Harvard researcher Jeannie
Guerreiro who was interested in the Espinosa collection for documenting performances
of Latin American classical music in the United States; (3) researchers Galina Likosova
and Hernán Humberto Restrepo, representing Grupo Interdís from Universidad de
Colombia in Medellín, who visited IU to gather materials for a documentary they are
preparing about Espinosa’s life and career. [See attached folder “Uses of Collection at
IU and Beyond” for seminar paper and e-mails.]
The digitization of the Espinosa Collection would be a very useful resource for
M690 – Seminar in Latin American Music, offered by the Latin American Music Center.
It would also support the research of faculty members Emma Dederick (Cook Music
Library) and Erick Carballo (Teaching and Learning Technologies Lab), as well as Luiz
Fernando Lopes (LAMC). Dr. Carballlo is a especilaist in the music of Argentinean
composer Alberto Ginastera, whose successful career is intimately linked to the InterAmerican Music Festivals championed by Espinosa. It would be of potential interest to
scholars in other related university departments in areas already mentioned, such as
musicology, Latin American and Caribbean studies, political science, and international
studies.
4. Describe types of materials to be digitized and number of each (i.e.: 6 books with
a total of 700 pages, 600 black and while photographs). Include format,
condition, and any special handling requirements.
The materials from the Espinosa Collection to be digitized include:
• Newspaper clippings: 1846 (many in brittle condition)
• Correspondence: ca. 500 (period covered 1950-2002)
• Photographs: 230
• Concert programs: 345
• Invitations: 25
• Recordings: ca. 20 reel-to-reel tapes of live performances not held anywhere else.
Unlike the other items above, these recordings would bee digitized and made
available only to IU patrons through the Variations Project.
• Scrapbooks: 10, which contain some of the newspaper clippings mentioned above as
well as concert programs, among other materials. Some of the scrapbook items are in
fragile condition.
• Scores: 3 (only holographs of compositions by Espinosa himself)
• Diplomas, certificates, honors, and awards: ca. 20 (including awards from presidents
Richard Nixon and Ronald Reagan)
• Miscellaneous artifacts (batons, flutes, etc.): ca. 10
The Collection also includes a small number of Legal documents, Realia, Writings
5. Do you have any existing descriptive information that could be used for
searching these materials? In what form does this descriptive information exist
(on paper, in a Word document, in an Excel file, etc.)
Yes. There is a combination of Excel spreadsheets, Access databases, and MS Word lists
for practically all items in the collection. The PowerPoint presentation included as an
appendix to this proposal contains PDFs of several sample reports (some items are still
being processed).
6. How do you envision people accessing your materials? Are there similar
resources that you could give as examples?
We envision the website of the Guillermo Espinosa Collection to be similar to the Hoagy
Carmichael Collection (http://www.dlib.indiana.edu/collections/hoagy/). The interface
used for the scrapbooks, photographs, scores, and correspondence could be similar in
both cases. Currently, the collection is only available for in-site use, which is highly
unsatisfactory because the Music Library has not been designed to circulate unique
materials such as this. The digitization would greatly increase the collection’s visibility
and accessibility, plus provide much-needed preservation of a great number of unique
items from such a valuable collection.
7. Describe the contribution you and your staff can make to this project. Please
name the project manager for your project.
The LAMC would be able to offer grants for in-residence research in amounts varying
from $500 to $1,500 dollars. These grants would be provided from the Espinosa fund,
managed by the IU Foundation. The project director would be Dr. Carmen Helena Téllez
and co-managers would be Emma Dederick and Luiz Fernando Lopes. Doctoral student
Leonardo Panigada would continue to input data and refine the metadata for the
collections’ content. Some assistance fro scanning can be provided for 10 hours/week.
8. Are you expecting to receive external funding for this project? Do you have
funding sources in mind? What is the date for submission for these
opportunities?
We are aware of some university grants from the Dean of Faculties website to which we
may apply. We will apply for the Grants-in-Aid of Research and Creative Activity from
the Office of the Provost (http://www.research.indiana.edu/irc/pdforms/applicn-GIA-107.pdf), and whose deadline is February 15.
9. Other general comments, issues or concerns.
The nature and importance of this collection will further increase visibility of the Latin
American Music Center, the premier research unit of its kind in the world, as well as the
Cook Music Library, the world-renowned Jacobs School of Music, and IU. For
information on the Center’s activities, please see the LAMC’s website:
http://www.music.indiana.edu/som/lamc/. Some of materials in the Espinosa Collection
would benefit from digitization for preservation purposes, as well as legitimate reasons
connected to research and publishing projects.
10. Copyright Status
Please refer to the Copyright Management Center at
http://www.copyright.iupui.edu/quickguide.htm for information to help you
determine the copyright status of your materials. Below, please explain your
understanding of the copyright status of the material.
_______ Public domain
___ X __ Owned and controlled by Indiana University
_______ Owned by someone else, but permission secured
___ ___ Situation unknown or unclear
Copyright explanation:
Mrs. Lucille Espinosa donated the collection to Indiana University’s Latin American
Music Center with the goal of making her husband’s legacy more widely known and
accessible to researchers as well as to foster the friendship between the people of the
Americas. This document is held at the Jacobs School of Music. It is our understanding
that the copyrights situation of the newspaper clippings and concert programs contained
in the Espinosa scrapbooks would be similar to that of the Hoagy Carmichael scrapbooks,
which are already digitized through the Digital Libraries program at IU. For virtually all
the photographs, the photographer is unknown and we will include a note in this respect.
The reel-to-reel tapes constitute unique testimonies of live performances—especially of
the Inter-American Music Festivals—not available anywhere else and which were never
available commercially. These recordings will be only available at IU through the
Variations Project.
Revised April 2. 2008