HLMSW Version 8.00 (Build 8.14)

An update in coming which has features that will help larger HLMSW installations manage their users and connected software along with a bunch of new features and bug fixes.

Managing HLMSW Users

If you ever have to log into HLMSW using a different identity (to open up a different HLMSW collection or Company file) some changes in build 8.14 of HLMSW will make things a little easier.  It is now possible to group your HLMSW keys into logical folders which are displayed on the HLMSW Login screen

All you need to do to enable this is to put your .HLMSWKey files into separate named folders in the HLMSW Key location, and the folders will be displayed.  HLMSW remembers your selections for each folder and so switching between companies is a lot less complicated for system administrators.

This functionality is enabled by default for any installations with multiple Companies, and as part of the installation process, a new set of HLMSW keys will be generated, all of which will be saved in folders by the Company name.

To generate a new set of logins to take advantage of this feature do the following:

  1. In the HLMSW Configuration Editor, mark as SUSPENDED all accounts you do not want to generate a key for.
  2. Delete ALL keys files in the HLMSW Keys folder.
  3. While holding the Control [Ctrl] key, click on the Save Key  button and new keys will be generated for all non-suspended users, and these will be saved in folders with the Company name if there are 2 or more Companies configured in HLMSW.
  4. After the keys have been generated, feel free to move the key files around and create new folders if required.

Connecting HLMSW to External Sources

This build also includes some new functionality that was created to support some enhanced functionality to bridge HLMSW and external web-based systems.

The goal was to be able to go straight from HLMSW into a web-based accounting package (called NetSuite) so you could see a customer account or invoice using a few clicks rather than copying and pasting values from one system to another.  HLMSW already had the ability to create dynamic urls based on HLMSW Content via the Edit URL option in the HLMSW Config Editor and the URL Manager in HLMSW:

But this can only use the values in HLMSW itself – and if your attached package has a different set of identifiers, these must be saved in HLMSW somewhere. Rather than clogging up HLMSW with data that serves no other purpose, there is a new table (and related helper routines) in HLMSW called HLMSWEXTID which can be used to manage these values.  In this case, whenever an account or invoice is uploaded into the NetSuite software, the resulting identifier is saved in this table so that it can be recalled with just 2 clicks.

There are lots of applications for this technology, and so please contact us for more information if you are interested to learn more.

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Zinfonia habla español

Last week we rolled out the long-awaited Spanish translation of Zinfonia, a huge task which was completed by Jose Ferrer  – (thank you Pepe!).

This release of Zinfonia also included improvements for orders that come through directly through the nkoda app with a new option for users to select nkoda digital parts:

When selected, orders will clearly say that the source materials required are from nkoda.

Zinfonia also has updated rules and buttons for nkoda links, and we will shortly be providing reports so you can see what users are wanting to see in nkoda to help you prioritise your digitisation plans.  More changes and improvements to the Zinfonia/nkoda interface are planned in upcoming releases.

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Zinfonia 2018 Review

Zinfonia most performed titles in 2018

  1. Leonard Bernstein West Side Story. Symphonic Dances (Boosey & Hawkes) attach
  2. Leonard Bernstein Candide. Overture [Standard Concert Version] (Boosey & Hawkes) attach
  3. Arturo Márquez Danzon No. 2 (Peermusic Classical) attach
  4. Carl Orff Carmina Burana (Schott Music) attach
  5. Leonard Bernstein On the Town. 3 Dance Episodes (Boosey & Hawkes) attach
  6. Leonard Bernstein Chichester Psalms [Full Version] (Boosey & Hawkes) attach
  7. Modest Mussorgsky Pictures at an Exhibition; arr. [Ravel] (Boosey & Hawkes) attach
  8. Aaron Copland Appalachian Spring. Suite [Orchestral Version] (Boosey & Hawkes) attach
  9. Samuel Barber Concerto for Violin and Orchestra (G. Schirmer) attach
  10. Joaquín Rodrigo Concierto de Aranjuez (Schott Music Mainz / Ediciones Joaquín Rodrigo) attach
  11. Benjamin Britten The Young Person’s Guide to the Orchestra (Boosey & Hawkes) attach
  12. Leonard Bernstein Glitter and Be Gay (Boosey & Hawkes) attach
  13. Béla Bartók Concerto for Orchestra (Boosey & Hawkes) attach
  14. Ottorino Respighi Pini di Roma [Pines of Rome] (Casa Ricordi) attach
  15. Aaron Copland Appalachian Spring. Suite [Chamber Version] (Boosey & Hawkes) attach
  16. Benjamin Britten Four Sea Interludes (Boosey & Hawkes) attach
  17. Leonard Bernstein Make Our Garden Grow (Boosey & Hawkes) attach
  18. Leonard Bernstein West Side Story. Mambo (Concert Ending) (Boosey & Hawkes) attach
  19. George Gershwin An American in Paris (Gershwin Music) attach
  20. George Gershwin Rhapsody in Blue (Gershwin Music) attach
  21. Igor Stravinsky Soldier’s Tale (L’Histoire du Soldat), The (Chester Music) attach
  22. Leonard Bernstein Serenade (Boosey & Hawkes) attach
  23. Sergey Rachmaninov Symphonic Dances [Full Orchestra] (Boosey & Hawkes) attach
  24. Howard Blake Snowman (Concert Version), The (Chester Music) attach
  25. Erich Wolfgang Korngold Konzert D-Dur (Schott Music) attach
  26. Ralph Vaughan Williams Lark Ascending [full version], The (Oxford University Press) attach
  27. Gian Carlo Menotti Amahl and the Night Visitors, Opera (G. Schirmer) attach
  28. Maurice Ravel Boléro (Editions Durand) attach
  29. Sergey Rachmaninov Rhapsody on a Theme of Paganini (Boosey & Hawkes) attach
  30. Karl Jenkins The Armed Man [Reduced Version] (Boosey & Hawkes) attach
  31. Igor Stravinsky Pulcinella. Suite (Boosey & Hawkes) attach
  32. Leonard Bernstein On the Waterfront. Symphonic Suite [Orchestra] (Boosey & Hawkes) attach
  33. William Grant Still Afro-American Symphony (Novello & Co) attach
  34. Aaron Copland Clarinet Concerto [Standard Version] (Boosey & Hawkes) attach
  35. José Pablo Moncayo Huapango (Peermusic Classical) attach
  36. Maurice Ravel Concerto en Sol (Editions Durand) attach
  37. Alberto Ginastera Estancia. Dances (Boosey & Hawkes) attach
  38. Aaron Copland Lincoln Portrait (Boosey & Hawkes) attach
  39. Francis Poulenc Gloria (Salabert) attach
  40. Zoltán Kodály Tänze aus Galanta (Universal Edition) attach
  41. John Rutter Requiem [ensemble version] (Oxford University Press) attach
  42. Leonard Bernstein Fancy Free. 3 Dance Variations (Boosey & Hawkes) attach
  43. Richard Strauss Four Last Songs (Boosey & Hawkes) attach
  44. Leonard Bernstein West Side Story. Overture [Full] (Boosey & Hawkes) attach
  45. Gustav Mahler Sinfonie Nr. 5 (Edition Peters) attach
  46. Igor Stravinsky Petrushka [Revised] (Boosey & Hawkes) attach
  47. John Adams Short Ride in a Fast Machine (Boosey & Hawkes (Hendon) attach
  48. Richard Strauss Der Rosenkavalier. Suite (Boosey & Hawkes) attach
  49. Darius Milhaud Création Du Monde (La) (Eschig) attach
  50. Sergey Prokofiev Violin Concerto No.2 in G minor (Boosey & Hawkes) attach
  51. Arturo Márquez Conga del Fuego Nuevo (Peermusic Classical) attach
  52. Dmitri Shostakovich Symphony No. 5 in D minor, Op. 47 (Dmitri Shostakovich Estate) attach
  53. Samuel Barber Knoxville, Summer of 1915, Op. 24 (G. Schirmer) attach
  54. Aaron Copland Billy the Kid. Suite (Boosey & Hawkes) attach
  55. Malcom Arnold Holly and the Ivy: Fantasy on Christmas Carols, The (Novello & Co) attach
  56. Leonard Bernstein Balcony Scene [Duet] (Boosey & Hawkes) attach
  57. Ralph Vaughan Williams Dona Nobis Pacem (full orchestra) (Oxford University Press) attach
  58. Alberto Ginastera Estancia. Malambo (Boosey & Hawkes) attach
  59. Dmitri Shostakovich Concerto for Piano No. 2, Op. 102 (Dmitri Shostakovich Estate) attach
  60. Richard Strauss Oboe Concerto [Standard Version] (Boosey & Hawkes) attach
  61. Igor Stravinsky The Rite of Spring [1911-13, rev.1947] (Boosey & Hawkes) attach
  62. Paul Hindemith Symphonic Metamorphosis (Schott Music) attach
  63. Pyotr Tchaikovsky Nutcracker Suite, for Orchestra, The (Tempo Music) attach
  64. Dmitri Shostakovich Concerto No. 1 for Violoncello and Orchestra – (Dmitri Shostakovich Estate) attach
  65. George Gershwin Concerto in F (Gershwin Music) attach
  66. György Ligeti Concert Românesc (Schott Music) attach
  67. Sergey Prokofiev Classical Symphony (Boosey & Hawkes) attach
  68. George Gershwin Cuban Overture (Gershwin Music) attach
  69. Max Richter Four Seasons Recomposed, The (Chester Music) attach
  70. Joan Tower Fanfare for the Uncommon Woman, No. 1 (Associated Music Publishers) attach
  71. Anonymous Songs of Freedom: A Celebration of Chanukah (Schott Music Corporation) attach
  72. Igor Stravinsky L’Oiseau de feu (Der Feuervogel / The Firebird) (Schott Music) attach
  73. Leonard Bernstein Divertimento [Full Orchestra Version] (Boosey & Hawkes) attach
  74. John Adams Chairman Dances: Foxtrot for Orchestra, The (Associated Music Publishers) attach
  75. Aaron Copland Symphony No.3 (Boosey & Hawkes) attach
  76. Ástor Piazzolla The Four Seasons in Buenos Aires (Warner Chappell) attach
  77. Carlos Chavez Sinfonia India (G. Schirmer) attach
  78. Leonard Bernstein Symphony No.2 (Boosey & Hawkes) attach
  79. Alexander Arutiunian Concerto for Trumpet in E-flat Major (Sikorski/G.Schimer) attach
  80. John Adams Shaker Loops, for Strings (Associated Music Publishers) attach
  81. Leonard Bernstein I Feel Pretty (Boosey & Hawkes) attach
  82. Ottorino Respighi Gli uccelli (Casa Ricordi) attach
  83. Ralph Vaughan Williams Concerto for Tuba (Oxford University Press) attach
  84. Arvo Pärt Cantus in Memory of Benjamin Britten (Universal Edition) attach
  85. Carl Orff Carmina Burana (Schott Music) attach
  86. Karl Jenkins The Armed Man (Boosey & Hawkes) attach
  87. Maurice Ravel Tzigane (Editions Durand) attach
  88. Manuel de Falla Amor brujo, El (Chester Music) attach
  89. Sergey Prokofiev Sinfonia concertante (Boosey & Hawkes) attach
  90. Leonard Bernstein Candide. Overture [Theatre Orchestra] (Boosey & Hawkes) attach
  91. Leonard Bernstein Prelude, Fugue and Riffs (Boosey & Hawkes) attach
  92. Nigel Hess Christmas Overture, A (Faber Music) attach
  93. Aaron Copland El Salón México (Boosey & Hawkes) attach
  94. Dmitri Shostakovich Festive Overture, for Orchestra (Dmitri Shostakovich Estate) attach
  95. Ottorino Respighi Trittico botticelliano (Casa Ricordi) attach
  96. Sergey Prokofiev Lieutenant Kijé. Suite (Boosey & Hawkes) attach
  97. Igor Stravinsky The Rite of Spring [Reduced McPhee] (Boosey & Hawkes) attach
  98. Jean Sibelius Karelia-Suite (Breitkopf & Härtel KG) attach
  99. Manuel de Falla Amor brujo: Ritual Fire Dance, El (Chester Music) attach
  100. William Walton Concerto for Viola [revised 1962] (Oxford University Press) attach

Zinfonia most performed composers in 2018

Leonard Bernstein (Wikipedia)

  1. Leonard Bernstein attach
  2. Aaron Copland attach
  3. George Gershwin attach
  4. John Rutter attach
  5. Benjamin Britten attach
  6. Igor Stravinsky attach
  7. Ralph Vaughan Williams attach
  8. Dmitri Shostakovich attach
  9. Richard Strauss attach
  10. Mack Wilberg attach
  11. Sergey Prokofiev attach
  12. Karl Jenkins attach
  13. Samuel Barber attach
  14. Béla Bartók attach
  15. Sergey Rachmaninov attach
  16. Arturo Márquez attach
  17. Maurice Ravel attach
  18. William Walton attach
  19. Ottorino Respighi attach
  20. Igor Stravinsky attach

Zinfonia Composers who died in 2018

Oliver Knussen (Wikipedia)

  • Colin Brumby (18.vi.1933 — 3.i.2018) attach
  • Karl Haus (24.ix.1928 — 9.i.2018) attach
  • Renaud Gagneux (15.v.1947 — 23.i.2018) attach
  • Robert Capanna (7.vii.1952 — 26.i.2018) attach
  • Alan Stout (26.xi.1932 — 1.ii.2018) attach
  • Jóhann Jóhannsson (19.ix.1969 — 9.ii.2018) attach
  • Thomas Pernes (25.ii.1956 — 26.ii.2018) attach
  • Harvey Schmidt (12.ix.1929 — 28.ii.2018) attach
  • Milko Kelemen (30.iii.1924 — 8.iii.2018) attach
  • Olly Wilson (7.ix.1937 — 13.iii.2018) attach
  • Donald Keats (27.v.1929 — 27.iv.2018) attach
  • Naresh Sohal (18.ix.1939 — 30.iv.2018) attach
  • Søren Hyldgaard (6.viii.1962 — 7.v.2018) attach
  • Dieter Schnebel (14.iii.1930 — 20.v.2018) attach
  • Bo Nilsson (1.v.1937 — 26.vi.2018) attach
  • Oliver Knussen (12.vi.1952 — 9.vii.2018) attach
  • George Walker (27.vi.1922 — 23.viii.2018) attach
  • Noam Sheriff (7.i.1935 — 25.viii.2018) attach
  • Katherine Hoover (2.xii.1937 — 21.ix.2018) attach

    Bent Lorentzen (Wikipedia)

  • Bent Lorentzen (11.ii.1935 — 3.x.2018) attach
  • Martin Dalby (25.iv.1942 — 25.x.2018) attach
  • Francis Lai (26.iv.1932 — 7.xi.2018) attach
  • Galt MacDermott (18.xii.1928 — 17.xii.2018) attach
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Where did that year go?

It seems almost incomprehensible that it is December already – 2018 has flown by like no other year I can remember. Working in London for nkoda amongst a large team of predominantly 20-something very talented women and men is invigorating and challenging at the same time. Creating a digital delivery system from scratch that works at the scale we require is a massive undertaking for both nkoda and the participating publishers – and we have achieved so much in such a short time.

If there is one important takeaway from this experience for me, it is that the shift from print to digital is gaining momentum all over the world. So even if you have not started on this journey, it is only a matter of time.

For that reason, the focus in 2019 for both HLMSW and Zinfonia will be to help publishers in this transition. There are several projects we are working on to make it easier for publishers to manage both their paper and digital assets and to provide better integration with all digital services like nkoda.

Zinfonia will pass a significant milestone before the end of the year with the creation of the 40,000th account. In some territories, Zinfonia manages the majority of all hire/rental transactions and the number of publishers using the service also continues to grow. We are planning to give Zinfonia a major refresh in 2019 so that it continues to meet the needs of all its users.

For HLMSW, we will be providing enhancements so that it can drive much more than just hire/rental stock control. This includes interfacing with Digital Asset Management systems (for digital content) and providing simplified workflows for other sorts of rights handling operations (copyright permissions and musical theatre to name just two).

One important connection between HLMSW, Zinfonia and nkoda is the Universal Instrumentation Code (UIC). nkoda is the first large-scale system created around the UIC and as a result, apart from it now being available in 11 languages (English, French, German, Italian, Korean, Japanese, Polish, Portuguese, Russian, Simplified Chinese and Spanish) , we will very soon have the possibility of being able to match titles based on precise instrumentations – not just for common groupings, but for any ensemble, including symphony orchestras. I do recommend you encourage your library team to review the information here  to gain some useful insights in UIC-best practice.

I would like to single out two people for helping me get though the mountain of work required to keep everything running smoothly. Firstly, I must thank my friend and colleague Ulrich Steffen Eck, who manages the world-wide customer support for both HLMSW and Zinfonia, a job that does not really accommodate personal time or sleep. I would also acknowledge the sacrifice of my wife Joanne gave up her Australian life to move to the other side of the globe for the sole purpose of helping me on this journey. I really do not know how I could have managed everything this year without them both.


On behalf of Steffen, Joanne and myself, may I wish you and your colleagues friends and family a safe and joyous festive season and a bountiful New Year.

Peter Grimshaw

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The nkoda journey begins

I would like to start this blog post with an apology – I had wanted to document each step of my nkoda journey here but I simply have not had the time to do so.  To say the last 6 months of my residency here in London have been frenetic would be an understatement.  But I do want to share some of the experience of this exciting project now that the iOS version has been released.

To create an effective streaming platform, the range and depth of the content is critical for success.  Content is the focus of my role here at nkoda, and I am involved with the publishers in every aspect of their involvement on the platform, as well as providing knowledge and technical support to aid them in their transformation from print to digital.

The faith shown in nkoda by our initial partners was immense, especially as we had to start working on the platform content and the infrastructure that surrounds it many months before we had an app to see the results.

I would like to take a little side-step and praise the work of the amazing nkoda CTO Sundar Venkitachalam.  The complexity of architecture required to deliver the millions of pages of nkoda content as efficiently and securely as we do is nothing short of miraculous.  The content we provide is sourced from single page PDFs of guitar tabs to massive full scores of operas that are hundreds of pages long.  Every PDF (with our current record being a 2Gb full score of a french opera) must be converted, encrypted, stored, indexed and deployed seamlessly, something the nkoda framework has done from the very beginning. It is perhaps one of the great ironies of technology that you only really become aware of it when it does not work, and so many great achievements like this go largely unrecognised.  Bravo Sundar!

Even with the close co-operation of our publisher partners, nkoda faced a real challenge to ensure our platform had sufficient content at launch to make the subscription model viable.

We really only need 2 things to publish on nkoda – a PDF that is in reading order, and some metadata to describe its content.  Although publishers had terabytes of PDFs waiting to be used for digital, the vast majority of these had issues of one kind or another  due largely to the fact that this was a digital archive for printers, not for screens.  Typically we would have to deal with printers’marks and the majority of content we processed had to be reorganised in some way (split apart, joined together, rotated and reassembled) so that the pages were in reading order.  We then had to marry up these files with the various sources of metadata.  While we can automate some of these tasks, all of these actions require some level of human input.

To do this at the scale and speed necessary to meet our goals required more resources than any publisher could deploy.   So, early this year. nkoda embarked on a recruiting drive for musicologists and music graduates to help us help the publishers transform their digital archives into a publishable form.

Today our team of music specialists are around 30 women and men from all over the world, and they have created something quite remarkable.  By my own estimation, they have examined more than 7 million PDF pages to check for errors, omissions and discrepancies (and there have been many).  They have also fixed metadata, created covers, and assigned UICs for almost all of this amazing repository of music, much of which has never been available in a digital format before.  We are very proud of the content you will see in nkoda – it has been an incredible achievement by everyone involved.

The nkoda London team

If you are a publisher that would like to access this resource to help get your content available in nkoda quickly, do not delay as it is only possible to maintain this level of activity and expertise while there is a large amount of content to ingest.

I would also like to take another side step and talk about the UIC.  If you look back in this blog you will see that this system was created with a digital delivery system in mind, and nkoda is the first to be built completely around UIC architecture.   We are curating a valuable resource 0f UIC best practice, which I would encourage all HLMSW users to read here: nkoda UIC and Instrumentation Guidelines  The UIC is also now in 11 languages (English, Simplified Chinese, German, French, Italian, Japanese, Korean, Portuguese, Polish, Russian and Spanish) to match the launch languages of nkoda. The final chapter of this story is that we will soon be providing advanced search tools which will allow you to search the nkoda catalogue for instrumental combinations to a level that has never before been possible.

I think the one aspect of this whole experience that makes me so excited is that while we are generating new income streams and protecting the intellectual property of our publisher partners and their authors, the nkoda platform gives unfettered access to the best music and editions for musicians and scholars like never before.  If you miss the experience of browsing shelf after shelf of sheet music at your local music store, I recommend you check out nkoda and relive that feeling of discovery which is being enjoyed by our customers all over the world.

Click here to download nkoda from the App Store


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Zinfonia 2017 Review

Zinfonia most performed titles in 2017

  1. Arturo Márquez Danzon No. 2 (Peermusic Classical) attach
  2. Leonard Bernstein West Side Story. Symphonic Dances (Boosey & Hawkes) attach
  3. Modest Mussorgsky Pictures at an Exhibition; arr. [Ravel] (Boosey & Hawkes) attach
  4. Carl Orff Carmina Burana (Schott Music) attach
  5. Leonard Bernstein Candide. Overture (Boosey & Hawkes) attach
  6. Aaron Copland Appalachian Spring. Suite [Orch. Version] (Boosey & Hawkes) attach
  7. Aaron Copland Appalachian Spring. Suite [Chamber Version] (Boosey & Hawkes) attach
  8. George Gershwin Rhapsody in Blue (Gershwin Music) attach
  9. Leonard Bernstein Chichester Psalms [Full Version] (Boosey & Hawkes) attach
  10. Samuel Barber Concerto for Violin and Orchestra (G. Schirmer) attach
  11. Joaquín Rodrigo Concierto de Aranjuez (Schott / Ediciones Joaquín Rodrigo) attach
  12. Ottorino Respighi Pini di Roma (Casa Ricordi) attach
  13. Igor Stravinsky Pulcinella. Suite (Boosey & Hawkes) attach
  14. Leonard Bernstein On The Town. 3 Dance Episodes (Boosey & Hawkes) attach
  15. Benjamin Britten The Young Person’s Guide to the Orchestra (Boosey & Hawkes) attach
  16. Aaron Copland Lincoln Portrait (Boosey & Hawkes) attach
  17. Leonard Bernstein Serenade (Boosey & Hawkes) attach
  18. Sergey Rachmaninov Symphonic Dances [Full Orchestra]  (Boosey & Hawkes) attach
  19. Benjamin Britten Four Sea Interludes (Boosey & Hawkes) attach
  20. Francis Poulenc Gloria (Salabert) attach

Zinfonia most performed composers in 2017

Ralph Vaughan Williams (Wikipedia)

  1. Leonard Bernstein attach
  2. Aaron Copland attach
  3. George Gershwin attach
  4. Benjamin Britten attach
  5. Igor Stravinsky attach
  6. Dmitri Shostakovich attach
  7. John Rutter attach
  8. Ralph Vaughan Williams attach
  9. Richard Strauss attach
  10. Samuel Barber attach
  11. Sergey Prokofiev attach
  12. Karl Jenkins attach
  13. Maurice Ravel attach
  14. Sergey Rachmaninov attach
  15. Arturo Márquez attach
  16. Mack Wilberg attach
  17. Béla Bartók attach
  18. Ottorino Respighi attach
  19. Francis Poulenc attach
  20. Carl Orff attach

Zinfonia Composers who died in 2017

Halim Abdul Messieh El-Dabh (Wikipedia)

  • Paul Angerer (30.viii.1933 — 15.xi.2017) attach
  • Luis Bacalov (30.viii.1933 — 15.xi.2017) attach
  • Xavier Benguerel (9.ii.1931 — 10.viii.2017) attach
  • Daniel Brewbaker (01951 — 14.v.2017) attach
  • Klaus-Peter Bruchmann (16.x.1932 — 21.viii.2017) attach
  • Jacques Charpentier (18.x.1933 — 15.vi.2017) attach
  • Halim El-Dabh (4.iii.1921 — 2.ix.2017) attach
  • Jan Holdstock (01940 — 11.v.2017) attach
  • Klaus Huber (30.xi.1924 — 2.x.2017) attach
  • Wilhelm Killmayer (21.viii.1927 — 20.viii.2017) attach
  • Ingvar Lidholm (24.ii.1921 — 17.x.2017) attach
  • Malcolm Lipkin (2.v.1932 — 2.vi.2017) attach
  • David Maslanka (30.viii.1943 — 6.viii.2017) attach
  • William Mayer (18.xi.1925 — 17.xi.2017) attach
  • María Luisa Ozaita (20.v.1939 — 5.iv.2017) attach
  • Peteris Plakidis (4.iii.1947 — 8.viii.2017) attach
  • Georges Prêtre (14.viii.1924 — 4.i.2017) attach
  • Folke Rabe (28.x.1935 — 25.ix.2017) attach
  • Eric Salzmann (8.ix.1933 — 13.xi.2017) attach
  • Vladimir Shainsky (12.xii.1925 — 25.xii.2017) attach
  • Dudley Simpson (4.x.1922 — 4.xi.2017) attach
  • Stanislaw Skrowaczewski (3.x.1923 — 21.ii.2017) attach
  • Veljo Tormis (7.viii.1930 — 21.i.2017) attach
  • Gilles Tremblay (6.ix.1932 — 27.vii.2017) attach
  • Jean-Jacques Werner (20.i.1935 — 22.x.2017) attach
  • Zhu Jian’er (18.x.1922 — 15.viii.2017) attach
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2B or not 2B

Now that the nkoda  project is into the building phase, the massive task of creating a digital library like no other has well and truly begun.

I had hoped to be more regular with my musings here about the process, but with the sheer number of meetings with publishers, performers, administrators and others in this industry, not to mention the ongoing discussions with my nkoda colleagues on the platform, there is simply not enough hours in the day.  I will though try and share some of the more interesting things I discover from time to time.

Clean or Dirty?

A key feature of the nkoda platform is the state-of-the-art annotation tools which work best with clean copy with all post-printing marks removed.  There has been quite a lot of work here to create tools and processes to help publishers get the best results from whatever digital master they have, and so every page in nkoda will often look cleaner and more beautiful than the original.

As any orchestral librarian will tell you the last thing they want to receive from a publisher is a set of parts which is completely clean.  They want a set with consistent markings from previous performances (preferably from their OWN performances).   They also need a facility to be able to quickly and easily customise the markings because you can bet that a good percentage of the string bowings will have to be reversed (thank goodness that a bow can only travel in two directions!).

The nkoda platform makes this very easy going forward with functionality for librarians to be able to manage, archive and distribute their annotations.

But as our parts will be initially pristine, publishers may want to consider making available parts with optional markings/errata from reputable sources, at least for the most important parts of their catalogues.   This is more than just providing a service, it may also be a factor in the decision what edition to use.

Before we leave annotations for the day,  another use for this service is for scholarly editions, where publisher-supplied layers of errata, fingerings or articulations could be turned on and off at the discretion of the performer – something that would be very powerful.

Expect to hear more about annotations from nkoda in the future, because we believe they are every bit as important as the notes themselves.

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nkoda starts now

My appointment as Director of Music for the nkoda digital sheet music streaming service was announced today (click here to view the press release) and this marks a really amazing new opportunity for me to participate in this new age of music publishing.

There are many reasons why I believe that the nkoda model will succeed, but it is clear that when we achieve our goals, it will be a win for both publishers and consumers.

Publishers will be able to work with a platform built for them, which can host all of their content efficiently and securely and generate income whenever it is used.

For consumers of music, the barriers of geography, availability and price are gone, and the dream of universal access will finally be a reality.

Exciting times indeed!

Here at btmi.com.au, I will chronicling this journey.  Over the next few months I will aim to keep you informed about our progress as well as sharing tips to get the most out of your nkoda participation.  So if you have not already, bookmark this space.

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Changes are coming!

Sorry for the lack of posts in recent times…a broken website combined with a severe lack of time has made it difficult to post anything substantial.

But stay tuned!   There will be an exciting announcement later this week that will be of interest to all Zinfonia and HLMSW publishers, and will also mean changes to this blog as well.

More soon….


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Making UICs FLY!

The changeover to the UIC has many advantages for HLMSW users and their customers but there is a compromise in speed.

The old HLMSW system for managing stock was very efficient because the entire stock record was saved in a single slot in the database.  So to display a transaction with the old system, would take a minimum of 6 information requests to the database to extract the information to display.  That same task with a UIC could take more than 50 requests because each stock item is saved in its own slot.

It gets even more complicated when you consider that almost EVERY transaction in HLMSW also has its own stock lines which must be saved, and so for publishers with long HLMSW histories, the UIC databases can easily grow to millions of lines, all of which have to be trawled through to display results (it still amazes me how fast this process actually is).

But every request to display and save a UIC item does take a little longer than a non-UIC item, and this is something that we constantly seek to improve.

In the most recent release of HLMSW (, we have adopted some advanced database techniques to make a huge impact the efficiency of this operation.  Firstly we have created a routine that archives all of the older transactional information which is unlikely to change and placed it into an archival table and we have also created some special indexes which makes access of this information lightning fast.  It is important to note, that you will not see any difference with archived transaction UICs, they will be displayed as normal (albeit a few milliseconds slower than the live data) and if you edit them, they will return to the live list automatically.  The only way you can tell items which have been archived is that they will have a little lock symbol displayed on the UIC button:

Archiving your UICs

The routine to archive and index your UICs is not performed automatically.  It should be part of your regular maintenance plan to run this routine, but please note it can only be done when there are no other users in HLMSW, and depending on the size of your UIC tables, it can take a long time to complete (especially the first time it is run).

To access this feature, click on the UIC button in the Maintenance tab of the Configuration Editor:

then select the Archive/Index UIC Transactions button

and you will be presented with this screen

Click OK and you will find your HLMSW experience will be greatly improved.

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