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British Music Collection
The music library and administrative records of the British Music Information Centre (BMIC). The music collection contains 40,000 scores and over 21,000 sound recordings of 20th and 21st Century British composition (defined by the BMIC as music that has been composed by an individual born or living in the UK). The majority of the collection relates to post-1960 and contemporary music, but also encompasses works from the late 19th century onwards. The collection of scores and recordings contains both published and unpublished works, and includes high-profile composers, such as Britten, Tippett, Birtwistle, Maxwell Davies, Cardew, Harvey, Weir, MacMillan, Turnage, Tate and Adès, as well as emerging composers and less well-known musicians.

The scores in the collection were catalogued and arranged by BMIC staff into the following self-designed categories with the aim of best assisting users' (particularly would-be performers) access the collection: A - Symphony; B - Orchestra; C - Solo & Orchestra; D - Solo & Strings; E - String Orchestra; F - Music Theatre & Opera; G - Accompanied Choral; H - Classical Chamber (3-6 players); Ha - Chamber Miscellaneous; Hb - Chamber Brass; Hv - Chamber Vocal; Hw - Chamber Woodwind; I - Solo; Id - Duo; J - Piano & Soloist; Ko - Organ; Kp - Piano; L - Piano Duo; M - Song; N - Unaccompanied Choral; O - Band; P - Collections/Anthologies; T - Experimental. This arrangement has been maintained in the catalogue and the physical collection.

The scores within the collection have a Reference Number that begins BMC/SC/... The recordings within the collection have a Reference Number that begins BMC/RE/...

To search the online catalogue for a particular score category, type the category name into the 'Term' field. To search for a specific composer's works then type all or part of the composer's name into the 'Person's name' field. To search for the title of a piece then type all or part of the title into the 'Title or description contains' field.

The sound recordings in the collection include both commercial and private recordings donated by publishers and composers, recordings of concerts and events that took place at the BMIC and other related music organisations (e.g. the Society for the Promotion of New Music), and recordings of BBC Radio 3 broadcasts. The recordings are stored on a variety of formats, including VHS tapes, Betamax tapes, vinyl records, audio cassettes, CDs and DVDs. There is also a very small number of reel to reel audio tapes and DAT tapes.

The collection also contains administrative records of the British Music Information Centre. These records concern the management and administration of the BMIC, including its premises, corporate development and finances, as well as records that document the activities, events and projects that the BMIC was involved in. These records also include additional library resources that were available to the Centre's users, including music journals, magazines, newsletters, concert and festival programmes and composer information files. The composer files were compiled by the BMIC and contain varying amounts of information concerning the biographies and works of British composers.
  • BMC/AM

    Centre administration Subfonds

    1940s-2009
    Records concerning the management and administration of the British Music Information Centre, including its collections, premises, corporate development and finances.

    These records are split into the following sections: collections management, coporate planning, estate management, financial management.
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  • BMC/CO

    Composers files and photographs Series

    1960s-2000s
    Composer information files and photographs of composers collected by the British Music Information Centre (BMIC) for reference, research and informational use by the Centre's users. The collecting policy for the composer files matched the collecting policy that was agreed for the scores and recordings in the collection. The contents of these files were accumulated as a result of donations by composers, BMIC staff attending concerts and events, and the BMIC's 'Call for Information' initiative which saw members of the public donating information about composers.

    Each composer file contains varying amounts and types of information, but items that are common to many of these files include: catalogues and lists of the composer's works; catalogues of the composer's works held at the BMIC; journal articles concerning the composer and their works; reviews of the composer's works; newspaper cuttings concerning the composer and their works; composers' CVs (curriculum vitaes) and biographical information, including some photographs; correspondence sent by the composer to accompany scores, recordings and information; concert and event programmes concerning the composer and their works; composers' application forms and subscription cards for membership of The Composers' Guild of Great Britain.

    There are 1194 composer files included in this series. It appears that the files for composers with a surname starting with C, D and E were not transferred to the University of Huddersfield Archives, we estimate that this may amount to roughly 150 missing files.

    The composer photographs were collected by the British Music Information Centre for reference use by the Centre and its users. The majority of the photographs were submitted by the composers themselves, or their representatives, to accompany the submission of scores and recordings to the collection.
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  • BMC/EV

    Events, projects and engagement Subfonds

    1988-2014
    Records concerning the events and projects run by the British Music Information Centre (BMIC) and records concerning the BMIC's engagement with other music organisations and the wider musical community.

    The records include administrative records organising the BMIC projects and events including The Cutting Edge concert series, The Cutting Edge Tour, the New Voices Project, the New Voices Recordings Project, the BMIC Digitisation Project, The New Music Mart. These records also include records concerning the BMIC's involvement with other music organisations and their projects, including the International Association of Music Information Centres, Jazz Services, Arts and Business, Contemporary Music Making for Amateurs (CoMA), the State of the Nation 2000 Festival, Classical Music Forum, the Chamber Music Exchange Project, the National Federation of Music Societies, the Music Libraries Online Project, Accord, and the Requiem Fragments Project.
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  • BMC/RE

    Recordings Series

    1925-2008
    Audio-visual recordings collected by the British Music Information Centre (BMIC) and made available to the Centre's users for research purposes. The c21,000 recordings include both commercial and privately produced recordings, recordings of live performances that took place at the BMIC and other related music organisations (e.g. the Society for the Promotion of New Music), recordings of BBC Radio 3 broadcasts and recordings of television broadcasts concerning contemporary British music. The recordings in this series are held on the following formats: c3200 audio cassette tapes; c2200 CDs; c500 vinyl records; 400 betamax tapes; 57 VHS tapes; 16 DAT tapes; 3 DVDs; 2 reel to reel audio tape.

    All of the recordings within the colection have a Reference Number that begins BMC/RE/... Any items that have a Reference Number that begins BMC/SC/... are scores.

    There are still some recordings within the collection that are waiting to be catalogued, the Reference Number for these recordings is BMC/Y
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  • BMC/SC

    Scores Series

    c1900-2009
    The British Music Information Centre's (BMIC) music library of scores. The majority of the collection relates to post-1960 and contemporary music, but also encompasses works from 1900 onwards. The collection of c40,000 scores contains both published and unpublished works, and includes high-profile composers, such as Britten, Tippett, Birtwistle, Maxwell Davies, Cardew, Harvey, Weir, MacMillan, Turnage and Adès as well as emerging composers and less well-known musicians. The vast majority of the collection is not manuscript because the BMIC specifically stated that they only accepted non-manuscript scores, however there are some small instances of manuscript works and copies of manuscript works within the collection.

    The initial core of the collection was founded on the deposit of The British Council's sheet music collection in 1967, this included material dating back to 1900. As the BMIC became increasingly accepted by publishers it began to accumulate increasing amounts of published material and this made the score collection the only permanent collection of both published and unpublished contemporary British Music. All works were acquired by donation, and although donations were initially just restricted to the work of members of the Composers Guild of Great Britain, and later BASCA (British Academy of Songwriters, Composers and Authors) concert music members, by the 1990s the acquisition policy of the BMIC stipulated that eligible works included: work that is published by a major publisher (e.g. Boosey & Hawkes, Faber Music, Chester Music); unpublished work by professional composers of significant standing (e.g. frequently commissioned or performed by leading orchestras); work by full members of a leading professional body (e.g. BASCA, including shortlisted works for British Composer Awards); work commissioned by the BMIC as part of its projects and professional development programmes (e.g. Adopt a Composer, Embedded...); work commissioned or funded by leading commissioners or funders (e.g. BBC, Arts Council England, PRS for Music Foundation). The Centre was aware that subjectivity influenced these criteria but in practice any disputes over inclusion/exclusion were resolved by the Director of the BMIC or by reference to the composers on the BMIC Board.

    The scores were catalogued and arranged by BMIC staff into the following self-designed categories with the aim of best assisting users' (particularly would-be performers) access the collection: A - Symphony; B - Orchestra; C - Solo & Orchestra; D - Solo & Strings; E - String Orchestra; F - Music Theatre & Opera; G - Choral (& Orchestra) ; H - Classical Chamber (3-6 players); Ha - Chamber Miscellaneous; Hb - Chamber Brass; Hv - Chamber Vocal; Hw - Chamber Woodwind; I - Solo; Id - Duo; J - Piano & Soloist; Ko - Organ; Kp - Piano; L - Piano Duo; M - Song; N - Unaccompanied choral; O - Band; P - Collections of works; T - Experimental. This arrangement has been maintained in the catalogue.

    As of Jan 2015 it is believed that Category 0 scores are not available in the collection and the catalogue information is included for reference purposes only. Score categories that contain punctuation, such as , are also believed to be unavailable in the collection because they have been withdrawn by a depositor, composer or publisher.

    Within each box the scores are then arranged alphabetically by: surname of the composer; first name of the composer; title of composition; date of composition.

    There are still some scores within the collection that are waiting to be catalogued. These are due to be completed catalogued by Summer 2015.

    For music education/instructional scores, see BMC/AM/CM/1
    For further scores by Phyllis Tate, see BMC/Tate
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  • BMC/Tate

    Phyllis Tate Collection Subfonds

    c1960-1989
    Printed and manuscript scores of works composed by Phyllis Tate and deposited at the British Music Information Centre. The collection of scores includes some draft and rehearsal versions of compositions, as well as a small amount of research notes and covering letters sent to/from publishers concerning the publishing and printing of works by Phyllis Tate.

    The following catalogue of the collection is available by kind permission of Jane Ballantyne, who created it from research undertaken at Heritage Quay during 2015 and 2016.

    The sources donated to Huddersfield University's archive centre by Phyllis Tate's husband Alan Frank range from autographed manuscript, facsimile, transparencies, and photocopied manuscripts. Also included are programme notes a few letters and concert leaflets.
    Listing the following sources in alphabetical order.
    Please note the additions to this list are comprehensive but not exhaustive.

    All the world's a stage
    Date: 1978
    Instrumentation: 4 chorus and orchestra (full orchestral score).
    Words by William Shakespeare, commissioned by Eastern arts Association.
    Handwritten manuscript.
    Published by OUP

    Apparitions
    Date: 29 August 1968
    Instrumentation: a Ballad sequence for Tenor, Harmonica, String Quartet and Piano.
    Handwritten manuscript.
    Published by OUP

    Ballad of Reading Gaol, The
    Date: 1980
    Instrumentation: A narrative for Baritone, Cello and Organ.
    Poem by Oscar Wilde.
    Handwritten Manuscript.
    2nd copy, by OUP copyist.
    3rd copy, by OUP copyist.
    4th copy, Cello part by OUP copyist.


    Christmas Ale
    Date:
    Instrumentation: Flute, Oboe, Clarinet in Bb, Bassoon, Horns I and II, Trumpet in C, Percussion, and Harp.
    Violins I and II, Viola, Cello, Double Bass.
    Vocal-Cleo Laine.
    Chorus-small choir.
    Audience.
    Autographed handwritten manuscript, full score.
    2nd copy- transparencies of movements I, II and III.
    3rd copy- a change here to the instrumentation (needs to be checked).
    Piccolo also Clarinet in A.
    Autographed handwritten manuscript, full score.
    4th copy-autographed handwritten manuscript, full score.
    5th copy-handwritten vocal score.

    Coastal Ballads
    Date: May 1969. Commissioned by the mid-Northumberland arts group for the Ashington Festival. Based on traditional Northumbrian folk songs.
    Instrumentation: A cycle for Clarinet, Horn, String Quartet, and Double Bass.
    Vocal-Bass.
    By copyist at the OUP.
    2nd copy-a photocopy of the autographed handwritten manuscript.
    3rd copy-corrected transparencies of the parts, not including clarinet or horn part.
    4th copy-transparencies of the full score.
    5th copy-transparencies of the following (taken from Coastal Ballads for Owen Brannigan).
    Need to check that the following songs belong to Coastal Ballads?
    O, Bonny Fisher lad-for bass voice and piano arranged by Phyllis Tate.
    Billy Boy- for bass voice and piano arranged by Phyllis Tate. Tune and words by permission of Messer's J.Curwen and sons Ltd.
    The water of Tyne-for Owen Brannigan, arranged by Phyllis Tate.
    Coastal Ballads continued - 6th copy-autographed handwritten manuscript. Includes lots of Sellotape, parts taped over.

    Come son and reap with me (6)
    Growing song (10 a)
    May dance (11)
    Handwritten manuscript, a rough copy possibly a first draft. These movements belong to the piece Scarecrow which was published by OUP.

    Compassion
    Date: 1989?
    Instrumentation: Flute I and II, Piccolo, Oboe I and II, Clarinet in Bb I and II, Bassoon I and II, Horns I and II, Trumpet I and II, 2 Timps, percussion
    Solo Soprano.
    Solo Contralto
    SATB choir
    Violins I and II, Viola, Cello and Double Bass.
    85 pages.
    An ode to celebrate the 150th anniversary of the Royal free hospital. Poem by Ursula Vaughan Williams.
    Handwritten manuscript, full score.
    Published by OUP.

    Cradle Song (see For Life-Beauty Bright).
    Date:
    Instrumentation: Soprano, Alto, Tenor and Bass. Poem by William Blake.
    There are two photocopies of the handwritten score.
    Cradle song is linked with For Life-Beauty Bright both using the same poem??
    Published.




    Creatures Great and Small
    Date: 1973 (1st performance).
    Instrumentation: Guitar, Double Bass, Percussion and Mezzo Soprano.
    Written for Noelle Barker a friend of Phyllis Tate's.
    Transparencies
    Unpublished.
    2nd copy-(contained in an envelope) parts for Guitar Double Bass and Percussion.
    3rd copy-handwritten manuscript includes a leaflet advertising the 1st performance.
    4th copy-handwritten manuscript, including the words for each movement typed on separate sheets of paper.
    5th copy-transparencies of each movement.
    For the Guildhall school of music and drama, there are 8 copies of the full score, these are photocopied manuscripts not printed published scores.

    Dark Pilgrimage (see Slumber Song taken from scene? Written as a separate piece)
    Date: 1962
    Instrumentation:
    An Opera for TV, libretto by David Franklin.
    Handwritten manuscript.
    Unpublished.

    Divertimento
    Date: 1979-80 completed in 1980.
    Instrumentation: Flute, Viola and Guitar.
    Auto positives-transparencies.
    3 movements.
    2nd copy-handwritten manuscript, contains a note about the 1st movement.
    3rd copy-handwritten manuscript, only two movements.



    Duo Concertante
    Date:
    Instrumentation:
    Only the 4th movement-Marche Funebre in transparency by OUP (1083). Pages 84-91.
    Unpublished.

    Engraved on the Collar of a Dog
    Date: 1976
    Instrumentation: SATB
    Poem by Alexander Pope.
    Printed by OUP, handwritten score by Phyllis Tate???
    Published.

    For Life-Beauty Bright (see Cradle Song)
    Date: 13th October 1978.
    Instrumentation: Soprano and Piano.
    A lullaby written for the soprano Virginia Rushton and pianist Ruth Hecht.
    Same poem as for cradle song by William Blake.
    A photocopy of the handwritten manuscript.
    Possibly unpublished as Beauty Bright because published as Cradle Song???


    Gravestones
    Date: 1966?
    Instrumentation:
    Written for the jazz singer Cleo Laine.
    Handwritten manuscript.
    2nd copy-a revised version, commissioned for the Dynevor Festival 1966.
    Handwritten manuscript.
    Gravestones continued: 3rd copy-transparencies of the piece. Unpublished.

    Greenwich Carols
    Date:
    Instrumentation:
    1st copy-handwritten manuscript.
    2nd copy-a photocopy of the original.
    Could this be the piece Serenade to Christmas?
    Published?

    Handel in the Park-An Environmental Elergy
    Date:
    Instrumentation: For Soprano, Alto, Tenor, Baritone and Bass.
    Handwritten manuscript.
    Published?

    Invasion
    Date:
    Instrumentation:
    A musical drama, libretto by Bill Newton.
    1st copy-a facsimile-for Coventry school of music.
    2nd copy-handwritten manuscript, possibly a first draft, has lots of crossings out.
    Published?

    Israeli-Folk Tunes for Strings
    Date:
    Instrumentation: Violin I and II, Viola, Cello and Double Bass.
    Handwritten in pencil by Phyllis Tate (need to check this is actually a work of Phyllis's).
    Unpublished.

    Lady of Shalott, The
    Date: 16 July 1956
    Instrumentation: for Tenor, Viola, Percussion, 2 Pianos and Celeste.
    1st Copy-autographed manuscript-BBC music library A 22 070.
    2nd Copy-handwritten manuscript.
    A cantata in four movements, poem by Tennyson.
    Published.

    Lodger, The
    Date: 1960?
    Instrumentation:
    A master copy with corrected libretto.
    1st copy-act 1-vocal score by copyist.
    2nd copy-act 1- vocal score by copyist
    3rd copy-act 2- vocal score by copyist, (Ann Murray?)
    4th copy- act 2- vocal score by copyist.
    Published.

    London Fields
    Date: 1958
    Instrumentation:
    An autographed manuscript.
    Commissioned for the BBC light music Festival.
    Published.

    Mary, Mary Magdalen
    Date:
    Instrumentation: For Voice and Guitar
    (Check notes for information, was this handwritten).
    Published.
    Movement for String Quartet (the original is called string quartet in F)
    Date:
    This is a draft copy, written by the copyist before being published by OUP.
    Published.

    Panorama
    Date: 1977
    Instrumentation: For string orchestra.
    An autographed manuscript.
    Commissioned by the North Wales Festival.
    Published.

    Peace on Earth to men
    Date: 1976
    Instrumentation: For SATB and Piano or Organ.
    A handwritten manuscript.
    Words by St Germanus, translated by J.M Neale.
    (Is this the piece Oxford Carols?)
    Published

    Phoenix and the Turtle, The (Secular Requiem)
    Date: 1961
    Instrumentation: Tenor, Flute, Piccolo, Horn, 2 Cellos, Piano and Harpsichord.
    Poem by William Shakespeare, a BBC music library copy.
    1st copy- (check notes, are both these copies handwritten?)
    2nd copy-
    Published.



    Poems for my Children (Vagaries)
    Date:
    Instrumentation: For Mezzo, Contralto and Harmonium or Electric Piano.
    Handwritten manuscript.
    Poems by Thomas Miller.
    Published?

    Prelude-Aria-Interlude-Finale
    Date: 1981
    Instrumentation: For Bb Clarinet.
    Autographed manuscript.
    2nd copy-handwritten manuscript.
    Published.

    Romance and Dance Caprice
    Date:
    Instrumentation: For Piano Accordion.
    A rough photocopy of the handwritten manuscript.
    Unpublished.

    Scarecrow (Growing Song, May Dance etc.)
    Date: 1982
    Instrumentation: For Flute, Piccolo, Oboe, Clarinet In Bb, Bassoon, Horns I and II, Trumpet In Bb, Trombone, Xylophone, Bass Drum, Percussion, Double Bass, Voices and Piano.
    1st copy-handwritten manuscript (a rough copy, possibly a first draft).
    2nd copy-handwritten manuscript, full score. Red ink marks (copyist?)
    In September 1991 the manuscript was given to Michael Morpugo, (who wrote the words).
    11 choruses or movements.
    Published.


    Scenes from Kipling
    Date: 1982
    Instrumentation: For Baritone and Piano.
    1st copy-handwritten manuscript.
    2nd copy-A photocopy of the handwritten score.
    Published?

    Scenes from Tyneside
    Date:
    Instrumentation: For Mezzo Soprano, Clarinet and Piano.
    1st copy-transparencies.
    2nd copy-clarinet part movements 1 to 6.
    3rd copy-handwritten full score movements 1 to 6.
    4th copy-photocopies of the original folk songs and programme notes.
    5th copy-clarinet part in transparency format by the copyist. (Spio-Panopus score system?)
    Published.

    Seasonal Sequence, A
    Date: 1977.
    Instrumentation: For Viola and Piano.
    1st copy-transparency, includes programme notes.
    2nd copy- a transparency of the corrected viola part, movements 1 to 4.
    3rd copy-handwritten manuscript, full score.
    4th copy-copyist, viola part.
    5th copy-handwritten manuscript, full score, corrections in red ink.
    Unpublished.




    Serenade to Christmas
    Date: 1973
    Instrumentation: For choir and orchestra.
    Handwritten manuscript, full score-piano reduction includes SATB, possibly a first draft as lots of corrections in pencil, blue ink and Sellotape.
    Commissioned by the Royal Scottish Academy of music.
    Published?

    Seven Lincolnshire Folk Songs
    Date:
    Instrumentation: For Voice, Celesta and Piano Duet.
    Handwritten manuscript, rough copy-lots of Sellotape.
    Movements or songs 1 to 7.
    The folk songs were collected by Percy Grainger.
    Published.

    Slumber Song (see Dark Pilgrimage)
    Date: 1962.
    Instrumentation:
    This piece is 4 pages long from the TV Opera Dark Pilgrimage.
    Unpublished.

    Sonatina for Two Pianos
    Date:
    1st copy-by copyist.
    2nd copy-by copyist
    Published?




    Sonatina Pastorale
    Date:
    Instrumentation: For Harmonica and Harpsichord.
    1st copy-A photocopy of the handwritten score, (original manuscript with Douglas Tate for whom it was written).
    2nd copy-a rough handwritten manuscript.
    Unpublished.

    Songs from Scotland
    Date:
    Instrumentation: For Flute Voice and Piano.
    Handwritten manuscript in pencil, (arranged by Phyllis Tate? Need to check this?)
    Unpublished.

    Songs of Sundrie Kindes
    Date: 1976
    Instrumentation: For Tenor and Lute.
    A published OUP copy. Carl Shavitz (lute player) has the original manuscript as the piece was written for him.

    Songs without Words
    Date:
    Instrumentation: For Flute I and II, Piccolo, Oboe I and II, Clarinet In Bb I and II, Bassoon, Horns I and II, Violin, Viola and Cello.
    Solo Bassoon and Trumpet.
    Handwritten manuscript? Need to check this with my notes.
    Published.




    String Quartet in F
    Date: 1955 revised in 1970.
    1st copy-a set of uncorrected parts, with an extra 2nd violin part, also includes part of the 1st movement which was withdrawn in 1978??
    2nd copy-a complete set all 4 parts OUP 1955.
    3rd copy-October 1970, a corrected 1st violin part of the 1st movement.
    4th copy-all 4 parts-1st movements are rewritten in October 1970 by copyist.
    Important to clarify the above, need to check my notes, find out more.
    Published.

    Three Gaelic Ballads
    Date:
    Instrumentation: For Voice and Piano.
    Handwritten manuscript, movements 1 to 3, including a programme note by Phyllis Tate.
    2nd copy-transparencies of movements 1 to 3.
    3rd copy-a very rough handwritten manuscript by Phyllis Tate.
    4th copy-handwritten manuscript, contains corrections taped over the top of the score.
    5th copy-seems to be very old, handwritten manuscript.
    Unpublished.

    Three Pieces for Solo Clarinet
    Date: 16 January 1980
    A handwritten manuscript.
    2nd copy-a corrected photocopy of the original manuscript.
    3rd copy-a rough handwritten manuscript, includes corrections in red ink.
    Published?

    Trio Chanson Tristes
    Date:
    Instrumentation: For Voice and Guitar. Published by OUP.

    Twice In a Blue Moon
    Date: 1971
    Instrumentation:
    Handwritten manuscript, full score, (extra notes added with small pieces of paper held in place by paperclips).
    This is a fantasy operetta.
    Published.

    Vagaries (see Poems for My Children)
    Date: 1979
    Instrumentation: For Mezzo Soprano, and Harmonium or Electric Organ.
    Handwritten manuscript, full score.
    Movements 1 to 4.
    Published?

    Victorian Garland, A
    Date: 1972 published by OUP
    Instrumentation:
    A facsimile of the handwritten manuscript.

    What D'ye call it, The
    Date:
    Instrumentation: For Voice and Percussion?
    Handwritten manuscript, Piano reduction.
    A Tragi-Comi- Pastoral Farce. An Opera in one act.
    Published.

    Words by Joseph Beaumont, To
    Date:
    Instrumentation: Three songs for women's voice with accompaniment. Autographed score, songs 1-3. Published?

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  • BMC/X

    Music Education Scores Collection Subfonds

    1940s-1980s
    Printed and copies of manuscript music education/instructional scores collected by the British Music Information Centre and made available to the Centre's users.
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