Ilze Arne

The documented professional legacy, organised as canonical records rather than as pages: works, performances, the Song Festival tradition, recordings, publications, teaching, awards, collaborations and international presence.

One canonical work catalogue. A work may carry versions, arrangements and parts without ever being duplicated, and may belong to several categories at once. Which categories appear is derived from the imported data.

A curated preview of selected canonical events — biography, compositions, premieres, publications, recordings, appointments, teaching, competitions, awards and international events. There is no second timeline database; every entry is a canonical record.

The Song Festival tradition is its own research area, not a filter inside performances: Latvian Song Festivals, School Youth Song Festivals, diaspora festivals, competition repertoire, massed-choir performances, conductors, choirs, related works and archival material.

The discography keeps the canonical chain intact: work → recording → release → track. Original releases, reissues, digital releases, radio and archive recordings and audiovisual recordings are distinct records, each with its own dates and rights status.

International presence is recorded by kind: a score held by a library is never presented as a performance. Each record can carry country, city, institution, date or period, presence type, related work, person or event, and its source.

Rights-aware archival material. Every item carries provenance, date, creator where known, rights status, usage permission, caption and its related canonical records. Material visible in an external archive is never assumed to be republishable here.

People are canonical records; a role belongs to the relation, not to the person. The same person may appear as poet, conductor, performer, teacher, student, colleague, editor, publisher or researcher in different contexts.

Professional activity beyond composition: teaching, institutions, appointments, concertmaster and accompanist work, jury service, expert work, competitions and professional events. These records never enter the works catalogue.

Quotations, interviews, testimony by collaborators and documentary excerpts. Each requires a speaker, source, date where known, context and citation before it may be shown — so nothing decorative appears here.

Stories are editorial paths through canonical objects: a story references works, performances, people, media and sources instead of retelling them as separate content.

Where information comes from, which statements are verified, where sources disagree, and what remains under research. Internal research notes are never public; provenance is disclosed progressively.

Family history is a documentary genealogical track, separate from the professional legacy. It is researched backwards — parents, grandparents, great-grandparents and earlier documented ancestors — and never developed forward into profiles of living younger family members.

Professional life, private life and documentary family history are separate tracks with separate publication decisions. The professional biography is the default public path.

Photographs, concert programmes, scores, recordings, correspondence, documents, memories and corrections may all be relevant. Nothing is published without a documented rights status, and no material is ever republished on the strength of being visible elsewhere.