Libraries play a key role not just in safeguarding music and related materials for future generations, but also in activating it today, supporting creativity and access for all. A joint IFLA-IAML webinar highlighted the richness of this contribution.

IFLA and the International Association of Music Libraries, Archives and Documentation Centres (IAML) were happy to come together to hold a webinar to mark World Intellectual Property (IP) Day 2025, this year focused on IP and music.

The webinar brought together practitioners from different parts of the library field – academic music libraries, an orchestral library, and a public library – in order to explore the contributions our institutions and profession make to a healthy music ecosystem.

After an introduction from IFLA, Dr Carla Williams of Ohio University Libraries highlighted the work of the Libraries in Music Teaching Institutions Section (LIMTI), which is working to ensure that libraries can continue to fulfil their traditional functions around electronic music scores, with all the technological and legal questions that these bring.

Niels Mark (presentation) then talked about his work at Odense Public Library, which focuses not only on building a strong collection, but also in providing opportunities for people to develop their talents, and then find a stage. It also is very active in building collaborations and exposing people to unexpected music.

Enrique Monfort from the Palau de la Música de València (presentation) discussed the role of orchestral libraries, both in acquiring scores, but then in working with conductors to develop the crucial annotators that allow it to be played correctly. They are also responsible for recording the history of the orchestra, and supporting musical talents in the wider region that have built up around the orchestra.

Kathleen DeLaurenti from the Arthur Friedheim Library, Johns Hopkins University in the US highlighted specific issues related to copyright faced by libraries, including both restrictive contract terms (that can override exceptions and limitations in copyright law), and simple refusals to licence – including from platforms such as iTunes (presentation).

The layers of rights in a lot of music did not make life easier. Too often, this meant that libraries simply weren’t able to get clearance to do things, or had to rely on fair use – copyright-based business models too often simply didn’t have an answer for the needs of libraries. However, the library had found a way forward by developing a public domain songbook, giving performers a way to access music without needing to clear rights.

Other participants also highlighted experiences where copyright had meant that emerging artists were not able to release music via the library, or where negotiating licences consumed valuable time which could be used on directly supporting musicians.

Across their interventions, and in particular in summing up with key messages for other actors in the musical world, as well as policy-makers, two key themes came out. First of all, the value of collaboration in order to create new possibilities for all, and secondly, the need for laws and practices that really work for individual musicians, as well as for those who rely on libraries to enjoy music.  

We are grateful to all of the speakers and to IAML for their support in organising the session.