CAMLICUMS Conference at the University of Lethbridge

Lethbridge, Alberta May 12-15,2004

By Lisa Rae Philpott Music Library, The University of Western Ontario

ravelling to this year's conference Prairie Collections (CAML) Geoff Sinclair required stamina and nerves of steel. (CNIB), Chair TWho would imagine that Winnipeg would receive eight inches of snow on May The Richard Johnston Collection Apollonia ll? As I had taken two days off, pre- Steele, U Calgary conference, to attend my youngest niece's fourth birthday, I found myself literally in the Steele suggested that she should change thick of it! Mercifully, the Winnipeg Airport title of her talk to "Richard, our Hero!" She was plowed-out by the time my flight was due gave the history of special collections at to depart on May 12, but the Tram-Canada Calgary, beginning with Kenneth M. Glazier's highway was closed between Winnipeg and the decision to collect the works and primary Saskatchewan border. As a result, it took sources of contemporary Canadian authors; Glenn Carruthers (Brandon U) several days to she noted that the acquisition of the Hugh reach Lethbridge. McLennan papers garnered significant media attention. Richard Johnston undertook to do Having arrived, however, it was hard not the same for music, acquiring the Morris to be impressed by the southwestern Alberta Surdin Archive in 1978, and working tirelessly setting of the University of Lethbridge. to acquire many new archval collections Nestled in foothills next to the Oldrnan River, between 1979 and 1988. Calgary named its it has a remarkable sense of place and a music archives after Johnston, the champion, grandeur born of spaciousness. I suspect all innovator, leader and hero. attendees who stayed on-campus enjoyed watching wild deer traverse the coulee behind the residence; the prairie dogs' gambols were There are certainly problems with the a much more public spectacle. I admired the acquisition of fonds: it is difficult to predict architect's conception-by impressing anyone's staying power over time; there is so naturally-coloured gravel into the concrete much to acquire, and there is not enough staff surfaces of many ofthe buildings, the buildings (particularly staff with a music background). become one with their surroundings-a Calgary staff prepare fonds-levelentries which wonderhl visual effect. And the university appear in the Archives Network of Alberta and itself made a strong impression: an integrated Canadian Archives databases. The 800-page facility with technology everywhere, a concert finding aid to the Surdin Fonds is presently hall, a theatre, abundant practice rooms, well- being proofread; a University of Manitoba maintained student residences, and a spacious student is working on the Howard Cable library with large, custom-built study carrels. Fonds. Steele remarked that the music archives is This CMC branch occupies space on the poised on the brink: it needs a champion, one same floor as the U of C music collection. Its who understands the importance of primary twofold mission is to service to its Associate sources for inquiry-based research. Also, there Composers and to operate the Library. There is a pressing need to preserve the sound is a strong, symbiotic relationship with the recordings collection. University of Calgary. Original copies of scores go to the CMC National Office, with Please visit the U. Calgary site to explore copies sent to all regional centres. Copies of the remarkable breadth of the special CBC radio broadcasts are kept and used collections' music fonds: http://www.ucalgary. onsite; vertical files are also duplicated in the ca~library/SpecCoWmusarc.htm regional branches. Online requests from users are routed to the nearest regional office for mailing purposes. The University of Calgary LP Collections Marilyn Nasserden Allison is hard at work on the new CMC catalogue. Much of the old data has become Nasserden delineated the holdings and corrupt; the new catalogue will be MARC- scope of the Calgary music collection, based. There is no catalogue subject access at characterizing it as a medium-large research the moment, and the new relational databases collection. There is no need to purchase wiU require a thesaurus. There is a cataloguing Canadian repertoire, given that the CMC backlog of a couple of hundred scores. In Prairie Region is located in close proximity. response to a query about the variable quality She received support to continue to develop of the online composer biographies, Allison the LP collection. It's necessary to search both commented that the composers subrmt their the library catalogue and a FileMaker Pro own bios. And, the composers also decide database to locate all sound recordings in the which sound-samples are offered with the university library. Gifts continue to be a copyright restriction of twenty-nine seconds' valuable means of developing the collection: a worth of audio. donation fkom geologist Richard Lee contained some 6,600 LPs of oboe music; Dr. Sergeant's teaching of a folk music course Canadian Sheet Music at the University of became a gift of 2,100 LPs and 590 CDs. Calgary Apollonia Steele Notes regarding provenance of gifts are searchable. Sheet music is a recent addition to Calgary's collections. It is a problematic Canadian Music Centre - Prairie Region format, with sleepless nights spent worrying- Stacy AUison and George Fenwick (in John over a collection contained on brittle paper. Reid's absence) Sheet music has a wider community interest fiom a variety of viewpoints: lyrics, music, AUison is the new Head of Library artwork, regional history, composers' Services, National Branch, and Fenwick is the photographs, etc. Calgary is compiling a basic Administrative Assistant of the Prairie Branch listing, chronological and by composer; no first-line index ...y et! Steele has found the project to be great fun, finding bibliographic Looking for Songs in All the Wrong Places? records on Amicus and WorldCat. Or... Singers' Survival Techniques for the Music Library. Lisa Philpott (UWO) In the Classroom: Music Bibliographic Instruction (CAML) Desmond Maley I played the PowerPoint presentation that (Huntington), Chair I show (and revise) annually to Western voice students and faculty. This is an invited session B1 at The Faculty of Music, U of T Suzanne organized by Torin Chiles, and scheduled Meyers Sawa (U Toronto) during the first two weeks of classes with attendance required of Chiles' studio; other Meyers Sawa offered a history of B1 at the vocal students and faculty are also welcome. U of T over the past twenty-five years. There The time slot is Chiles' two-hour masterclass have been a variety of approaches from session, but as it is traditionally scheduled for physical tours to structured assignments. a Friday afternoon at 3:30 p.m., I try to keep Students learn to use electronic resources the time to just over an hour. (e.g., an exercise using New Grove Online). From a list of composers and works, they must Voice students have a difficult time in the find a score in its original version, and find an library, as classification and cataloguing rules English-language biography written since 1990 do little to help them find desired repertoire. about a composer. With online assignments, Beginning with how not to search for songs Meyers Sawa insists that students print-out, (illustrated by looking up Mozart as an mark and attach their search results to their author), I explain that libraries purchase submissions. collections of songs (rather than individual titles), and gives the reasons why title searches Music education is a discipline that lends are useless in the UWO catalogue. I give the itself well to some degree of graduate basic breakdown of the LC classification (M, instruction. Meyers Sawa begins with the ML, MT) plus the UWO-specific prefixes. library catalogue, and offers a two-hour class Different genres of vocal music are discussed, session on ProQuest and finding digital in light of the fact that songs are classed by dissertations. Integrated classroom instruction genre; the importance of providing as much and the need-to-know are always the best information as possible-when help is means of delivering instruction. Graduate required-is stressed. students in particular have been eager to attend drop-in sessions, which is a reasonable A book truck of essential reference works means of offering instruction on the Music is brought to the session, along with print Index and RILM. Non-structured sessions are copies of the Voice pathfinder. The reference often best, as research strategies don't always works include bibliographies of voice music, work. Finding early music in the library thematic catalogues (Koechel-Mozart and catalogue is difficult, so she offers two Schmieder-Bach), volumes of song sessions for performers regarding series and translations (ML 54.6), New Grove Opera collected sets, directing them to use WorldCat (vol. 4 has Appendices: "B lists arias and to verify what is contained in a particular set. vocal ensembles in alphabetical order, and gives the name of the character who sings the aria, the title of the larger work, plus the act in U of S offers an Aboriginal portal whlch which the aria is contained), foreign-language includes music and Personalized Access to dictionaries with IPA, Denys Parson's Web Services (PAWS) to its students, staff, Directory of Tunes (the "up-down" book), faculty and alumni: http://paws.usask. ca/faq/ Miriam Whaples's Bach Aria Index, and Barlow and Morgenstern's Dictionary of Please have a look at the "music concept Musical Themes. Students are encouraged to map" at the U of S site: http://library.usask. memorize the appropriate LC classification ca,education/musicmap.html numbers, and are strongly encouraged to ask for help sooner rather than later. The UWO At the end of this session, questions were Music Library's Opera Collection is entertained. Meyers Sawa recommended that mentioned, and online resources are librarians need to take the initiative, like highhghted via the Western Libraries' offering a week-long lunchtime seminar: "Resources by Subject" pages at: "Music Research from Start to Finish or www.lib.uwo.ca/resources/singers guidance to a particular task. Belford resources-shtml. commented that U of S offers Virtual Reference, with an option to cut-off offensive The session closes with a demonstration of patrons. WebCT is very popular for offering keyword searching in the Western Libraries' instruction: the U of S's PAWS portal has Catalogue, and the reasons why it is the only links to WebCT. search to use in order to find songs (printed music and CDs) with any degree of success. The Composer in Today's Marketplace The PowerPoint slides from this presentation (CUMSICAML) Edward Jurkowski (U Leth), will be available for viewing on the CAML Chair Web site. Composers-in-Residence Alan Gilliland B1 at the University of Saskatchewan Richard Belford (U. Sask) Alan Gilliland is composer-in-residence at Grant MacEwan College. He previously spent Belford described the history of Music B1 five years as composer-in-residence with the at Saskatchewan. Most CAML members will Edmonton Symphony Orchestra (ESO). All in remember the Music Resources Web page all, it has been a positive experience for him. created by Lorna Young in the early 1990s. U of S emphasizes regionality, and Belford7s The composer-in-residence program was goal is for the EducatiodMusic branch to be a begun in the early 1990s by the Canada local authority for information about Council and extended to symphony orchestras, Saskatchewan composers. Being a small opera companies and choirs. A matching-fimds institution, one must make optimum use of program enabled those organizations to hire a limited resources, therefore U of S cancelled hll-time composer for two years, with the its IIMP subscription, replacing it with the option for a third year. Gilliland noted that Music Index. He commented that most online composer John Estacio was affiliated with the tutorials are extremely basic, but the task of ESO for nine years under two separate grants; searching and finding music is advanced! The the orchestra funded him after the third year. Gilliland is contracted to write two pieces per projects (study grants, research grants) and a year: one short (five to ten minutes.), and one commissioning program. In terms of the long (ten to twenty minutes). And, he appears commissioning program, the AFA considers a at twelve children's concerts per year, of work's social and educational impact, and has which six are for K-Grade I students, three for funded works for a variety of ensembles (e.g., Grades 11-VI, and the remainder for Grades three saxophones, piano andvioh, community VII-XII. Of course, Winnipeg is the shining orchestra, junior high band). Chapman example with its annual week-long New Music examined the figures from 2001-04, and Festival. discovered that a high percentage of music- related submissions were successful and have The advantages of being a composer-in- received funding fiom the AFA. The panel residence include: representatives having come from the fields of music, film and theatre. For those whose unlimited access to an orchestra over a projects have not received funding, he five-year period recommended they continue to apply: you are access to recording funds always up against a different pool of applicants soloists want to play new music, and and a different panel. There is no bias toward commissioning a new work affords them estabhhed composers, but rather to new up- opportunities to play it with a variety of and-corners. Chapman noted that the Canada orchestras (e.g., clarinetist James Council is funding more Western Canadian Carnpbell commissioned Gilliland to applications. While the AFA may be viewed as write a Jazz Concerto for him) conservative, he feels it must justify its decisions and choices, although it does not The following four organizations are potential intend to act as a censor. Chapman also sources of funding for Alberta composers: remarked about the importance of getting into the schools-wherein reside future audience The Alberta Foundation for the Arts (small members, players, and composers-as a means and large projects) of improving your chances with a funding The CBC (small and large projects) body. The Canada Council The Edmonton Arts Council Canadian Music Centre Stacy Allson

The Alberta Foundation for the Arts (AFA) Allison, who spoke in John Reid's absence, A1 Chapman suggested that grassroots support could use a boost, noting that the Prairie Music The AFA7sURL is: http://www.cd.gov.ab.ca/ Awards/Western Canadian Music Awards did all-about-us1 commissionslartsl not have a category for either classical composition (that category has just been added Chapman holds an MEd from the U of to the 2004 roster) or performer. She Alberta, and is the Music and Sound suggested buying a membershp to support the Recording Consultant to the Foundation. The Awards. AFA funds a great many projects, with two specific areas of interest to composers: music The CMC functions as a service point to idea of outreach needs to be further composers, in particular, the Centrediscs developed. Why isn't it part of the curriculum? Distribution Service, markets independently Arts groups receive such limited funding that produced CDs. The CMC gives composers it's hugely expensive for them to devise and opportunities to find performing groups, and implement outreach. The government is sponsors "reading projects" such as the one abrogating its responsibility by downloading with the Kitchener-Waterloo Symphony, that this task onto the backs of arts organizations. offer composers the opportunity to hear an orchestra perform their works. This has also Similarly, the new music festivals are a aided in marketing, as the orchestra has then double-edged sword. They can create a ghetto programmed several of these works. She whereby all new music is taken out of the mentioned "new music in new spaces" as a regular concert season, and there is a "heavy- future project. The CMC Web site gets a great duty hit" of it only during the festival. Arts deal of traffic from Europe. The CMC is also councils are the lifeblood of arts organizations, aggressively seeking funding for special with a peer-reviewed/ann's length relationship. projects, and particularly hopes to offer There is no effort made to demand a particular services for composers under forty. style, but there have been historical concerns about perceived Canada Council funding proclivities based on geography (Central Michael Matthews (U of Manitoba) Canada has received more funding than Western Canada). The situation with Matthews has been at the university for provincial arts councils varies: some are nineteen years, and is a founder and artistic healthy, some are not; some fund orchestral director of the Groundswell new music series. commissions, others do not. Some provincial He was recently appointed Composer-in- councils received increased budgets; others do Residence with the Saskatoon Symphony. He not. questions the concept of the "composer in the marketplace." Is the commercialization of Matthews spoke about the impact of arts composition an appropriate model? The term councils' funding of new music. On what basis "marketplace" is loaded with connotations. do arts councils decide to fund works? They The idea ofthe composer-in-residence is great, are spending public money, so how do they as it creates new orchestral music and gives justify their decisions to their superiors? Do the composer the opportunity to learn to write they consider the impact of a work, either in for this ensemble. However, couldn't the idea the short- or long-term? Canadians have arich, be expanded so that the programming diverse cultural trahtion. Are arts counclls committee might solicit the composer-in- hding only particular kinds of music? Level residence's advice? It often seems that if a new of difficulty is another consideration, especially work is programmed, the rest of the season when a performing organization gets but a consists of traditional fare. Certady, the single hour ofrehearsal time for a new work of composer-in-residence gives some exposure to ten- to fifteen-minutes' duration. A work must Canadan music, but Matthews finds that even be fairly easy to put together in this situation, many of his learned university colleagues which is why Ligeti is not performed at the cannot name any Canadian composers! The Winnipeg festival! Both primary and secondary education is this be accomplished? The process will take the great failure of the arts. It does not several years. A number of working groups acquaint people with our cultural traditions. have been assigned the same tasks (pairs of The notion of value is restricted to the groups fi-om each prior institution). The marketplace, rather than spiritual or non- transformation team will plan and coordinate monetary values; there are many situations all issues and manage the process; there have where the measure of commercial success is been three phases of working groups so far. not appropriate. In the past, the arts have been The Directions for Change document places supported by the church, then by the the collections at the heart of the mandate, aristocracy, and now by arts councils. their preservation and growth being of prime importance. Again, this will be a new kind of Matthews noted that the CMC is opening knowledge institution, truly national, in one a new office in Amsterdam. collection.

Ongoing Projects (CAML) What will drive Libraries and Archives Canada? Access, whch has traditionally been What's Happening at the the National different for archivists, will move the focus to Library? Brenda Muir (LAC) the client, while maintaining effective stewardship of Canada's documentary Brenda described the changes afoot at the heritage. There will be a strategic approach to National Library of Canada, due to the 2002 metadata, with a digital task force to address legislation that created a bbknowledge mainstream digital access. institution." The changes of information technology helped dictate this convergence, as Muir gave an account of the timing and clients didn't see the reason for two separate variety of sessions in which staff have institutions (as in the formerly separate participated and offered input; as of April 23, National Library and the National Archves). the telephone and inter-library loan services of Both were in the business of providing access the departments have been merged, with a to information, and a single entity will have two-week turnaround for the latter. The Music more clout than two individual ones. Now, all Division staff will still provide reference, information about Canada will be available describe and care for the collection, and fiom a single institution, which will strengthen perform retrospective acquisition; the Music the visibility, relevance and access to the Cataloguing Team will move to Gatineau. collections. The aim is to be Canada's leading Special Collections will be closed, and a knowledge and information management mediath2que will be created. Music materials organization, to be innovative, and to in the Archives may be pulled and moved to strengthen cooperation with other indviduals music. Reference service will be different, and institutions. integrating external requests regardless of whether they occur via the Web, in-person, by Royal assent has been given and post or by telephone. Onsite, greeting and proclamation of Bill C-8 is pending. The orientation will occur on the main floor, mandate is to be open and visionary in terms reference "triage" on the second floor, of Canada's documentary heritage. How will including consultation, and the researcher may work in a study room. There will be more There are approximately 155 pieces, levels and standards for reference service: A representing the music and social history ofthe equals casual; B equals in-depth (up to ten province, half of which are unique copies. days); and C equals in-depth, requiring the "About this Site" has an FAQ and a ht of hiring and assistance of a specialist researcher. missing works. There is a wide variety of Archives have not had these standards/levels material fi-om songs with piano to dances previously, and have fielded 80,000 questions (waltzes and two-steps), to songs about annually. Music has no A-B-C levels: Marlene people, places and Ogopogo (check out the Wehrle fields the print questions; Brenda, the latter on the site). The addition of the Finale sound recordings; and Jeannine Barriault the Viewer is a new feature: one can follow-along archival queries. How would one perform with the music as it is being played. All in all, triage for music, especially when so many this a handsome site with many nice features: queries involve two or more formats? the ability to enlarge pages is useful, and the choice of .PG, PDF and Finale Viewer images There are four catalytic initiatives affecting is outstanding. The presence of technical the future of LAC: metadata (levels of specifications should be extremely useful to description and the improvement of access); anyone who is contemplating mounting a digital collections (making things known), similar project. Amican (Amicus plus Mi-Can, the Archives database) and the transformation of the delivery of services (seventy percent of Music Copyright in the Digital Age: requests arrive via e-mail). And, the change Roundtable (CUMSICAML) isn't just organizational, it's physical, with the move to Gatineau. Brett Waytuck (Saskatchewan Health Resource Centre) stated that the last major Canadian copyright review occurred in 1997; B.C. Sheet Music Project Terry Homer in 2002, an agenda was planned for 2004 (yet (UBC) to come). There is no Canadian digital millennium act to allow us to achieve parity Homer has been at UBC for seven years, with the U.S., another goal being the desire to providing music reference and cataloguing meet or exceed the WIPO standards. A services. His BC Sheet Music project received comprehensive review is needed. He also funding from CAML last year, and he took the discussed recent court cases involving opportunity to preview it at this year's copyright. Waytuck made it clear that the conference. government (particularly the bureaucracy) is onside with the corporate agenda, and intends The URL is: http://www.library.ubc.cal to move in this direction as soon as possible. music/bcmusic/default. htm. This excellent presentation in PowerPoint should be made available on the CAML Web The project has taken three years, involving site. the scanning and cataloguing of each item. The addition of MIDI files has added audio to the Tim Lloyd, CEO of classical.com offered site. Thereis information about the composers. his version of "Digital Music 101" and the concept of commerce versus copyright. The In tenns of digital music services, MP3 is licensing of content is what is different. L(.it. 77 Visit mp3.com, emusic.com, or realnetworksjukebox. Digital music copyright In the 1880s, sound technology consisted seems to be an attempt to impose a U.Ss of wax cylinders; Alexander Graham Bell surcharge, and ban players. The second digital hoped to bring concerts into homes. Now, we music initiative has caused chaos, with the have MP3 technology. Kilobytes per second RIAA suing mp3.com. Major labels have all (KBS), at high speed, are required to produce sorts of digital headaches, and were unsure of quality sound transmission. Windows Media how digital music worked. Essentially, the Audio (WMA) standards are also being companies owned the copyright, but didn't developed. Sound waves are still responsible know whether they owned the digital rights as for highllow or softlloud sounds. The air well. Lawyers said, "No, but give us money, pressure is converted into an electrical charge. and we'll get them for you!" But the physical The problem with translating music into data, sound carrier can be digital, so "Bingo! You is that one ends up with huge files. Samples had the rights all along!" are 16 bits; stereo doubles the amount of information. Ten MB/minute is generally CDs are essentially master copies: the what's required. In comparison, CDs have original copyright can be nearly impossible to 600-700 ME3 worth of space. Sampling trace. Why buy if you can always listen? That's removes the unnecessary data (the stuff we how streaming works. It's not bought, just cannot hear) and some sounds are masked by listened to. How do you price the number of other sounds. Essentidy, sampling removes listens? So that it equates to the former the extraneous bits. purchase? Should it be fifty-cents a listen? That's huge! How attached are we to Downloads ownership? That's the thing about classical.com: you can listen to something are owned by the user (generally) 1,000 times. In essence, legal services are must be downloaded to be listened to preferable to illegal usage: streaming services need storage, as files are compressed to are controllable, and fairly pay artists for their ten MBIminutes work. The difference between "free library portable, generally services" and paid-for "consumer services" is higher quality that libraries want a different type of music, 128- 192 KBS close to CD audio-quality whereas companies want stuff that wdl sell. And, in either case, extra metadata is required Streaming to enhance search and browsability.

users listen to the sound, do not own it A classical.com license covers all usage in- can be listened to immediately library, includmg audio reserves. There are no needs an Internet connection restrictionsllimits on the number of listens: speed users can purchase downloads if they wish to notportable do so. The service began in January 2003, with lower quality (needs bandwidth: 22-64 classical movements rather than tracks KBPS is sufficient) (essentially a pop-music term). After six months, it was evaluated for its research value Classical.com values its independence very and three were identified: it is an aid to lifelong highly, and is not beholden to content learning; offers remote access to faculty and providers. It would be happy to accept music patrons; andit supplements existing collections from non-publishers (say if universities (at a similar cost to shelf space). wanted to offer their local music to a particular geographic area). But, this is a new industry, Classical.com is dedicated to meeting and it can take years to get licenses; libraries' needs by offering a digital music conversations with publishers are evolving. In service specifically to libraries. The contrast, Apple is dealing with major labels to classical.com board has decades of library offer its licensed I-tunes, which are linked to experience, and has an external advisory board Apple's proprietary I-pod. This will be a pay- consisting of six librarians. They are per-tune service, with the music priced by committed to high quality service, offering length (99 cents for up to 5 minutes ). At 22 static-URLs, and the music of some twenty- KBS, this will work over dial-up. Now, most five commercial labels. They have just signed people are not audiophiles, and their own with BM1 (a two-month process to get equipment is not necessarily state of the art. At nineteen signatures). Classical.com actively Juilliard, a comparative listening course seeks out music to match libraries' educational offered a 64 KBS service, which was needs, and began with MLA's Basic Music effectively killed when accessed by five to ten Library. They also talked to librarians, asking people. With classical.com, there is a choice of "What do you want?'At the present, there are 22 or 64 KBS, and either the user or the 27,000 classical recordings available, and 200- library can make this selection. plus themed play-lists, which are customizable by library staff. The service has gotten high marks fiom a number of reviews. CAML Research Reports Dime Peters (WLU), Chair Srnithsonian Folkways has just signed with classical.com. There will be a world-music Luigi von Kunits Kathleen McMorrow (U version of the service coming soon. In contrast Toronto) to Naxos, which has its own catalogue, classical.com offers at least six versions of the While indexing the Canadian Journal of 1812 Overture, which is a representative Music, McMorrow became acquainted with sample of the good ones. It can also be a the scope of von Kunits' career. A violinist source for archival recordings. and expatriate Viennese, von Kunits' repertoire included Beethoven, Brahms, Bruch, Spohr, Vieuxtemps, La10 and Saint- Brenda Muir commented that the National Sa*. As concertmaster, he toured with the Library of Canada often receives requests for Pittsburgh Symphony, giving a concert with dgital copies of existing analogue recordings. the Mendelssohn Choir in Toronto. Leaving Most requests are referred to the copyright Pittsburgh in 1910, von Kunits returned to owner, and generally all agree, with the Vienna for two years. In 1912, he returned to exception of BMI. Toronto to head the Canadian Academy 1 Toronto Conservatory / Toronto College of Music. His string quartet gave the Toronto with the composer at the piano-the acetate premiere of Schoenberg'S First Quartet. has never been released. Shaw is also a talented arranger, creating easy, interesting, Von Kunits perceived a need for a forum and energized arrangements. In 1949, he wrote for musical discussion, a critical journal. Over an arrangement of Ravel's Habanera for the six-year span of the Canadian Journal of clarinet and orchestra which was recorded Music (which he founded), von Kunits wrote (copies are extremely rare). He has been over fifty editorial essays totalling more than contemplating reissuing some classical works, 75,000 words. Many more articles were and was appalled when Simosko told him that unsigned, but were unmistakably by von Branford Marsalis had recorded this Kunits. (Who else would have heard Ysaye's arrangement on the soprano saxophon-not debut in Vienna some thirty years previously?) because he (Shaw) got no credit for the He wrote on a variety of topics, often offering arrangement, but because it was just "wrong" internal dialogues in a question-and-answer for the saxophone. Shaw himself was a deep, format, discussing the centrality of music, and sophisticated soloist. Remarkably, while at one point described rhythm as the "skeleton playing top-of-the-line clarinets (Buffet or or backbone of music." In 1917, he Selmer), he used a stock mouthpiece and a commented upon musical prodigies, who are plastic reed, saying "The sound is in your "growing like mushrooms after a summer head!" rain!" McMorrow confessed to being charmed and fascinated by von Kunits' prose. There is another side to Shaw: the writer and amateur scholar. He has written several Artie Shaw Vladirnir Simosko (U Manitoba) books, one being The Trouble with Cinderella: An Outline of Identity deahg Artie Shaw is now ninety-four years of with the pop-idol label. His composition age. He was the leading sadclarinet Nightmare (1937) is the first modal jazz playerlsideman in NYC at age thirty-six. He composition. Most biographies portray Shaw wrote his own music, and his innovation of as a pop-star, boozer and womanizer. When adding a string quartet to a swing band, asked about his many marriages to film stars, notably in his "Interlude in B-flat," created a Shaw quipped, "Who could resist?' Simosko's sensation when premiered. But it was his book goes a long way to &spelling the myths rendition of the standard "Begin the Beguine" about Shaw and setting the record straight; that catapulted him to stardom, supplanting Shaw himself wrote the introduction. Benny Goodman. The burden of being a pop star playing the same music nightly was too much for Shaw and, sick of the inanity of it all, Modern Indigenous Music and the Uses of he walked out. He continued his career for the Media: Keynote Address another fifteen years in Mexico. Shaw was (CUMSICAML) Beverley Diamond performing with his band during the bombing (Memorial U) of Guadalcanal, and became deaf in one ear. "I am the genii of entertainment," said Shaw commissioned Norman Dello Joio to Thornas Edison. write a clarinet concerto-and recorded it, Native Americans were among the first women trio Ulali's "Going Home;" Mathis recorded subjects, capturing fugitive sound. Oskal's "Millennium Yoik;" and one by the While cameras could be used to follow Sbi artist Inga Juuso. Harjo celebrates pathways across the lands (where the spirits of heroes, both known and unknown; Ulali loves ancestors travelled), audio recordings have a the blues. Oskal celebrates fiendships, one mystique. The evidence of indigenous yoik describes the annual moving of reindeer recording artists like Santu Thoni (a Beothuk to the summer islands and the meeting of descendant married first to a Mohawk, and fiends like Mahte Antte Mahtte (Oskal was later to a Micmac chief), who was recorded by the winner of the S& Grand Prix of Joikin, a Speck in 1910 ("Santu's Song"), offers CD from 2000 is Njargon DATCD-30). another window to the past. Santu gave Speck information about detailed social practices, How does yoiking differ from singing? dice and bowl games, and was alert and Yoiking is an edgy sound, while singing is attentive to detail. Santu was a traveller, and bland by comparison. Diamond played a clip of sang three songs for Speck, not just one. The Inga Juuso-who is a "new Yoikerm--there first had a discrete structure: phrases with was a flamenco influence in the work we cadences. The second has the flavour of heard. Gregorian chant, a French influence, with stylistic shikmties to Innu hymns. The third Now-Take Two--Mediation of Historical has a faster tempo in triple metre, sounding a Roots/Routes little We "London Bridge," and the move to a triple metre is also found in an Innu hymn. Lucie Idalout's CD, entitled E5 770: My Santu represents a bridge of cultures, Mother's Name (Heartwreck Records, 2002), mirroring a hybrid heritage. contains the radio broadcast voice of Lucie's mother in the background. "E5 770refers to Diamond then described the Finnish S& a 1944 government policy, whereby people phenomenon of voila. Dozens are recorded, with difficult-to-pronounce Inuktituk names from fdyspecific, to yoiks on the death of were given numbers instead. There is some royalty. You can have a yolk to a mountain. throat singing in the background. How? Well, you try to capture a quality, perhaps with vocal tremolos, or by using large Ulla Pirrtijarvi, a Shni, heard an early intervals. Personal yoiks predominate in live recording of an old man-and she knew that concerts-probably only one-third are she was related to ths voice. ..and she was. recorded-partly due to the fact that Her CD, entitled In Her Foremother's Arms copyright, S&-style, gives the copyright to (2002), juxtaposes old andmodernrecordings. the subject of the yoik, not the creator!

Roots/Routes -Take One-The Mediation of Now--Take Three-Indigenous Music as Ethno-cultural Roots/Routes Public Intellectuals (e.g., Bono)

Diamond played several recorded Wimmi Saari performed at Riddu, 2002. examples: Joy Harjo's "Letter from the End of Saari is a Finnish man; he performs no the Twentieth Century" (Muskogee); the personal yoiks, rather his yoiks present the sound of an electric drill, or the sound of One 1970 yoik concert was notable traffic and buses encountered on his way to because some of the audience members had to work. A yoik is ndt dance music. Diamond be removed-they wouldn't stop responding played one yoik that included references to to the yoiks. One is commonly yoiked at Texas, Clinton, George Bush(ey), and Yasser weddings, as in "to yoik the shoes off the Arafat. She suggested that early recorded groom," a reference to a spendthrift daughter. artists considered which song and style was to Copyright, as mentioned earlier, belongs to the be recorded ...and were both "rooted and "yoik-ee" or subject of the yoik. A 1980 S& routed." Bear in mind that recording versus yoiker Eurovision concert caused much public live recording involves different choices, some criticism, as a yoik was used without of which are the extent and variety of music permission.. ..the fact that the yoik-ee might presented. We need to understand our roles as have been difficult to reach, being on the mediators. reindeer-herding circuit, would not be considered a valid excuse. Contrast this to the Consider friendships--deep and lasting, or modern world's copyright with reference to not-versus politics. Consider the politics and CDs: I am the author, I need no permissions to aesthetics of art. Why and how do people record a CD of my own music. Yoiks can relate to each other musically? Think about either be spontaneous or created with care Schubert's circle of fiiends in 1820 in Vienna over a great deal of time. Kids are tested by versus New York City in 2002. The concept of their parents on their yoik knowledge. Even kinship in nineteenth-century Germany though one of Diamond's colleagues has 700 redefined how people related to one another; yoiks on his hard drive, yoiks are made known today, the concept of place plays a factor: the primarily by word-of-mouth. She also S& Artists Association meets in NYC discussed the recording of Lucie, noting that annually! Indigenous music may well be hybrid the use of vocables first, then repeated and as a rule (consider Santu), and there is followed by the text: the tune is always resistance to changing one's cultural heritage associated with the same text. or niche.

Diamond was asked whether she has ever been yoiked. Not to her knowledge.. .yoiks are Issues of Nationalism (CUMS) Edward not written down and change over time. They Jurkowski (U Leth), Chair can be nuanced differently and, depending upon an audience or situation, the same text Yrjo Kilpinen: Finnish Lieder and German can be presented quite differently (the example Cultural Politics during the 1930s James being a yoik being performed when angry Deaville (McMaster U) versus the same yoik being performed at a fdywedding). Yoiks are circular, having no Kilpinen was the greatest and most beginning or end. The rhythm and pointing can productive lyricist of the 1930s. Known as the change. A S& child will have a name and a Finnish Schubert, he wrote some 750 songs childhood yoik. A common question is who and a series of cycles. Born in 1892, he stuched will give you your adult yoik, and when? (This at the Helsinki Music Institute. He also was a can be a stresshl thing.) card-canying Fascist, but his Nazi ideology is rarely mentioned or acknowledged. Kilpinen Querying Nielsen's Nationalism Sarah was one of two foreign jurors for the 1936 Gutsche-Miller (McGill, Finalist, George Olympics Music Competition in Berlin, the Proctor Prize) other being Malipiero. The 1940 Olympics, scheduled for Helsinki, was cancelled. Kilpinen Car1 Nielsen has been relegated to was scheduled to have been in charge of the secondary status by English-language critics. Music Olympics that year. Unfortunately, there His reception has been almost exclusively that are few documents about him in translation. of a national composer. Born in 1865, Nielsen attended folk schools, studied htory, myth and music, thereby steeping himself in his The Lied is considered to be the bearer of cultural and political heritage. His symphonies German identity, the sum confession of the and concertos are labelled as nationalistic, soul. Kilpinen was a virtual poster boy for the when in fact they are mainstream European. Nordic-Aryan lineage. His setting of German texts were praised for finding the "right and Somehow, Neilsen's national songs have true tones." Deaville played one example become associated with his symphonic music. which contained nineteen suspensions in the His Third Symphony (written 19 10- 11) was piano introduction-an effort to convey acclaimed as the one which best exhibited serenity (hymn-like)? Following the Nazi era, Danish character, and was a great success. It Kilpinen was deemed an embarrassment, and was said to embody the Danish landscape, the was either ignored or written out of history. In Andante being described as a "humid summer 1992, the Kilpinen Centenary prompted a day." There are appoggiaturas, acciaccaturas, reappraisal, but the Kilpinen Web site makes conjunct melodic motion, with both diatonic no mention of his Nazism. In the UK, a and modal scales. There is a tonal focus, the Kilpinen Society was founded in 1935; one of harmony is triadic and modal. The second the founding members was the impresario movement opens with horn calls, and the Walter Legge. New Grove describes Kilpinen's oboes play a circular melody. There is a folk songs as being "rather fine." "feel" to this movement, but it is not specifically Danish or Scandinavian. Gutsche- Miller played an example, diatonic with a It remains to examine Kilpinen's modal influence (a flattened seventh). Her compositional practices, and this may be an third example featured the horns, with altered opportunity to examine music and politics in a fifths, no longer pastoral. Perhaps the allusion fruitful halogue. Kenneth DeLong suggests to folk culture is one of those dominant that Hugo Wolf might be a model for Kilpinen, features with universal appeal? Somehow, or perhaps Josef Mm. Deavdle noted that composers fi-om smaller countries are always Kilpinen's music was raised above that of the considered to be nationalistic. Gutsche-Mer native German, Hans Pfitzner, by the German suggested that a "Nordic sound' is not a National Socialist Party. Recordings of dominant feature of Nielsen's works-rather Kilpinen's songs weremade by Gerhard Hiisch they are neoclassic or examples of early and also are available on the Bis label. modernism. Perhaps Denmark's desperation for a national composer coloured Nielsen's reception. Certainly his Maskarade is very much like Mozart, with its opera buffa Philips University has a two-tiered library character. There is nothing "Danish" about it. system: older, smaller libraries and a new University Library built since 1960. The Reports from the Field (CAML) Richard libraries hold 2.3 million books, incunabula Belford (U Sask), Chair and manuscripts, with an acquisitions budget of some $3.2 million Canadian dollars. There MLA's LCSH Workshop Lisa Philpott is a Canadian collection, the Alan Coatsworth (UWO) Collection of 40,000 books, 120 periodicals and maps of Canada; they have a strong I attended the post-conference workshop collection of Hessen materials (Hessen being following the February MLA Conference. I the state within which Marburg is situated). suggested it might be best if I wrote up a report for a future issue of the CAML Review. There seems to be little cooperative (The session was somewhat intimidating for cataloguing: technical services were non-cataloguer, but reference librarians need coordinated in the 1970s; acquisitions are to know about LCSH, too.) I was surprised to coordinated with Faculty. There are thirteen learn that choreographed works are entered as divisional libraries, and ninety-two English-language titles.. .and asked the LC rep Fachberichts-Bibliotheh which exist on their about this, since the LCSH rules speclfy that own, which causes much duplication. The music titles must be entered in the "original library receives a great many requests, both e- language." The response was, "I was warned mail and written, from foreign researchers. The that someone would ask me about this! It's catalogue, Pika, is a Dutch system; the because choreography is not tied to language, acquisitions system is also Pika. They so the decision was to catalogue dance titles in catalogue using field tags, and do not use English." MARC.

Philips University (Marburg, Germany) The central library is closed stacks. The Dime Peters (WLU) "reading collection" functions like a reserve collection. There are multiple copies which Peters spent two weeks visiting Pups may be borrowed for four weeks. Loan University, which regularly participates in a periods are specified by the government. There student exchange program. Marburg was is nothing like LCSH. Instead, each library damaged slightly during WWII, but 150 makes up its own headings. The cataloguer medieval buildings have been fully restored. provides an item's basic description, and a There is a ninth-century castle, and the earliest subject expert assigns the call number. Subject Gothic-style church; Marburg was also the experts must have a doctorate. The OPAC has centre of the Teutonic Knights. Philips been available since 1987. Items from 1974-86 University celebrated its four hundred and are listed online, with the exception of items seventy fifth anniversary in 2002, and its from S-Z. Items dating from 1930-73 might be alumni include Boris Pasternak and the available in an online union catalogue from Brothers Grirnm; Heinrich Schiitz studied Law Frankfurt (listed by main entry); dictionary there in 1609. Some 1,800 foreign students are catalogues must be consulted for items pre- presently enrolled. 1929. The job situation is quite regimented, with President Ed Jurkowski, a Lethbridge city those in the civil service having to take a state official (on behalf of the mayor) and the exam that guarantees job security. Salary university's Vice-President (Academic), charts take into account whether one is Seamus 07Shea,were on hand to greet us at married and also whether one has children. the welcoming reception. The music making, The work week is 37.5 hours, with a time which included a faculty recital, a concert of clock: lunch is scheduled from 12- 1:30. Diane composition competition winners, and noon was given a tour by a blind gentleman whose hour mini-recitals, met the standard of English was excellent. Her visit gave her the excellence we have come to expect at these impression that libraries' problems are gatherings. Kudos to Richard Belford for universal. organizing a terrific CAML program, and to Danessa Picklyk for her work (on CAML7s To conclude, it was a pleasure attending behalf) on local arrangements with CUMS 's this conference. At the invitation of CUMS Brim Black, Deanna Oye, and Arlan Schultz.