{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/th8bg2j059/manifest","type":"Manifest","label":{"en":["The Berklee Oral History Project"]},"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":["Sofia Becerra-Licha (Presenter)","Roberta Freund Schwartz (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThe Berklee Oral History Project (BOHP) chronicles the rich and diverse history of Berklee and Boston music from those who have lived, shaped and defined it. Established in 1998 by Berklee College of Music’s Stan Getz Library, the BOHP collection now forms a part of the Berklee Archives and numbers over 90 video interviews, many of which are available online, with transcriptions in progress: https://archives.berklee.edu/bca-011-bohp. Interviewees include David Liebman, Gary Burton, Terri Lyne Carrington, and Matt Glaser. Topics of discussion include jazz history, popular music education, Boston’s jazz community, and the early development of Berklee’s unique curriculum. With the exception of the first three interviews (conducted by Library staff members) and the occasional panel, the vast majority of interviews were carried out by journalist and former Berklee faculty Fred Bouchard, whose writing credits include Down Beat, Jazz Times, All About Jazz, and Jazz Journal International. The Berklee Oral History Project has been a highly collaborative initiative from the start and is an actively growing digital collection, all on a shoestring. This presentation will provide an overview of the history and inner-workings of the BOHP as well as highlights from the collection.\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":["Amanda McCabe"]}}],"summary":{"en":["\u003cp\u003eThe Berklee Oral History Project (BOHP) chronicles the rich and diverse history of Berklee and Boston music from those who have lived, shaped and defined it. Established in 1998 by Berklee College of Music\u0026rsquo;s Stan Getz Library, the BOHP collection now forms a part of the Berklee Archives and numbers over 90 video interviews, many of which are available online, with transcriptions in progress: https://archives.berklee.edu/bca-011-bohp. Interviewees include David Liebman, Gary Burton, Terri Lyne Carrington, and Matt Glaser. Topics of discussion include jazz history, popular music education, Boston\u0026rsquo;s jazz community, and the early development of Berklee\u0026rsquo;s unique curriculum. With the exception of the first three interviews (conducted by Library staff members) and the occasional panel, the vast majority of interviews were carried out by journalist and former Berklee faculty Fred Bouchard, whose writing credits include Down Beat, Jazz Times, All About Jazz, and Jazz Journal International. The Berklee Oral History Project has been a highly collaborative initiative from the start and is an actively growing digital collection, all on a shoestring. This presentation will provide an overview of the history and inner-workings of the BOHP as well as highlights from the collection.\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/000/097/499/small/open-uri20200922-6764-47n3pq_1600815796.jpg?1600801424","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-47n3pq.mp4"]},"duration":1494.208,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/499/small/open-uri20200922-6764-47n3pq_1600815796.jpg?1600801424","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/499/original/open-uri20200922-6764-47n3pq.mp4?1600801387","type":"Video","format":"video/mp4","duration":1494.208,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081","type":"AnnotationPage","label":{"en":["AUTO_TRINT_The Berklee Oral History Project [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"After archives at the Berklee College of Music in Boston, she holds master's degrees in ethnomusicology and library science, as well as a digital archive specialist certificate from the Society of American Archivists and to basically Berklee oral history project. It like. Thank you very much. Good morning. I am here representing the Berkeley archives and one of its current projects. I will put background the archives out of Berkeley, finally established in 2012. First, I was just blown out of this for a long time. So we're a small that strappy shop. And the goal of the archives is to provide access and to preserve Berkeley's legacy and to support research on jazz and popularity. So with a particular focus on the Boston popular music scene in Boston jazz. So to that end, we have a variety of materials and a variety of formats. We have faculty speakers, folks, college wreckers to comb through to include the phrase masters, projects and materials documenting or at least a curriculum that was based on the Schillinger system. We're fortunate to have had a second professional staff member at the time I've been here. But again, we're still a very small shop, always looking for potential collaborations with faculty ways of supporting the classroom and research endeavors. And one such collaboration is the oral history project that I'm going to talk about today. So it's going to be a quick and dirty tour. I want to talk a little bit about how the oral history project came to be. Show a clip that does double duty of both showing an example or history, as well as giving you a little bit of background on Berkeley itself. And then just a little bit of a rundown of numbers, names, infrastructure about how we've gotten this off of the ground and then just where we go from here.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=11.19,136.06"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This is an ongoing project. It's a project. Is there any part of Boston locals that had suggestions for more people we should talk to? Definitely. Let me know. So the oral history project actually predates the archives. It was established originally in 1998 as a labor of love by the library staff. And it had as its mission to chronicle Berkeley and Boston music history. There was a brief period of inactivity and the project relaunched really in earnest in 2005. We're fortunate to count on the support of Fred the sharp former faculty member and liberal arts with a background in music journalism. And we're really fortunate to be able to tap into that expertize. And then with the establishment of the college archives in 2012 that moved from a libraries, a project to becoming an archival collection. There are approximately 90 interviews. They are video interviews. They average about an hour and a half each. They used to be offered on DVD. But in the end, what, three years ago, we did a major push to put everything up online streaming. So most are available and available streaming. And I'm gonna go ahead and share a clip. We had a bit of a technical difficulty, so I'm going to have to switch out of the power, please. But I am going to show a brief clip. Of an interview with Richard Barker, who is music journalist, author. So you can do everything, you can put all of your files together. So sitting in the power. But so if this clip de facto talks a little bit about the early days of Barkleys history, he is a local author, writer, author of lots of jazz, wonderful spaces, places and nightlife in 1957 to 1962. In this clip, he's been interviewed by the aforementioned Frank Machado, whose picture is not too far away.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=136.45,310.11"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But in this particular clip, I'm curious, are there any more feelings hurt so that hopefully this will be some some new information? And this is a pretty typical sort of press. Cianci was in jail, and then we are here to talk about the journalist. It's clerical error. You guys are not a show that matched the purpose in here by training, video and music. While I was going to school, my teacher. He was playing and I had a talent for training. When the depression happened, he couldn't get a job as an engineer. There were no jobs. So he didn't make a living. Little music. He up in New York City. He's working as an arranger in radio stations and ABC and CBS. But he's working and working in networks and working in stations and places. That's all he labor. All right. So he comes back and Rosten in for a defense job or radio or whatever Radio Sombat came in, and he's got to do his job. He's working on radar. And that was the same. But when he was in New York, he was always variegation museums. And he heard about his shoulders. So he learns to show system. And it's sad that he'll say, essentially, your anxiety is the land. Among the other students that he was working with were Glandore George Gershwin Ocelots. Well, I don't know why people say don't work. And Burt worked well enough to be blessed as a disciple, wife, those children himself. And he's authorized to teach it by a. So the war is over. And Burt really wants to try and kids again. And sharing is nice, all of it. But he really wants to get back. So we surfable school Ammash have stayed in a building upstairs for three since Saturdays.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=310.32,451.38"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So since 1945. And I'm not sure who first it was that it was bad because the bad writers as well, the first people he hires, the instructor was Dobelle and his name is Melvin Silver here in Berkeley. And then essentially when the late 40s, he buys the building into waiting for Newbury Street, the back end. Now, Charlie's a kitchen designer inside. I'm not sure. But eventually, you know, it was pretty early to be able to buy a building. Real estate prices, of course, were out there and lose lots of Verrall. You know, these to to 84 and not start his school. And he was very short and shoulder method and they had like courses. Now, at the same time or, you know, over on the other side of Manhattan is doing a server in 1942. They started the very part of the popular music. Underneath, there was a quinsy order, mother of Aaron Copeland. Stravinsky and both Burt and Porter were working on the idea that the popular musician was not well served and wasn't served at all. You could be injured in terms of education. You could be studying to be a teacher, or you could be studying a classical track and you could go in surgery and you could get a fine indication. But if what you were trying to do was play a nightclub or a theater or NAFLD, you really didn't have access to formal training and you took training from a private usually were kid. We were fortunate enough to have gotten a band that did a lot of woodshedding, a lot of writing classes. You want me to play the marching band? But you could never go back. You could never tell what the level of talent was. Can you read? Well, no.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=452.37,591.68"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Did you read? Yeah. Do tell. So the words were set up to. Through the trace of four musicians. All these guys coming in with G.I. Bill money. And so there's all of these people. But bigger based curriculum. Siberry Airframe transposing. They knew that anybody in the range is going to make more money than anybody. Just play. So they have quite a range. And these were, you know, absolutely necessary discipline for popular musicians. He didn't have any of this training, just one nil. This is the first video to really do this in an organized way and the age of the music department. Fame is important. Very early in a game where businesses, just all the folks we know, it really powerful in the school itself. Almost replaces wasn't as pretty as these tapes. And of course, in 1969 Capparelli to go to shoulder start of all new home. But in the meantime, his first school started warning people at the top of the music. So he's got shelter. He's got these, these basic portable. He's hiding under sharp central vitalized here. He's got my share. He says he's about three pop and went to school here. And we just think he's having something. You just an artist this day? Many others. This is to set these tables right. And you say that Bob shares your train was the best day ever. So. So the job sort of is going down. Right. And Ray Nagin and Transposon and her wanted students had enough. And he was writing things and he got himself a prize in the late 40s. There was a one man show, my old man and dance man. This is what we're getting to get here is Joy. Fred Baron with the Port Management Wendler in Santa Monica.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=592.16,731.92"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He had a man, Lee Daniels had Van or all of and all his pack of batteries. And they're all off. I think downby in 1940 and I saw the freight Garibay down before finally finding great Maritime's attack on fire by supporting the and experience of their invasion. So it is with great praise and natural shelter. I think find that safety shoulder was, of course, landing on the Berkeley or was in the early 60s so well that the market was doing that on purpose. So does now is he really show his market? When Tony first starts have a purpose for forcing the country on a rating right. By the television, so was very different than anybody ever seen before. How do you get the 30 years so that early in your career? It was actually a place that everybody was anyway. So it was take plaster and that's a little. And so, as I mentioned, we had done about 90 interviews today, the two parts. So that's a long list. A list of some of the folks, some names that might be familiar, others that might not be. It's a mixture of the faculty, of alumni, of local musicians, and even just a mixture of interviewers as reserve have allowed piggybacked on podcasts, on panels. You know, there's an interview happening that we feel like would be would add value to the collection. We'll go out. We'll keep it. Most of them are taking place on campus, but with occasionally gone off site with their homes, with mobility issues, especially as we're often dealing in the older population. The videos are archived at Berkeley that you and I got to show you of a stream asked in a couple of slides. And as the clip of sexual copy that covers a wide range of topics, the music industry and technology, performance practice, compositional techniques.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=732.47,886.85"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There's something for everyone. We think. In terms of how we actually make it work, there are two key areas which will probably sound familiar to anyone who's trying to take any kind of project like this off of the ground. Really just it's from the start has been very collaborative and it's been very iterative. It's been about we can do with what we have in terms of expertize and resources and honestly erring on the side of pushing out content over being overly precious about what the online presence really is, pushing up the information so people can find it and make use of it. We're a very experimental environment in the time I've been here barely five years or even been two website design. And so we're constantly changing and tweaking in response to how we're seeing materials being used. And so some of our area strengths, we may be small, but we are fortunate to have in-house Web developers and folks on software, early alarms from music production and engineering and other technological backgrounds to also put student workers in these in these areas. So these are folks doing the interviews, doing the editing, developing the site and really just making it, making it look good. Everything's a work in progress. I'm going to show you some strange shots. And, you know, when we have a transcript, we'll go ahead and put it out. There may be typos or maybe things were always interested in and collecting feedback. So I'm going to go ahead and share. This is what it would look like if you were to visit our science archive separately, that EU will take you to our landing page. It's a little bit about us. You can see findings, my inflections, our institutional repository and sample reflections of a certain project that feature material appearing to come within the show collections and have a mix of most of the passengers onboard digital, such as the oral history project itself.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=887.36,1019.43"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so everything will appear there as a list for the word I'm using. There are various stages. There are many interviews with this piece. You can see some of the names you saw previously listed there, a couple of ways, their activities and see it out of my lists like this. You can also view it as a trade as well. I see more thumbnails and more about the time of the trade. Each of the individual interviews has chapters, but the ones that have transcripts have been posted to transcripts. All right, Don. Google Drive and then drops and fields. So if you put a site with a story about D'Oro for the repository piece and the search bar and the top right corner is powered by solar. So here's the child who I am now ready to hear you. My pleasure to see you. See Temple. Did you think that's a stretch? Several chapters. But there is a director of the woods for her, Berkeley, formerly longtime chair of the string department. You can see the chapters on the right hand side. The transcript that we just saw saw dropped in all this morning. We're still working on the four. Mean it's a notes deal. That was really nice for that kind of display. But how do you not text in there? Needs anything but see, they're searchable in the search box. And so far, already, that's more valuable to be able to pull things, especially in a lot of offices on campus. Bombings yesterday. And, you know, we don't have the resources to do. A pretty dirty. Like I said, it's a work in progress. I was issued a challenge and you started to doze off and want to go over to the site. And how many years do you know? To me, our case, everything about you, I will fix them before I get back to work, none of it very badly.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=1021.66,1157.83"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And now that the work really continues, you know, we have a pretty robust collection at this point. I've been reading collection and we're currently writing interviews. We're currently recruiting additional interviewers. We're particularly interested in diversifying the who's represented among the interviewees. We often gone with, you know, whether it's interviewing a particular subject, expertize. So we'd love to have photographers assignment more women, more people of color, really just representing more of the Boston area. And then obviously, my laboratory by trains are really just working on the access piece as well. I have more transcripts making the more readable. I'm working on a particular database to make the materials more searchable. So it's maybe not quite as overwhelming to have all of 90 interviews just posted out there. So, you know, my my only real words of wisdom here. And it's for anyone who's. A similar situation to really just to be persistent, to be resourceful and to be flexible. And the thing I say every time he goes out on something like this is, you know, none of this happened overnight. It's been just various versions. None of it is perfect. But altogether, it's a really rich resource and one that we feel is particularly important on a campus that's been very forward thinking, very focused on innovation. But when I'm through the first 60, 70 years of existence without an our. So in some ways, a lot of these interviews are helping fill in some of those early gaps. And I know that there are many oral historians here. I hope that you'll be charged with questions or comments. And I really look forward to continuing the conversation beyond this convention. Thank you. Thank you, sir. Are there any questions? Hi, I'm Marcella. Yes. Yes, we have this.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=1161.37,1282.79"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Reporter. I have one test on day one of the project, so I'm going to be impressed that we can cancel later. Two questions. First, there will be three snow or about about the Vendig since we're using them. Have you had to do any, any any kind of policy work as far as an institutional review board? So in the sense of. This is. We have it in this particular case because it started right? It's a relatively young project. And we started having to interview these scientists from the beginning, which included me online. So we haven't faced that particular challenge with regard to the meditator. That's definitely one of the areas for home improvements. Right now, we're using the other data fields and our as display slave rather than really as access points. That being said, everything that was on TV because it had an individual ARC records in the library catalog. So they are findable in that particular way. But yeah, that's developing more of the taxonomy for the site. Definitely on the list. Right, Nancy. You mentioned that study used, I don't know, or get out of sight. Now, if you go back to the end, do it all over again. Would you still use an. Company problems? I think so, but I'm also not the one who's been responsible for building that. So if you talk to developers, they might say something? I think so. Are they our main push for Ireland or actually try a new approach about building the institutional repository to collect or master students for digital projects, which we're looking for on your tuition? Theses are dissertations. So we needed something that was robust enough to take a few materials as well as a lot of those were out of the box.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=1284.26,1407.66"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are many more for it for mainstream served papers. So, yeah, I mean, it seems like we did a lot of research and it seemed like the best option with our particular sort of resources. That being said, you know, we've done development in-house. It's definitely been a lot of work. I think summer. We haven't done yet very, very old school. We honestly forget what program, the media development office that he that it's literally just 10 students. And I'm taking you to Docs. That's also an area that we hope to improve on. And I know that there have been various open source tools that have been released recently to pull off an automated transcription. So that's something that we're interested in as well. But you have variables and it's a small shop. So right now.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499#t=1408.47,1471.19"}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/97499/transcript/19081/annotation/12","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/081/original/open-uri20200924-1408-9ucpsy?1600957462","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/081/original/open-uri20200924-1408-9ucpsy?1600957462"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/255824","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2017_Becerra-Licha_audio.mp3"]},"duration":1487.08213,"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/1144/collection_resources/29690/file/255824/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/255824/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/824/original/ARSC_conf_2017_Becerra-Licha_audio.mp3?1730760858","type":"Audio","format":"audio/mpeg","duration":1487.08213,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29690/file/255824","metadata":[]}]}],"annotations":[]}]}