Using Statistics to Set Priorities

In November 2015-March 2016, I assigned my Graduate Assistant, David Durden, a project to compile usage statistics and trends for digitized collections between 2013-2015 from UMD Digital Collections and our contributions to the Internet Archive between 2008-2015. The original intent of the project was to provide usage metrics to assist the Digitization Initiatives Committee in prioritizing projects or content areas. The project also uncovered trends that should impact how we think about making digital collections discoverable and accessible. For example, if 50-60% of traffic into UMD Digital Collections comes from outside the University or College Park, MD, how will this impact the potential usage of content when access is restricted to campus due to licensing, copyright, or ownership restrictions? With a growing population using mobile browsers, how will a flash-based viewer restrict users’ access to content? How might we develop content or its discoverability for a growing social media user base? In this talk, I will briefly discuss the usage trends for the represented collections, how we may use these in prioritizing future projects, and issues I will discuss with collection managers as we develop project plans and the Manager of Digital Programs and Initiatives as we develop the digital collections repository.

Managing Digitization Priorities with Metrics

This presentation was one of four during a Mid-Atlantic Regional Archives Conference presentation on April 15, 2016. Digitization of collections can help to improve internal workflows, make materials more accessible, and create new and engaging relationships with users. Laurie Gemmill Arp will discuss the LYRASIS Digitization Collaborative, created to assist institutions with their digitization needs, and how it has worked to help institutions increase connections with users. Robin Pike from the University of Maryland will discuss how they factor requests for access into selection for digitization and how they track the use of digitized materials. Laura Drake Davis of James Madison University will discuss the establishment of a formal digitization program, its impact on users, and the resulting increased use of their collections. Linda Tompkins-Baldwin will discuss Digital Maryland’s partnership with the Digital Public Library of America to provide access to archives held by institutions without a digitization program.

THE ART OF TRANSCRIBING FOR HARPSICHORD

A relatively unexplored area of the harpsichord repertoire is the group of transcriptions made by J.S. Bach (1685-1750), Jean Henry d'Anglebert (1629-1691), and Jean-Baptiste Forqueray (1699-1782). These transcriptions are valuable and worth exploring and performing. Studying them provides unique insights into their composer‘s musical thinking. By comparing transcriptions with their original sources, the transcriber's decisions and priorities can be observed. The performance component of this dissertation comprises three recitals. The first features works of Johann Sebastian Bach: two transcriptions of violin concerti by Antonio Vivaldi (1678-1741), and two transcriptions of trio sonatas by Johann Adam Reinken (1643-1722). The most salient feature of Bach‘s transcriptions is his addition of musical material: ornamenting slow movements, adding diminutions and idiomatic keyboard figurations throughout, and recomposing and expanding fugal movements. The second recital features works of Jean Henry d'Anglebert and Jean-Baptiste Forqueray, two French composer/performers. From d'Anglebert‘s many transcriptions, I assembled two key-related suites: the first comprised of lute pieces by Ennemond Gaultier (c. 1575-1651), and the second comprised of movements from operas by Jean-Baptiste Lully (1632-1687). Forqueray's transcriptions are of suites for viola da gamba and continuo, composed by his father, Antoine Forqueray (1671-1745). Creative and varied ornamentation, along with the style brisé of arpeggiated chords, are the most important features of d‘Anglebert‘s transcriptions. Forqueray‘s transcriptions are highly virtuosic and often feature the tenor and bass range of the harpsichord. The third recital features my own transcriptions: the first suite for solo cello by J.S. Bach, excerpts from the opera La Descente d’Orphée aux Enfers by Marc-Antoine Charpentier (1643-1704), and two violin pieces by Nicola Matteis (fl. c. 1670-c. 1698). In these transcriptions, I demonstrate what I have learned from studying and performing the works in the first two recitals. These recitals were performed in the Leah Smith Hall at the University of Maryland on May 4, 2010; May 11, 2010; and October 7, 2010. They were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).