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For decades, the corporate sector has exploited technological advances to better market and deliver products and services to customers via the techniques of data mining. The technique was not widely used in libraries. However, with the current emphasis on evidencebased decision making, libraries are beginning to utilize their system and user generated data. Data mining usually involves a significant endeavor to extract embedded and potentially useful information from large undiscovered data sets Mitra & Acharya, 2003; Hand, Mannila & Smyth, 2001; Frawley, PiatetskyShapiro, & Matheus 1992; PiatetskyShapiro & Frawley 1991.These data mining techniques are being used by librarians to improve both internal decisionmaking and external user services by extracting information from operational datasets of both bibliographic and user data. OCLC Research has taken advantage of the WorldCat database, which includes more than 95 million bibliographic records and 1.2 billion holdings records, as well as data provided by other major library systems and consortia to develop useroriented collections and services http:www.oclc.orgresearchprojectsmining.

This article discusses the implications of a new fragmentary manuscript of fifteenth-century polyphony on musicians' biographies, the dating of other manuscripts, and the cultural ties between Venice and the two great Tuscan powers of Florence and Siena. This parchment fragment recovered from a Sienese archival binding represents the earliest surviving concordance between the music of the two Tuscan rivals. It once stood in a Tuscan collection of Holy Week polyphony, including the Lamentations of Jeremiah as set by the Venetian composer Johannes de Quadris; it may have originally been the property of a contado parish church or monastery. The specific musical text of the Siena fragment also can shed new light upon the dating and musical transmission of two contemporary Florentine manuscripts (I-Fn II.I.350 and I-Fd 21), containing music of Brumel, Carpentras and Bernardo Pisano. Finally, the rare Tuscan concordance can begin to clarify some of the earliest known traffic in polyphony between Tuscany and distant Venice.

A 1481 date for the manuscript Siena, Biblioteca Comunale degli Intronati, MS K. 1. 2 (hereafter Si), which contains almost ninety pieces of late fifteenth-century liturgical polyphony including works of Obrecht, Isaac and Mouton, has rested uneasily upon an argument from Sienese copying records. A fresh codicological analysis of this important source, including evidence of matching ‘twin’ watermark pairs in datable Tuscan archival documents, has yielded a new date and a new narrative for its compilation. The main corpus, in fact, is decades later than the fragmentary appendix containing works of Dufay and Josquin. The redating presented here has manifold implications for some of the most important composers of the late fifteenth century, and for peninsular patterns of musical transmission. A secure early date for the appendix copy of Josquin's Missa L'ami baudichon, for instance, enables a reassessment of that piece's transmission to sources as far away as Poland and Bohemia in the light of recent discoveries in Josquin's biography. My new date for Josquin's mass also confirms a case of Josquin emulation within another, anonymous mass in Si. The new dating further enables a reassessment of ModE M.1.13's authority as a source for one of Johannes Martini's masses, and the identification of a heretofore unknown local Sienese composer. Finally, the new narrative for the Siena choirbook may reveal Florence as a link in the transmission of repertory from Milan and Ferrara to Siena.