How to join ?

How Can Other Museums Add Their Collections ?
 
  • Step 1 in the process is to review the information contained on these pages and consider whether your museum has the resources and technical expertise to offer digital content.
  • Step 2 is to download and complete the Content Checklist and submit this to MIMO for consideration. We will then contact you with follow up questions.
  • Step 3 is for your submission to be considered by the MIMO selection panel who will advise on whether we can add your content, if any additional work is required and a likely timescale. This panel meets annually.
  • Step 4 – if your request is accepted we will then issue a formal contract which will have to be completed before any content is uploaded.

DOCUMENTS TO DOWNLOAD

Membership

Technical

LINKS

Other MIMO Resources

Friendly Projects

  • MINIM-UK - The UK’s largest online collection of historical musical instruments.
  • MUSICES - Musical Instrument Computed Tomography Examination Standard
  • DOREMUS - Doing REusable MUSical data

WHAT IS MIMO?

    • MIMO is the acronym for Musical Instrument Museums Online. The name was originally applied to the project run by a consortium of eleven museums which sought to create a single online access point to their collections.
    • We already have digital photographs but not necessarily to the MIMO standard. Can we use these?
      Yes, existing digital images can be used but any new images must meet the MIMO standard.
    • Our language is not represented - can we add a new language to the system?
      If a museum wishes to add an additional language it will be their responsibility to do so. It means that the museums will have to translate MIMO's Instrument keywords into the new language. They will be able to work with the MIMO vocabulary tool in order to do so.
    • Is it possible to add keywords?
      Yes, the same applies to the addition of new keywords and instrument makers.
    • What happens if we add instruments to our collection?
      Any metadata on new instruments that is added to museum databases will automatically be harvested by MIMO using OAI-PMH. The museum will have to corresponding transfer image, sound or video to files to MIMO-DB via FTP.
    • If data is mapped to standard LIDO can it be mapped to MIMO LIDO?
      Yes, with minor adjustments. MIMO LIDO adds a few contraints to standard LIDO. For instance, it is mandatory to use one of MIMO’s Instrument keyword as a classification term. Advice will be given as required.
    • What is the long term future for MIMO?
      The members of the original MIMO partnership have signed a formal agreement committing themselves to the ongoing maintenance of MIMO-DB for an initial period of 5 years.
      In the longer term we now see the need for a specific MIMO portal which we intend will become the single access point for information on public collections of musical instruments for the entire world. It is envisaged that this portal will offer a greater amount of information that is currently visible via Europeana.
    • Is membership of MIMO only open to European museums?
      No, any public museum may contribute content. However, only European museum content will be visible via Europeana. Non-European museum content will, in the short term, only be accessible via the MIMO website. European museums' content will be visible via both.
    • Can private museums contribute content?
      No, only public museums can join the consortium at this stage.
Why should my museum contribute?
    The aim of the MIMO consortium is to create a single online access point to the world’s publicly held collections of musical instruments. The benefits of aggregation are already becoming apparent and as this resource develops these will become eve more obvious. One access point to significant amounts of high quality information about musical instruments, with images and sound or video files, will greatly ease the work of anyone searching for information on, for example:
    • particular kinds of instrument
    • particular makers
    • instrument making in particular places
    • instruments of a particular period
    • collectors and collecting
    • identification of instruments
    As the volume of material grows we will also be in a position, in a virtual sense, to rebuild collections which have previously been dispersed in the real world, e.g. by bringing together information on all the violins built by members of the Stradivari family held in public collections, thus simplifying the work of the researcher.
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