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(This paper last revised 2 September 1997 by Ewan Stewart)
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This paper has been prepared to advise choirs and owners of sheet music in the care, repair and general maintenance of their sheet music. It does not pretend to cover this subject comprehensively, and is intended to be a practical guide rather than an archivist's reference source. If you have any comments, suggestions or criticisms, they would be welcomed if forwarded to Ewan Stewart.
Music, particularly choral sheet music, is a working document on paper. It shares all the weaknesses of any paper document, as well as having additional characteristics that make care difficult:
The greatest problems associated with sheet music come from the paper it is printed on. Almost all paper produced from the late nineteenth century through the twentieth century was manufactured using a process which left an acid residue in the paper. This residue continues to react with air and the paper, to discolour it and make it brittle until the paper disintegrates. Sheet music produced over this period will therefore have a limited life. It is possible to produce acid free paper, and very old music may use it, as well as modern custom print runs using acid free paper (ie non-standard paper).
Paper can be preserved from the effects of acid residue by experts, but for most non professional archivists, no practical solution exists. Keeping paper out of the light (because light contributes to the deterioration), in a dry location, and where there is little air movement (eg in a stack of music) is the best simple way to maximise its life.
Although copying of music is subject to copyright law throughout the world (with rare exceptions), it is normally legal to maintain your use of deteriorating music by making a copy. Legally speaking, your original is your proof of ownership, and you may not use both it and the copy simultaneously until the period of copyright has expired.
The following steps will prolong the life of sheet music without requiring unusual resources. The easiest steps are listed first, and more technical options last (including actions requiring the co-operation of the music users).
An archivist would have sophisticated materials available for repairing documents such as music, but there are now a number of readily available repair materials which are suitable (although an archivist might feel they do not actually meet strict archival standards). For practical purposes, repair of music need only use a method which is as durable as the paper on which the music is printed, given the need to be able to continue to use it. The materials described meet this requirement.
The issues to be borne in mind when considering repair materials, are:
The most suitable document repair materials are those sold from specialist library supplies stockists (in New Zealand, one such supplier is Raeco (New Zealand) Limited, Phone (64-9) 274 9502 or free phone within New Zealand: 0800 800-235). Some larger office supplies stockists may also carry these items, but will be less attuned to the need for a long life repair.
The following materials are available (none deteriorate significantly with age although the "Magic" tapes may become brittle):
| Material | Purpose | Problems | Good Points |
|---|---|---|---|
| Glued paper (eg using a glue stick) |
General repair | Even tissue paper obscures print | Simple, very durable if a good glue is used |
| "Magic" or "Invisible" adhesive tape |
Repairs minor tears | The tape is brittle and the adhesive is weak |
It can be written on easily It does not obscure photocopying |
| Book Mending Tape | General repair | Will tear if nicked May be difficult to write onto |
Strong, transparent |
| Hinge Repair Tape | Repair of hinges in folded music | Somewhat bulky, does not always fold well |
Strong, some tapes fairly transparent |
Archival care usually requires that any repairs are made using materials that
Older archival methods of repair commonly used tissue paper (for transparency) and non-acidic removable glues. More sophisticated materials are undoubtedly available today, but even the traditional methods require more skill to use effectively than most amateur archivists can provide. For those maintaining music for individuals and groups to continue using, it is usually best to accept a limited life for the music, in the interests of a more practical maintenance workload. This is especially true because of the limited life of the paper commonly used for printing music. Where special music editions, historic documents or music of special value is concerned, the advice and assistance of a professional archivist is essential.