73
DOI: 10.4312/mz.56.2.73-84
UDK 781.972:091(497.4Celje)"17/18"
RISM and Inventorying Early Music 
Manuscripts in Slovenia1
Jana Erjavec
Research Centre of the Slovenian Academy of Sciences and Arts 
ABSTRACT
Since its inception, the project Répertoire International des Sources Musicales (RISM) 
has played a major role in the creation of an inventory of preserved early music heritage in 
Slovenia. This article presents the background and the current state of cooperation between 
Slovenian musicology and the RISM project, focusing on the latest additions to the online 
catalogue from the music collection of the Church of St Daniel in Celje. 
Keywords: music manuscripts, music catalogues, RISM, Slovenian musicology, Church of 
St Daniel in Celje
IZVLEČEK 
Vse od ustanovitve igra RISM pomembno vlogo pri popisovanju starejših glasbenih virov 
ohranjenih v Sloveniji. V prispevku je predstavljen razvoj ter trenutno stanje sodelovanja 
slovenske muzikološke stroke s projektom RISM s posebnim ozirom na glasbeno zbirko 
cerkve sv. Danijela v Celju, ki predstavlja najnovejši doprinos slovenske skupine za RISM k 
spletnemu katalogu.
Ključne besede: glasbeni rokopisi, glasbeni katalogi, RISM, slovenska muzikologija,  cerkev 
sv. Danijela v Celju
This paper was written within the framework of junior researchers training (code 53501, 2019–2023), 
the research programme Researches in the History of Music in Slovenia (code P6-0004 (A), 2015–2021) 
and the research project Old Traditions in New Vestments: Musical and Textual Reworkings in the Per-
forming Practices of Liturgical Music (code J6-1809, 2019–2022), financed by the Slovenian Research 
Agency (ARRS).
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The preservation and interpretation of (national) musical heritage is one of 
the main tasks of musicology. The possibility of a successful study of primary 
sources is based on thorough and extensive archive research and organisation.
More extensive archival research on the heritage preserved on the territory 
of the present-day Republic of Slovenia and on the relevant sources outside its 
present borders began in the 1950s, when Slovenian musicology began to coop-
erate with the newly founded Répertoire International des Sources Musicales 
(RISM). Since then, cooperation between Slovenia and RISM has gradually 
increased, culminating in the establishment of a national group for RISM at the 
Institute of Musicology of the Research Centre of the Slovenian Academy of 
Sciences and Arts (ZRC SAZU) in 1993. The members of the Slovenian RISM 
group at the institute have continued the cataloguing of the preserved heritage 
using the most modern computer systems provided by RISM and have supple-
mented the traditionally compiled data with additional content.
Despite the many advantages that cooperation has brought, there are still 
specific problems that the Slovenian musicologists involved in the creation of 
the national register are facing. The aim of this article is to present the role that 
RISM has played in the preservation of Slovenian cultural heritage, the current 
state of cooperation, and certain problems that Slovenian musicologists still 
face when carrying out archival research, with special reference to the informa-
tion recently added to the RISM online catalogue.
The Répertoire International des Sources musicales (The International In-
ventory of Musical Sources) is an international project for the global documen-
tation of preserved musical sources (music manuscripts, printed music, writings 
on music and libretti) founded in 1952 by the International Musicological So-
ciety (IMS) and the International Association of Music Libraries, Archives and 
Documentation Centres (IAML). In 1967, Dragotin Cvetko was entrusted with 
the organisation of the quinquennial Congress of the International Musicologi-
cal Society in Ljubljana. A series of lectures, round tables and meetings took 
place throughout the Slovenian capital from 3 to 8 September. The programme 
was accompanied by musical performances and four exhibitions, one of which 
was dedicated to preserved music manuscripts and prints dating from before 
1800, which were exhibited at the National and University Library in Ljubljana 
(NUK).1 A bilingual catalogue of the exhibited manuscripts and prints was pub-
lished together with other collections from 17 different archives and libraries. In 
the foreword to this catalogue Dragotin Cvetko commented that
the material for a musical history of Slovenia has suffered considerable damage during the 
centuries. For various reasons it has been in part destroyed or dispersed. Despite all this a 
considerable quantity has been preserved as is evidenced by researchers up to the present 
1 Dragotin Cvetko, ed., Report of the Tenth Congress of the International Musicological Society, Lju-
bljana 1967 (Kassel: Bärenreiter, 1970), 495.
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J. Erjavec: RISM and Inventorying Early Music Manuscripts in Slovenia
75
day. Only in the last twenty years, however, have these been systematic and to achieve a 
complete picture much time and enthusiastic investigation will be needed.2
Although the study of primary music sources preserved on the Slovenian ter-
ritory dates back at least to the second half of the nineteenth century, the cited 
paragraph from the aforementioned foreword to the 1967 catalogue confirms 
that archiving efforts in the field of Slovenian musicology were intensified in 
the 1950s. This was a direct result of collaboration between Ludvik Zepič, the 
first head of the Music Collection at NUK, and François Lesure, the direc-
tor of the first Central Secretariat of RISM in Paris.3 Slovenia, then part of 
Yugoslavia, participated early on in this international, now global project and 
was included in its first two bibliographical publications in the series B/I-II or 
bibliographies of the printed collections from the sixteenth to the eighteenth 
century Recueils imprimés, with B/I published in 1960 and B/II in 1964.4 Zepič’s 
collaboration with RISM was based primarily on the collection and cataloguing 
of printed music for the B series and from 1971 also individual prints before 
1800 (A/I series), opera libretti and theoretical treatises up to 1800 Écrits im-
primés concernant la musique of the series B/VI (Printed Writings about Music).5
The interest shifted partly to manuscripts of early music before 1850 after 
Ivan Klemenčič was appointed head of Music Collection at NUK in 1967. The 
same year, one of the exhibitions accompanying the Congress of the Interna-
tional Musicological Society showed some of the most important manuscripts 
and prints of early music from the Slovenian territory known at the time. The 
bilingual catalogue Music Manuscripts and Printed Music in Slovenia before 
1800 by Janez Höfler and Ivan Klemenčič (containing objects from NUK, sup-
plemented by several other collections of owning institutions from all over the 
country) was the first publication of its kind in Slovenia and remained the cen-
tral reference literature for domestic and foreign researchers for a long time.6 
2 Dragotin Cvetko, foreword to Glasbeni rokopisi in tiski na Slovenskem do leta 1800: katalog (Lju-
bljana: Narodna in univerzitetna knjižnica, 1967), 4. 
3 Ivan Klemenčič, “RISM v Sloveniji,” Muzikološki zbornik 38 (2002): 107, https://doi.org/10.4312/
mz.38.1.105-112. 
4 RISM is divided into three main series – A, B and C – with further subdivisions. A/I indexes 
individually issued printed music before 1800 and A/II music manuscripts, mainly between 1600 
and 1850. B indexes bibliographies organised by specific topics (for example printed anthologies, 
polyphonic music, music theory, etc.). C is the Directory of Music Research Libraries. The divisions 
between series have, however, been blurred by the RISM online catalogue, but some of the series 
have yet to be included in the online environment. See http://www.rism.info/publications.html. 
5 François Lesure, Recueils imprimés: XVIe-XVIIe siècles (Munich; Duisburg: G. Henle, 1960); Re-
cueils imprimés: XVIIIe siècle (Munich; Duisburg: G. Henle, 1964); Lesure, Écrits imprimés concer-
nant la musique, 2 vols (Munich; Duisburg: G. Henle, 1971). 
6 The catalogue includes music manuscripts from eight archives and libraries, all of which have 
music manuscript collections entered in the RISM online catalogue. Janez Höfler and Ivan 
Klemenčič, Glasbeni rokopisi in tiski na Slovenskem do leta 1800: katalog (Ljubljana: Narodna in 
univerzitetna knjižnica, 1967).
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In 1975, it was supplemented with additional information on manuscripts and 
printed items from seven Slovenian archives and libraries, including NUK.7
Almost a decade after the formal establishment of the Department of Mu-
sicology at the Faculty of Arts of the University of Ljubljana in 1962, the idea 
of another musicological institution dedicated exclusively to research was born 
and officially realised in the autumn of 1980. Although the headquarters of 
RISM in Slovenia was located in the NUK Music Collection, the researchers 
of the newly founded Institute of Musicology, now part of the Research Cen-
tre of the Slovenian Academy of Sciences and Arts, made it one of their main 
goals to devote time and effort to collecting and preserving knowledge about 
early Slovenian musical heritage. 
In 1987, Ivan Klemenčič emigrated from NUK to the Institute of Musicol-
ogy ZRC SAZU. By the beginning of the 1990s, researchers at the institute 
had already collected information on about 1,300 units of music manuscripts 
and prints from seven different archives and libraries on the Slovenian territory, 
and compiled the General Register of Earlier Music Sources (1600–1850) Pre-
served in the Republic of Slovenia.8 The inventory was structured in the form 
of a traditional card catalogue, which, in addition to essential information on 
the material, contains at least one music incipit for music manuscripts (encoded 
main melodies of a certain representative voice or instrument of a work).9 
In 1993, the RISM National Committee for Slovenia was established and 
Slovenia started to participate in the RISM A/II series (Music Manuscripts 
after 1600).10 With the introduction of the computer programme PIKaDo 
(Pflege und Informationsverarbeitung kategorisierter Dokumente)11 devel-
oped by RISM Germany, the cataloguing methodology for music manuscripts 
shifted from a traditional to a computer-based procedure.12 The decision to 
abandon the in-house development of a computer programme for the cata-
loguing of music manuscripts (and prints) at the institute was made due to 
7 The typescript Music Manuscripts in Slovenia before 1800: Supplement for RISM (Ljubljana, 1975) 
is archived at the Institute of Musicology ZRC SAZU. Klemenčič, “RISM v Sloveniji,” 108.
8 Darja Frelih, “Katalogiziranje glasbenih virov za RISM v Sloveniji,” Muzikološki zbornik 38 
(2002): 113, https://doi.org/10.4312/mz.38.1.113-118; Klemenčič, “RISM v Sloveniji,” 109.
9 The size of a traditional catalogue slip, usually A5 format, dictates the amount of data it is possible 
to record. Since these slips were small in size, only essential, brief information could be included: 
siglum of the holding institution, the manuscript signature, name of the composer, diplomatic title 
(written exactly as it appears on the source), scoring summary (with number of parts and scores) 
and possible title page, information regarding the creation of the unit (manuscript or print), date 
of creation (or at least a wider defined period), copyist or former owner, size of material and one 
incipit. The card catalogue is still kept at the Institute of Musicology ZRC SAZU.
10 It is the most comprehensive guide available to music manuscripts created after 1600, containing 
sources from collections from more than 35 countries around the world.
11 In English Maintenance and Information Processing of Categorised Documents. Frelih, “Katalo-
giziranje glasbenih virov,” 114. 
12 See: http://www.rism.info/en/organisation/project-history.html.
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77
compatibility problems with the incipits, resulting from later attempts to 
convert the data and compare them with data from the collections of other 
countries contained in the RISM database. The installation of the RISM pro-
gramme was more appropriate in this respect.13 The first results of participation 
in the computerised cataloguing of the A/II series were published in 1995 in 
the form of a CD-ROM (these were issued annually).14 The Slovenian cata-
loguers contributed 165 units from six archives.15
In 2002, Ivan Klemenčič and Darja Frelih participated in the international 
congress Scientific and Technological Challenges of Musicological Source Research 
at International Level, which was organised on the occasion of the 50th an-
niversary of RISM. They presented the current status of the project in Slove-
nia. At that time, the Slovenian collection consisted of about 1,000 units or 
1,400 works, 900 of which were included in the 2001 edition of the RISM 
CD-ROM.16
In June 2010, the RISM online catalogue was published for free for the first 
time, followed by a new cataloguing programme, Kallisto, for the holdings of 
music manuscripts in 2011, and by 2012 the RISM group at the Institute of 
Musicology had increased the number of entries in the RISM A/II database to 
about 2,900. New entries were added from the Ljubljana Cathedral, the Fran-
ciscan Monastery in Novo mesto and the Novo mesto chapter, and for the first 
time music collections, mainly from the Slovenian coastal area, were thoroughly 
arranged and catalogued: collections from the Episcopal Archives in Koper, the 
Koper Cathedral, the Provincial Archives in Koper, the Srečko Vilhar Central 
Library in Koper, the Parish Archives in Piran, the Minorite Monastery in Pi-
ran, and the Church of St Mauro in Izola.17 Among the most recent collections 
catalogued with Kallisto are the collections of the St John the Baptist Cathedral 
of Maribor, which was catalogued by Melanija Markovič in 2016.18 
13 The development of a separate computer program for cataloguing manuscripts and prints was 
originally planned, and in 1991 cataloguing guidelines were even drawn up. Klemenčič, “RISM v 
Sloveniji,” 109.
14 Before the CD-ROM, RISM data were published in the form of a microfiche, which could only 
contain a limited amount of data. See article “10 Years of the RISM Online Catalogue” for more 
information. Available at http://www.rism.info/en/home/newsdetails/select/rism_online_cata-
log/article/2/10-years-of-the-rism-online-catalog.html. 
15 Klemenčič, “RISM v Sloveniji,” 110.
16 Both Klemenčič and Frelih adapted their contributions into articles published in the first issue of 
volume 38 of the Muzikološki zbornik in 2002. See Klemenčič, “RISM v Sloveniji”; Frelih, “Kata-
logiziranje glasbenih virov”.
17 Klemen Grabnar and Metoda Kokole, “RISM in Slovenia in the Past Decade: Newly Catalogued 
Music Collections, Especially Early 17th-Century Choirbooks” (paper presented at the RISM in-
ternational conference Music Documentation in Libraries, Scholarship, and Practice, Mainz, Germany, 
June 2012, 1–2). 
18 Melanija Markovič, “Glasbeni arhiv starejših muzikalij v Stolni župniji sv. Janeza Krstnika v Mari-
boru” (Bachelor’s thesis, University of Ljubljana, 2016).
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In 2016, Kallisto was replaced by a new cataloguing programme called 
Muscat, and the cataloguing process shifted to an online environment. Muscat 
is an open source, web-based, platform-independent programme developed 
by RISM UK, RISM Switzerland and the RISM Central Editorial Office. It 
is multilingual, with interfaces in English, German, French and Italian, and 
translations into Spanish and Portuguese are in preparation.19
My own collaboration with the Slovenian RISM group at the Institute 
of Musicology ZRC SAZU, which was part of the work on my master’s the-
sis, was stimulated by the particularities of certain Slovenian repositories that 
house collections of early music manuscripts. Since many of them have nei-
ther their own financial means nor qualified staff to systematically arrange, 
inventory and properly store their material, the Institute of Musicology serves 
as a medium by providing them with the necessary tools and manpower to 
perform these tasks properly. RISM has been an extremely important part of 
this process in Slovenia since its foundation. Not only does it provide sup-
port in the form of technical and professional guidelines and a comprehensive 
platform for maintaining a freely accessible, comprehensive electronic register 
of all of the musical and non-musical elements of each composition, but the 
globally standardised cataloguing process also enables comparative analysis 
with the entire worldwide register. However, accelerated development and the 
ever-increasing number and complexity of the templates make cataloguing 
not only more accessible and user-friendly, but also increasingly costly and 
time consuming. The RISM working group for Slovenia is composed of the 
staff of the Institute of Musicology ZRC SAZU, who have their own individ-
ual projects and responsibilities. Very rarely is the work supported by state and 
municipal grants. Current funding does not allow for the employment of a 
person specifically designated for archive research and cataloguing.20 However, 
the work is sporadically carried out by young researchers, who use RISM as a 
tool in their master’s and doctoral theses under the supervision of researchers 
at the institute. This not only relieves the burden of the researchers, but also 
gives the students an opportunity to gain experience in handling archive ma-
terial and RISM. 
My own contribution to the RISM online database is a collection of music 
manuscripts from the Abbey and Parish Church of St Daniel in Celje (SI-
Co).21 The collection first received attention in 1981, when its first organiser, 
cataloguer and analyst became Danilo Pokorn.22 He prepared the catalogue 
in the traditional card form, which is still kept by the Institute of Musicology 
19 See http://www.rism.info/community/muscat.html.
20 The only staff member of this kind was Darja Frelih between 1998 and 2010.
21 See Jana Erjavec, “Glasbeni arhiv starejših rokopisov v cerkvi Sv. Danijela v Celju,” De musica dis-
serenda 16, no. 2 (2020): 71–82. 
22 Slovenska akademija znanosti in umetnosti, Letopis: 1981 (Ljubljana: SAZU, 1982), 227.
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J. Erjavec: RISM and Inventorying Early Music Manuscripts in Slovenia
79
ZRC SAZU, and in 1989 he presented his first results in the article “The 
Music Collection in the Abbot Church of St Daniel’s, Celje”.23 The reper-
toire of the collection, which otherwise includes both music manuscripts and 
prints from the eighteenth and nineteenth centuries, is quite a rich selection 
of works by various composers, from world-famous figures to rather unknown 
local representatives. It is mainly of a religious nature, but a considerable part 
is derived from contemporary theatrical musical genres. Many of these works 
are so-called contrafacta – they have been rededicated through textual adapta-
tion for performance in a religious context. These phenomena are increasingly 
being discovered by certain European researchers as particularly common in 
all periods of the past, but have not yet aroused much interest in the contem-
porary Slovenian geographical area.24 The initial results of a statistical analysis 
of data extracted from the material (names of possible copyists, dedicatees and 
former owners, old shelf marks, stamps and other notes on bindings, covers, 
parts and scores, etc.) revealed some surprising facts about the origin and func-
tion of some of the compositions (such as the aforementioned contrafacta).25 
An uncomplicated, comprehensive and easily accessible catalogue of this col-
lection will support future research efforts in the precise and thorough study 
of the material, thus enabling us to further develop our general understanding 
of eighteenth- and nineteenth-century music, both in the Slovenian and the 
wider European context.
The collection was first included in the RISM online catalogue in 2016. As 
the inventory compiled by Danilo Pokorn proved to be incomplete and con-
tained a considerable number of errors due to certain limitations of the previ-
ous methodology, the Slovenian RISM group decided that it would be best to 
repeat both the quantitative and qualitative analysis of the collection under the 
new and improved research conditions.  
The location and type of archives and libraries that house early music col-
lections more or less determine the working conditions. Most of them are 
located outside the capital and are therefore accessible by car from the Insti-
tute of Musicology ZRC SAZU. Fieldwork and travel expenses are funded by 
the regular inventory programme or by a specific project, and in most cases 
23 Danilo Pokorn, “Glasbena zbirka opatijske cerkve sv. Danijela v Celju,” Muzikološki zbornik 25, no. 
1 (1989): 107–120, https://doi.org/10.4312/mz.25.1.107-120.  
24 For more information on existing research, see, e.g., Tomasz Jeż, “Contrafacta of Operatic Arias 
among the Dominicans of Baroque Silesia,” De musica disserenda 11, nos. 1–2 (2015): 147–162; 
Milada Jonášová, “Kontrafakturen in der Böhmischen Kirchenmusik des 18. Jahrhunderts,” Mu-
sicologica Brunensia 49, no. 2 (2014): 107–126; Marina Tofetti and Gabrielle Taschetti, eds., Con-
trafacta: Modes of Music Re-textualization in the Late Sixteenth and Seventeenth Century (Kraków: 
Musica Iagellonica, 2020); Undine Wagner, “Vom Dramma per Musica zur kirchenmusikalischen 
Praxis – Geistliche Kontrafakturen italienischer Opernarien in mährischen Klöstern und Kirch-
en,” Musicologica Brunensia 49, no. 2 (2014): 139–167; etc.
25 Erjavec, “Glasbeni arhiv starejših rokopisov,” 73–79. 
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access to the collections depends on the curator’s opening hours or availability. 
Whenever possible, the cataloguers borrow the materials and bring them to 
the Institute of Musicology, provided that an agreement is reached with the 
person responsible for the collection. Consideration should also be given to the 
limited space in the available vehicle, usually a passenger car that can only hold 
a certain amount of material.
The logistics of the work process must meet these conditions. The work 
must be divided into several phases of the visit to the host institutions. Al-
though there is an increasing number of tools that can be used to carry out at 
least part of the work on site, such as so-called scanning tents, portable LED 
light tracing boards or pads and other special equipment that can be com-
bined with laptops, tablets or smartphones, in many places there are other 
constraints that directly affect the use of such devices (old buildings with a 
limited number of power sockets, isolated locations with poor internet con-
nections, etc.). Whenever possible, the best and most frequently chosen op-
tion is to borrow the materials and bring them to Ljubljana. This was our first 
step in working with the collection from Celje. The working conditions at the 
institute also allow for an unimpeded, uninterrupted, regular and continuous 
workflow. 
Most of the material from SI-Co had already been organised by Danilo 
Pokorn and had been preserved in this state until our own examination. The 
second step was digitalisation. During this process, the materials were scanned 
and the scans were stored at the home institution and at the Institute of Mu-
sicology ZRC SAZU. This not only allows the researchers to access the docu-
ments at any time, but also reduces the need for constant intervention in the 
physical material, which significantly reduces its decay. Ideally, these docu-
ments would be published online, especially since RISM offers the possibility 
to link digital resources with RISM records. This would allow other partici-
pants to contribute their knowledge and share their observations on the re-
corded metadata compared to the freely available digitised material.
The third step was to extract all possible information from the physical ob-
jects and enter it as metadata into the online RISM database. This was done 
using extensive guidelines from RISM and its latest cataloguing platform, 
Muscat, which has a wide range of available templates for different types of 
sources. This is one of the key features that sets Muscat apart from its pre-
decessors. In addition to capturing music manuscripts, cataloguers can also 
capture printed music editions, handwritten or printed libretti, handwritten or 
printed treatises and even compound volumes (e.g., bound music manuscripts 
and prints).26
26 Muscat includes various RISM series (A/I, A/II, B/I), which are in one single database for the 
first time, having previously been managed in separate locations. See http://www.rism.info/com-
munity/muscat.html.
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The importance of a detailed and easily accessible register of all of the pre-
served musical sources of a certain time and space cannot be overestimated 
when it comes to correctly classifying unknown musical works, which is still 
one of the main problems of musicology today and was one of the main rea-
sons for examining the collection from Celje more closely.27 The possibility of 
comparing the music incipits entered into the world census via RISM makes it 
possible to identify them in a previously unimaginable way. As Klaus Keil and 
Jennifer A. Ward noted:
This is especially important for researchers working with manuscripts from time periods 
in which sources experienced broad geographical distribution and transmission and were 
frequently recorded anonymously. An incipit can identify a piece when its transmitted 
author or title cannot.28
This enabled me to identify even the least known authors, which would have 
been practically unimaginable in the days of Danilo Pokorn. The discussion-
like feature in Muscat, which allows users to provide feedback and comments, 
is also very useful in this context. 
Together with 275 entries from the Church of St Daniel, approximately 
5,200 music manuscript entries have so far been included in the RISM online 
catalogue. These form the collections of music manuscripts from 14 of 36 lo-
cations in Slovenia, which have been included in the online directory of the 
RISM library sigla.
Despite the presence of RISM in Slovenia (and the Slovenian presence 
in RISM), which is approaching its 70th anniversary, Slovenian musicology 
still faces many challenges in the field of archive research and preservation. 
There are still unstudied collections, and moreover, the results of “completed” 
research must be constantly reviewed, either due to the limited methods in the 
past or because of the constantly improving modern research conditions. In 
summary, to return to the words of Dragotin Cvetko, “to achieve a complete 
picture much time and enthusiastic investigation will be needed”.
27 One of the greatest challenges faced when working with music manuscripts is to establish or 
verify the attribution of preserved works. This concerns not only the vast quantity of anonymous 
copies, but also sources that bear the alleged author’s signature. Considerable caution is needed 
even in relation to the latter, since, as we know, instances where one and the same work is ascribed 
to different composers in different sources are rather more the rule than the exception. Some con-
temporary scholars have miscalculated in this respect, be it only in overinterpreting certain facts, 
such as mistaking the name of the scribe on the title page of a work for the name of the composer. 
As a consequence, their publications occasionally bring added confusion to the complex problem 
of attribution. Maciej Jochymczyk and Maksymilian Kapelański, “The Masses of Francesco Per-
neckher in the Collection of the Pauline Monastery at Jasna Góra (Częstochowa): Problems of 
Attribution and Source Studies,” Fontes Artis Musicae 66, no. 2 (2019): 164.
28 Klaus Keil and Jennifer A. Ward, “Applications of RISM data in digital libraries and digital mu-
sicology,” International Journal on Digital Libraries 20, no. 1 (2019): 4.
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Sources and bibliography
“10 Years of the RISM Online Catalog.” RISM. Accessed 12 September 2020. http://www.
rism.info/en/home/newsdetails/select/rism_online_catalog/article/2/10-years-of-the-
rism-online-catalog.html. 
“History of the project.” RISM. Accessed 12 September 2020. http://www.rism.info/en/
organisation/project-history.html. 
“Muscat.” RISM. Accessed 12 September 2020. http://www.rism.info/community/muscat.html. 
“Publications.” RISM. Accessed 12 September 2020. http://www.rism.info/publications.html. 
Cvetko, Dragotin, ed. Report of the Tenth Congress of the International Musicological Society, 
Ljubljana 1967. Kassel: Bärenreiter, 1970.
Cvetko, Dragotin. Foreword to Glasbeni rokopisi in tiski na Slovenskem do leta 1800: katalog. 
[Music manuscripts and printed music in Slovenia before 1800: Catalogue] Ljubljana: 
Narodna in univerzitetna knjižnica, 1967.
Erjavec, Jana. “Glasbeni arhiv starejših rokopisov v cerkvi sv. Danijela v Celju.” [The Col-
lection of Early Music Manuscripts at the Church of St Daniel in Celje] De musica dis-
serenda 16, no. 2 (2020): 71–82. https://doi.org/10.3986/dmd16.2.04.  
Frelih, Darja. “Katalogiziranje glasbenih virov za RISM v Sloveniji.” [Cataloguing for 
RISM in Slovenia] Muzikološki zbornik 38 (2002): 113–118. https://doi.org/10.4312/
mz.38.1.113-118. 
Grabnar, Klemen, and Metoda Kokole. “RISM in Slovenia in the Past Decade: Newly Cat-
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POVZETEK
RISM in popisovanje starejših glasbenih rokopisov v Sloveniji
Slovenija sodeluje v projektu RISM (Répertoire International des Sources Musicales) že sko-
raj sedem desetletij. Med 50. in 60. leti prejšnjega stoletja, ko je bil sedež RISM-a v Sloveniji 
Narodna in univerzitetna knjižnica v Ljubljani, se je stroka osredotočala predvsem na starejše 
glasbene tiske, teoretična dela ter operne librete, nakar je pozornost preusmerila predvsem v 
popis glasbenih rokopisov. Muzikološki inštitut Znanstvenoraziskovalnega centra Slovenske 
akademije znanosti in umetnosti, ki je bil ustanovljen leta 1980, je vse od začetka sestavljal lasten 
listkovni katalog starejših glasbenih virov iz obdobja med 1600 in 1850, ki so se ohranili na tleh 
današnje Republike Slovenije. S selitvijo sedeža RISM-a v Sloveniji iz Narodne in univerzitetne 
knjižnice na Muzikološki inštitut leta 1987 se je Slovenija pridružila popisovanju glasbenih 
rokopisov v sklopu RISM-ove serije A/II. Leta 1993 bil ustanovljen področni odbor RISM za 
Republiko Slovenijo, ki je od centralne redakcije prevzel računalniški program za popisovanje 
glasbenih rokopisov, za kar se je odločil zaradi mednarodne kompatibilnosti podatkov. 
Na arhivske raziskave starejše glasbene zapuščine v Sloveniji poleg RISM-a vpliva še mno-
go drugih dejavnikov, s katerimi se slovenska muzikološka stroka spopada še danes: omejena 
finančna podpora, pomanjkanje časa ter kvalificirane delovne sile, ter oddaljenost večine hranišč. 
Kljub temu so člani RISM-ove skupine s pomočjo najnovejše tehnologije in smernic doslej us-
peli popisati ok. 5200 glasbenih rokopisov iz približno polovice arhivov in knjižnic po Sloveniji.
Najnovejši prispevek slovenske delovne skupine v spletni katalog RISM je glasbeno-ro-
kopisna zbirka cerkve sv. Danijela v Celju. Zbirko, odkrito leta 1980, je prvi uredil, popisal ter 
preučil Danilo Pokorn. Zavoljo napak, ki so se med katalogizacijo pripetile predvsem zaradi 
pomanjkljivosti metodologije v preteklosti, se je slovenska skupina za RISM odločila, da je pot-
rebna ponovna obravnava v skladu s sodobnimi, izpopolnjenimi raziskovalnimi pogoji. Zbirka, 
ki sega v 18. in 19. stoletje, je bila prva, ki je bila popisana s pomočjo najnovejšega RISM- 
ovega programa za popisovanje, imenovanega Muscat. Gre za spletni program, neodvisen od 
operacijskega sistema, ki ponuja tudi izčrpna navodila za izpolnjevanje ter masko za vse vrste 
virov (predhodni programi so bili namenjeni le popisovanju glasbenih rokopisov). Ponuja vrsto 
novih možnosti, vključno s posebno možnostjo izmenjave mnenj med prijavljenimi uporabniki. 
Doslej so bili v spletni katalog RISM vključeni metapodatki o 275 bibliografskih enotah iz 
zbirke cerkve sv. Danijela v Celju.
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ABOUT THE AUTHOR 
JANA ERJAVEC (jana.erjavec@zrc-sazu.si) received her BA and MA degrees in musico-
logy from the University of Ljubljana, Faculty of Arts, in 2016 and 2019, respectively. She 
completed her master’s thesis “The collection of early music manuscripts at the church of St. 
Daniel in Celje” in cooperation with the Institute of Musicology ZRC SAZU. She is currently 
a PhD candidate at the University of Ljubljana, Faculty of Arts, and a junior researcher at 
the Institute of Musicology ZRC SAZU. 
O AVTORICI
JANA ERJAVEC (jana.erjavec@zrc-sazu.si) je leta 2016 diplomirala in leta 2019 magistri-
rala na Oddelku za muzikologijo Filozofske fakultete Univerze v Ljubljani. V sodelovanju z 
Muzikološkim inštitutom ZRC SAZU je pripravila zaključno nalogo z naslovom “Glasbeni 
arhiv starejših rokopisov v cerkvi sv. Danijela v Celju”, ki jo je uspešno zagovarjala septembra 
2019. Oktobra istega leta se je na Filozofski fakulteti Univerze v Ljubljani vpisala v interdi-
sciplinarni doktorski študijski program Humanistika in družboslovje ter obenem zaposlila 
kot mlada raziskovalka na Muzikološkem inštitutu ZRC SAZU.
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