Early in the days of digital library projects, we read quite a bit about the prospect of entire research libraries being digitized; some writers were so bold as to predict a date. In these early days, it was assumed that libraries--either singly or cooperatively--would take on the responsibility for the digitization of library collections. During the past decade, however, commercial enterprises have taken the lead in the digitization of print content, and recording companies have been entering into licensing agreements with various online services for the delivery of commercial sound recordings over the internet.
As library digitization projects have become more numerous and more sophisticated, libraries have moved beyond the idealistic (and ultimately impractical) goal of digitizing ``everything'' to the more realistic goal of digitizing only content that is rare and in some cases unique--content outside the scope of commercial digitization enterprises, content that highlights the materials that distinguish one library different from another. Focusing on special collections not only brings unique content to the public; it also provides a promotional tool that can showcase a library and its host institution.
Most music libraries own such collections of unique, noncommercial sound recordings. For a college or university library, these might be recordings of concerts, recitals, and lectures that have taken place on campus, or field recordings made by a researcher and donated to the library. For a public library, it might be recordings of local community musical groups or guest lectures.
Because these recordings are unique, they are also irreplaceable, so most libraries have imposed restrictions on their use in order to protect them. Digitizing these special recordings and making them available digitally accomplishes two goals: the recordings are more easily accessible--available to all listeners, both inside and outside the library--and they are preserved. Once the sound recording has been digitized, there is no further need to use the original recording, so the original sound recording can be stored permanently and is protected from any damage it might receive through use.