A growing body of literature has shifted aesthetic attention from composition to performance, or the performing activity, and asserts that the act of performance creates meaning.1 Scholars have emphasized differences between the passive consumption and active making of – or even listening to – music.2 As I sought to understand the impact of performance on Alma Mahler's legacy, I identified the need to gather as much data as possible on who, what, where, when, why, and how her songs were performed. This need led me to evaluate the metadata associated with recordings of Alma Mahler's songs in the WorldCat union catalogue and the video sharing platform YouTube. Recent studies have shown the utility of leveraging big data for musicology, although few scholars have done so to investigate reception history. This essay outlines one approach to data scraping YouTube with emphasis on the value to those researching recent Lieder reception, and in doing so highlights some of the promise and limitations associated with web scraping.

RIPM (Le Répertoire International de la Presse Musicale) is widely regarded as the most comprehensive resource offering electronic access to music periodicals from the early Romantic era to the twentieth century. Founded in 1980 by H. Robert Cohen, RIPM is the youngest of the so-called ‘4 R's of International Music Research’; its partner initiatives include RISM (Répertoire International des Sources Musicales), RILM (Répertoire International de Littérature Musicale), and RIdIM (Répertoire International d'Iconographie Musicale). Cohen's ambitious project was notably visionary in its use of technology: not only did it use computing from the start (beginning with DOS-based indexing systems), but it was also the first of the 4 R's to explore full text searching. RIPM seeks to address ‘two main problems that have prevented these [historic music] journals from being systematically collected and examined: (1) the limited number of libraries possessing the journals, and (2) the difficulty encountered when one attempts to locate specific information within an available source’. The project has thus focused on collection building, curation, indexing and accessibility. This international cooperative's accomplishments are impressive: as of July 2020, the database contains 527 music periodicals, 430 available in full text complete runs, totalling 996,000 annotated records and 1.47 million full-text pages of music periodicals.