{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/5717m04b0j/manifest","type":"Manifest","label":{"en":["Echoes in the Concert Hall: Digital Preservation of the Leonard Bernstein Oral History Collection"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Nora Egloff (Presenter)","William Chase (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eFrom June through September of 2015, I designed and executed a digital preservation project of the oral history recorded sound collection at the estate of American composer, conductor, and media personality Leonard Bernstein. The oral history interviews had been conducted by Karen Bernstein, a documentarian and Mr. Bernstein's niece, and Humphrey Burton, classical music television producer for the BBC, in 1991-1994. At the time their oral history project fit within a context of social history practice applied to 20th century concert music and musicians that had been recently established by pioneers such as Vivian Perlis (whose oral history work centering on composer Charles Ives laid the foundation for the Oral History of American Music (OHAM) project at Yale). The tapes in the oral history collection were created and actively used as reference materials for Humphrey Burton’s 1994 authorized biography of Leonard Bernstein. In a sense they remain artifacts of Mr. Burton’s own information-gathering initiative for that particular literary project, after the completion of which they were filed away in the business suite of the Leonard Bernstein estate. At the start of this archival arrangement and digital preservation project, the unprocessed collection of items related to the Leonard Bernstein Oral History Project consisted of 4 general types of materials. The first group, papers, included some interview transcripts, signed release forms, interviewer’s preparatory notes, and correspondence; the second, standard 1/8-inch audio cassettes; the third, DAT cassettes; and the fourth, various computer files, including .pdf files created in the early 2000s from scanned documents, and various iterations of a spreadsheet. Finally, a total of 180 standard 1/8-inch audiocassettes and 130 DAT cassettes containing oral history project interviews. A digital preservation workflow was developed that varied slightly depending on the physical format of the incoming signal’s carrier; however, digital object outputs were identical regardless of the original carrier input. Documentation of the digital preservation project, including a digitization log, physical collection inventory, and file fixity logs for each of the hard drives was created. Lastly, plans for access and preservation, including periodic maintenance and migration of digital information and the development of access policies, were established. Established best practices for signal transfer and the creation of digital audio objects as outlined in IASA-TC04 and the National Recording Preservation Board of the Library of Congress were followed to the highest degree possible given limitations on project budget and personnel.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eFrom June through September of 2015, I designed and executed a digital preservation project of the oral history recorded sound collection at the estate of American composer, conductor, and media personality Leonard Bernstein. The oral history interviews had been conducted by Karen Bernstein, a documentarian and Mr. Bernstein's niece, and Humphrey Burton, classical music television producer for the BBC, in 1991-1994. At the time their oral history project fit within a context of social history practice applied to 20th century concert music and musicians that had been recently established by pioneers such as Vivian Perlis (whose oral history work centering on composer Charles Ives laid the foundation for the Oral History of American Music (OHAM) project at Yale). The tapes in the oral history collection were created and actively used as reference materials for Humphrey Burton\u0026rsquo;s 1994 authorized biography of Leonard Bernstein. In a sense they remain artifacts of Mr. Burton\u0026rsquo;s own information-gathering initiative for that particular literary project, after the completion of which they were filed away in the business suite of the Leonard Bernstein estate. At the start of this archival arrangement and digital preservation project, the unprocessed collection of items related to the Leonard Bernstein Oral History Project consisted of 4 general types of materials. The first group, papers, included some interview transcripts, signed release forms, interviewer\u0026rsquo;s preparatory notes, and correspondence; the second, standard 1/8-inch audio cassettes; the third, DAT cassettes; and the fourth, various computer files, including .pdf files created in the early 2000s from scanned documents, and various iterations of a spreadsheet. Finally, a total of 180 standard 1/8-inch audiocassettes and 130 DAT cassettes containing oral history project interviews. A digital preservation workflow was developed that varied slightly depending on the physical format of the incoming signal\u0026rsquo;s carrier; however, digital object outputs were identical regardless of the original carrier input. Documentation of the digital preservation project, including a digitization log, physical collection inventory, and file fixity logs for each of the hard drives was created. Lastly, plans for access and preservation, including periodic maintenance and migration of digital information and the development of access policies, were established. Established best practices for signal transfer and the creation of digital audio objects as outlined in IASA-TC04 and the National Recording Preservation Board of the Library of Congress were followed to the highest degree possible given limitations on project budget and personnel.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/593/small/open-uri20200922-6764-1fl50fx_1600817142.jpg?1600802772","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/97593","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1fl50fx.mp4"]},"duration":1583.78667,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/593/small/open-uri20200922-6764-1fl50fx_1600817142.jpg?1600802772","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/97593/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/97593/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/593/original/open-uri20200922-6764-1fl50fx.mp4?1600802726","type":"Video","format":"video/mp4","duration":1583.78667,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/97593","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/255761","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Egloff_audio.mp3"]},"duration":1567.799,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/255761/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/255761/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/761/original/ARSC_conf_2016_Egloff_audio.mp3?1730751034","type":"Audio","format":"audio/mpeg","duration":1567.799,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29730/file/255761","metadata":[]}]}],"annotations":[]}]}