I’d be surprised if you can find a university to take the physical media—the storage space is too valuable. Of course, having the digital copies without the physical media creates copyright concerns. I hope someone at a university wants them and understands what a significant and generous gift that would be!
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Hello
Alexanderc, thank you for your kind follow-up.
Yes, you perfectly understand my concern on copyright. We, me and my wife, believe our digital libraries should be nice educational tool in "early music" courses not only in music schools but also in aesthetics courses in department of literature; if they have all of the physical LP and disk libraries, they should have no copyright issue in using the digital libraries for educational missions.
In Japan, we still have fairly nice tradition of education on early music (before baroque, Renaissance, and older) in many music schools of (mainly) private universities and colleges. Furthermore, in department of literature in major national and private universities, they have nice aesthetics faculty people including the "music history" professions.
They may very flexibly use my digital library on JRiver (or Roon) in PC connected the audio system of the lecture room or hall; Jriver can search and play any specific track of interest almost instantaneously among the
ca. 40,000 tracks in my libraries of rich "Before Renaissance, Renaissance, Baroque" music. My libraries are also rich with Gesualdo, Monteverdi, JS Bach, Mozart, Brahms, Schubert, Schumann,
et al., and
lute music. (Interestingly, not so rich in Beethoven!)
As mentioned elsewhere, I have all of the Gimell CDs of "The Tallis Scholars" in my digital library, full set of "200 Ans De Musique A Versailles, 20 CDs", "The Complete London Manuscript for Lute, 12 CDs", "Complete Madrigals of Carlo Gesualdo, 7 CDs", "Complete Violin Concertos of G.B. Viotti, 10 CDs", and so on, those would be also nice for educational purposes and of course for enjoyment.
If needed, and if they can use two PCs (both have my music libraries) in their lecture, very flexible comparative listening to Track-A and Track-B would be possible which should be very valuable and exciting for students, I believe.
Since I personally well know several nice "(early) music history oriented" faculty people in music schools and in the aesthetics courses in universities and colleges, we (I and my wife) would like to start discussion with them soon aiming towards the possible donation of our "
digital plus physical" music libraries, I mean of course donation to just one of them.