It was renamed Museo Internazionale e Biblioteca della Musica in 2004 when the museum's current site, the Palazzo Sanguinetti, opened to the public.

An ample selection of volumes, paintings, and musical instruments are displayed in the museum halls in Strada Maggiore 34 (Palazzo Sanguinetti), while the bibliographic material is accessible in Piazza Rossini 2 (the ex-Convent of San Giacomo) in rooms attached to the G.B.

In 1569, the property was sold to the brothers, Ercole and Giulio Riario, originally from Savona, but who were related to the della Roveres.

The second major reconstruction was commissioned by Count Antonio Aldini, to whom the Marquis Raffaello Riario Sforza had granted a long-term lease in 1796.

I ... donate the building in Strada Maggiore 34 in his name and memory, and for the love that he always had for his city and his home, so that it could become a music museum and library".

The Palazzo Sanguinetti was decorated by major 18th- and 19th-century Neoclassical painters, such as Pelagio Palagi (1777–1860), Serafino Barozzi (1735–1810), and Antonio Basoli (1774–1848), under the direction of Vincenzo Martinelli (1737–1807).

On the ground floor, the landscape fresco (with trompe-l'oeil perspective) is attributed to Luigi Busatti, while the quadratura is the work of Francesco Santini (1763–1840).

These classical elements surround the onlooker in the illusion of a step that supports hermes and statues of Bacchus and Ceres, works by a young Palagi.

Martini collected not only manuscripts and musical works of various kinds, but also portraits of musicians displayed on the walls of his library in the Monastery of San Francesco.

Rooms 2 and 3 are dedicated to the spiritual father of the new museum, pictured in an oval by Angelo Crescimbeni: Giambattista Martini, whose priceless moral heritage, both intellectual and material, is celebrated here and made known to the greater public.In Room 3, the relationships between Padre Martini and the stand-out personalities of the music world of the time, such as the young Mozart or Johann Christian Bach, who is represented in the famous portrait by Gainsborough, are displayed.

This room also contains some musical instruments of great importance, like the unique omnitonum harpsichord by Vito Trasuntino (Venice 1606).

Also of interest is the original score of The Barber of Seville and some rather curious personal effects, like a dressing gown and a wig.

Concluding the exhibit, Room 9 pays a proper tribute to two important people in the Italian and Bolognese musical culture, Giuseppe Martucci and Ottorino Respighi.

This room displays the composer's portraits, photographs, and a selection of works from the Respighi property, which were donated to the library in 1961 by his widow, Elsa, for the 25th anniversary of his death.

Saved from the Napoleonic confiscations due to the intervention of Stanislao Mattei, Martini's disciple and successor, the valuable bibliographic patrimony was donated to the Liceo musicale di Bologna in 1816.

The Civico Museo Bibliografico Musicale was founded in 1959 in order to conserve and make the most of the bibliographic patrimony and portrait gallery.

From the valuable letters of correspondence that Padre Martini kept with different well-known people of the time (for example, musicians that were his students in Bologna, members of the Accademia Filarmonica, music theorists, composers, nobles, illustrious intellectuals, chapel masters, and custodians of Franciscan convents), it is evident that there was a complex network of informers and intermediaries that were responsible for finding the portraits he desired.

It also seems that the prestige of Padre Martini, who was considered the most knowledgeable European expert on the art of music, was so great that it was important for a musician of that time to have their portrait in his gallery.

The central administration of the Dipartimento del Reno had asked the government of the Repubblica Cisalpina to purchase and conserve the objects that risked being dispersed.

The recovered instruments were then entrusted to the Liceo and, in 1881, were finally added to the Museo Civico Medievale, where they have remained until today.

It was constructed for Camillo Gonzaga, the Count of Novellara, and afterwards was passed to Giuseppe Baini (1775–1844), the celebrated author of the first biography of Palestrina.

There is also the polyphonic flute (displayed in Room 5), which bears the mark of Manfredo Settala (1600–1680), a Milanese rector, who was a great collector and famous personality in the cultural panorama of the 17th century.