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NEWSLETTER OF THE INTERNATIONAL ASSOCIATION OF MUSIC LIBRARIES ARCHIVES AND DOCUMENTATION CENTRES (AUSTRALIA AND NEW ZEALAND BRANCH)
Volume 10 Numbers 2 and 3 ISSN 0310-6802 July and November 1981 CONTINUO
NEWSLE;TTER OF THE INTERNATIONAL ASSOCIATION OF MUSIC LIBRARIES ARCHIVES AND DOCUMENTATION CENTRES (AUSTRALIA AND NEW ZEALAND BRANCH)
Vu 1ume 1O Numbers 2 and 3 July and November 1981
ISSN 0310-6802 Editors: Mary 0 1Mara Gordon Abbott Music Librarian Music Librarian University of Queensland State Library of Queensland St. Luc i a . QI d . 406 7 Wl I I i am St. , Brisbane. Qld. 4000
Manuscripts on any aspect of music I ibrarianship or sound archives to be considered for pub I ication should be forwarded to the editors.
Pub I ished by the International Association of Music Libraries Archives and Documentation Centres, Australia and New Zealand Branch (IAMLANZ).
Printed by Copy Cat Instant Press, Brisbane.
Cover design by Paul Bentle~. CONTENTS
Editorial ...... • ( i )
IAMLANZ Annual Report for 1980
IAMLANZ (N.S.W.) Report on Activities, 1981 3
The Austral la Music Centre in 1981 6
The Role of the National Library in Assisting the Research Efforts of Musicologists. Paper presented by P. Neidorf at the 51st ANZAAS Congress, May 1981 ...... 8 Music Manuscript and Research Material held on Microform in the Music Branch Libraries at the Universities of Melbourne and Sydney. S.D. Page (Part 2: Sydney) ...... 16 Preservation of the Indigenous Musical Heritage of New Zealand. M. McLeah ...... 21
Recordings Recommended for Purchase. M. Ho 11 and 31
SALSSAH Card Fi le on Microfi Im .... 42 Medieval Manuscripts in the National Library 42
RISM Libretto Project . 44 IAMLANZ General Meeting February 1982 45
News from Blackwel I's Music Shop 45 Antiquarian Music Monographs: A New Bibi iographic Project . 46
Music Libraries and Collections in Queensland 47 Architecture/Music Library, University of Queensland. M. O'Mara ...... 48 The Library of the Queensland Conservatorium of Mus i c . D. Bark I a . , . . , , ...... , , . . 5 3
State Library of Queensland Music Collection. G. Abbott ...... 59
* * * * * * * * * * * * * * * ' ( i )
EDITORIAL
Following a series of unavoidable delays, this edition of Continue comprises a double issue which completes Volume 10, In it the emphc1;sis has been placed upon recent activities that concern all IAMLANZ members and at the same time there are a number of articles of wider, more general interest,
In this issue we begin the first of a series of articles on music libraries and collections within each state, starting with Queensland. They are intended not only to provide a description of the major collections and services but also to give a brief outline of the smaller collections.
In March, 1982, the New Zealand Division of IAMLANZ will become an independent branch of IAML. In her letter of resignation as New Zealand Vice-President, Mrs Dorothy Freed expressed the hope that the two branches would work in harmony together, with exchange of publications and minutes of meetings. We would like to assure the New Zealand Branch of our full co-operation in the future and believe that both branches will be able to work closely together by keeping each other informed of activities of mutual interest,
Sfnce 1980, the New Zealand Division has published a separate periodical which will continue as the periodical of the National Branch. As from Volume 11, 1982, Continue will be the periodical of the Australian Branch of IAML.
The problem of bibliographic ·control of the music of Australian composers was again raised at the AA COBS Conference in Sydney in August last year. The proceedings of the conference, 'Bibliographical Services to the Nation: The Next Decade', have been published by the National Library of Australia in their series Development of Resource Sharing Networks: Networks Study No, 16, It is intended that the relevant papers from this conference will be republished in the next edition of Continua in conjunction with related reports from the Meeting of Legal Deposit Libraries held at the National Library of Australia from 31st August to 1st September, 1981, !AMI.ANZ members are urged to support the implementation of the series of recommendations made to the AA COBS Conference, as far as is now practicable, in any way that is possible, While AACOBS has been responsible, over a number of years, for the inception of numerous worth· while bibliographic projects, music has never been given a high priority. For too long, music librarians have been expected to take second place to librarians concerned with traditional printed material. And while AA COBS conferences in many ways serve a valuable purpose, all too frequently the ideas and the efforts put into the preparation of conference papers is soon forgotten.
With the future of the Australia Music Centre still uncertain as this issue goes to press it is worthwhile to consider the importance of the achievements of the Centre and the work of its former director, Mr James Murdoch, In the short period that it has been in existence, the Centre has accomplished a great deal by way of amassing an important collection of research materials and by documenting musical organizations, musical and musicological research in Australia, as well as the music of contemporary Australian composers. In addition, it has effectively promoted musical activities, in a wide diversity of forms, in this country. These are highly significant achievements given the short amount of time involved. It will be a number of years before the full significance of the valuable bibliographic work, the documentation and resource collecting activities of James Murdoch and the staff of the Australia Music Centre is fully appreciated, IAMLANZ ANNUAL REPORT FOR 1980
The impetus from the 1979 activities continued throughout 1980, and many national and international activities progressed considerably during 1980. The IAML/IASA 12th Congress in Cambridge in August 1980 witnessed the largest contingent ever from Australia. There were twelve IAMLANZ and IASA members from both Australia and New Zealand. Those present were Alexander Cameron, Jane Forge, Dorothy Freed, Jane Hardie, Grace Koch, Margaret McCarthy, Al ice Moyle, James Murdoch, Prue Neidorf, Joanna Parkes, Gerald Seaman and Peter Scott. Two papers were given by Australians to IASA sessions:... The pr:,oblems of Training s·ound Archivists by Prue Ne i dorf and Computerised cataloguing of Field-recorded MUsic, by Al ice Moyle and Grace Koch (both papers were pub I ished in the November 1980 issue of The Phonographic Bulletin). James Murdoch showed the recently produced fi Im from the Australia Music Centre cal led Notes on a Landscape. Six members are now on various IAML and IASA working parties and committees, which are mostly concerned with cataloguing and training. They are Jane Hardie, IAML ISBD(A) and ISBD(PM) joint committee; Grace Koch, IASA Training Committee, National Branches Committee and editor of the !ASA International Directory of Members; Al ice Moyle, IASA Committee on Cataloguing; James Murdoch, President of MIC group; Prue Neidorf, IAML/IASA committees on training, and ISBD(NBM); Joanna Parkes, IAML UNIMARC committee.
There was a IAMLANZ General Meeting held in Sydney at the Australia Music Centre in November, 1980. Representatives from each state and from each IAMLANZ project gave reports on their activities, and planned their continuation for 1981. IAMLANZ also received notice at this meeting from the Music Board that we would receive far less funding for 1981 than we had in 1979 and 1980. The meeting planned for the LAA/NZLA Conference in Christchurch in association with the New Zealand Division in January 1981 was most severely affected, and only one delegate from Australia, James Murdoch, was able to attend. The Music Board requested that additional funding be raised in each state through the relevant departments of cultural affairs for both national and international activities. It is hoped that this wi I I be forthcoming both for 1981 and beyond. We were unable to issue our newsletter, Continua, during the year. Volume 9 for 1979/80 was issued early in 1981. The NUCOMUSIC I file up to December 1980 was closed off, and a new sequence begun from January 1981, using AACR2. Although the first file is in four sequences, it is al I searchable for inter I ibrary loans. It is hoped that a task force wi I I complete the editing and lnterfi I Ing of NUCOMUSIC r so that it can be microfilmed and made ava i I ab I e. One of IAMLANZ's outstanding achievements for 1980 was the successful implementation of RISM under the chairmanship of Jane Hardie. In December, Stephen Page was given a grant from the University of Queensland Music Department to assist Jane Hardie in cataloguing those items in Sydney, Melbourne and Canberra not previously reported. By the end of this period almost al I of the RISM holdings for the RISM Series AI series had been reported to Kassel. It is hoped that a union catalogue of al I Australia's RISM ho Id i ngs wi I I be produced when funding is ava i I ab I e. The Australia M~sic Centre continued to provide invaluable support to IAMLANZ in this year, by providing faci I ities for meetings, comprehensive services to members and to I ibrarles, and pub I ishing the second editions of two of its most useful pub I ications, The Australian Directory of Music Organisations and Music Australia. The Centre also produced the fi Im Notes on a Landscape,which portrays the relationship between ten composers and the Australian landscape. It was with concern that we learnt of the decision to reduce its faci I ities and to slow down its activities for 1981 which was announced at the end of 1980.
Prue Neidorf President, IAMLANZ 3
IAM LANZ ( N. S. W. ) REPORT ON ACTIVITIES, 1981
Three NSW Branch meetings have been held so far in 1981.
They have dealt principally with the provision of music research faci I ities in NSW and were attended by the heads of university music departments and other scholars and representatives from government funding agencies as wel I as I ibraries.
Sub.i ect Spec i a I i sat ion Scheme A proposal to establish a music subject specialisation scheme was considered. The subject distribution was based on existing or anticipated strengths of individual I ibraries and university music departments: Austral iana, bib! iography National Library of Australia Medieval music University of New England Renaissance, 20th century, Jazz music NSW State Conservatorium Baroque, 18th century music, ethnomusicology University of Sydney 19th century music, music printing State Library of NSW History of opera, aesthetics, philosophy of music University of NSW Performing arts, music theatre Sydney Opera House 20th century Austral iana Australia Music Centre Although some I ibraries were not entirely happy with the al location of subjects against their collection and were unable to make an official commitment, the scheme was considered a useful informal guide to future acquisitions - particularly of expensive or esoteric items.
Survey of Historical Editions The I ist of historical editions in the New Grove Dictionary is being checked against individual I ibrary holdings. An annotated version of the Grove I ist wi I I be prepared so that further acquisitions can be considered. 4
Survey of music perlodicals
A I ist of 298 music titles indexed by Musia Index, RILM, and Musia Ar>tiate @uide, but not held by Australian I ibraries was submitted at the July meeting,
The I ist is being checked by individual I lbrarles to el imlnate any errors, and both I ibrarians and music scholars have been asked to indicate which titles may be regarded as important.
A reduced I ist of essential titles not held wi I I then be prepared as a basis for further acquisitions.
The AACOBS NSW Regional Committee has been informed of the meetings. IAMLANZ (NSW) Intends holding a further series of meetings to deal specifically with the provision of music lending materials in New South Wales.
OTHER NEW SOUTH WALES NEWS The Australia Music Centre was closed temporarily at the beginning of the year and, on 13th Apri I, the Music Board of the Australia Counci I announced that funding for the Centre would continue and that the fol lowing changes in structure were suggested: 1. That the primary function of the Centre be concentrated as a music information service.
2. That the Centre's I ibrary resource be expanded and upgraded to develop a specialised music I ibrary complementing other national and international resources in this area.
3. That the Centre's direct promotional activity be assumed by Australian Music Marketing Services, working in close co-operation with, and based at, +he Centre to uti I ise its specialised resources.
4. That copying of parts remain a function peripheral to its main activity of developing a music information service.
5. That pub I ic access to the I ibrary should continue with some I imited I istening faci I ities being avai Iable to visitors. 5
It is anticipated that the I ibrary wi I I be operating again by the end of the year.
The New South Wales State Conservatorium of Music Library has moved to new premises at 47 Macquarie Street, Sydney. The Library recently acquired a collection from the estate of the I ate AI an Be I I house containing 70 Asian mus i ca I instruments, 64 do 11 s and figurines p I ay i ng mus i ca I instruments, posters and other items.
The NSW Department of Education In-service Education Library has pub! ished three catalogues of its music holdings : books, music scores and recorded music.
The State Fi Im Library pub I ished a I ist of Films on Music (December 1980).
At the invitation of the Sydney Opera House Trust, Mr. R.F. Doust of the State Library of NSW and Mr. M. Draheim of the Museum of Applied Arts and Sciences were appointed to the Trust's Library Committee, with the view of faci I itating a more effective I iaison between the three collections. The Sydney Opera House Library recently acquired the Catalog of the Music Collection of the New York Pub I ic Library and has placed a standing order for the Catalogue of Printed Music in the British Library to 1980,
The Sydney Youth Orchestra Association, with funding chiefly from the NSW Premier's Department and with further assistance from the Australia Counci I, has conducted a survey of orchestral scores and parts held by New South Wales orchestras. A pub I ished Union Catalogue is expected in the near future. For further detai Is: the Librarian, Orchestral Lending Library Scheme, Sydney Youth Orchestra Association, 5/2 Stanley Street, Dari inghurst, NSW. (Phone 02.331.3444)
Paul Bentley September 1981 6
THE AUSTRAL IA MU Sit CENTRE IN 1981
In May this year at an IAMLANZ General Meeting in Brisbane which was held concurrently with the Musicological Society of Australia Fifth National Conference and the Musicology Section of the 51st ANZAAS Congress, the fol lowing resolution was passed unanimously. The Chairman of the Australia Counci I, Professor Geoffrey Blainey, was subsequently notified and requested to bring it to the attention of the members of the Australia Counci I. IAMLANZ regards the severe curtailment of the Australia Music Centre's activities with great concern. The Australia Music Centre has been a model for the entire world of what such a Centre can accomplish for the music of a country with a smal I population. This fact has been recognized by the International Music Counci I of UNESCO. The Centre's many pub I ications have been of enormous value and its catalytic efforts in promoting musical I ife and documentation for Australia have been exemplary. Whatever its difficulties and failures have been, these are far outweighed by its accomplishments. We strongly urge reconsideration by the Australia Counci I of the curtailment of the Australia Music Centre's scope of activities and the Director's relinquishing of his position. IAM LANZ a I so voices its strong concern for the future of the Centre's pub I i·cation program. In particular we deplore the probable loss of the Catalogue of Australian Compositions which is now ready for pub I icati~n and urge that the entire research and pub I ication program be reviewed as soon as possible. The President of IAMLANZ, Mrs. Prue Neidorf, received the fol lowing reply from Professor Blainey: Thanks very much for the letter praising the work of the Australia Music Centre and regretting that the Australia Counci I is curtai I ing its activities. I wish I could see a solution, Unfortunately the Australia Counci I's funds - and especially those 7
of the Music Board - have been declining heavily in real terms during the last seven years. Counci I has made considerable sacrifices to keep the A.M.C. alive and vigorous in recent years; and unless the Counci I's own finances improve, or unless other organizations give more help to the A.M.C., I myself can't even feel certain that the existing level of Counci I support can be maintained in the next few years. Sorry to be so pessimistic.
At the present ti me the Centre is st i I I c Iosed. Its former di rector, Mr. James Murdoch, has been appointed as a consultant to the Music Board of the Australia Counci I and in this capacity is continuing to work on certain activities with which he was involved at the Centre.
The Chairman of the Board of the Australia Music Centre, Mr, Frank Barnes, has recently indicated that a I ibrarian wi I I be appointed at the Centre in the near future and that the I ibrary wi I I again be open to the pub I ic. This wi I I be in accordance with the changes in the structure of the Centre which were suggested by the Music Board earlier this year. The major change suggested is that the principal function of the Centre should be that of an information service from a specialized collection of music resources. The other changes in structure are out I ined in the IAMLANZ (N.S.W.) Report on Activities on page 4. 8
THE ROLE OF THE NATIONAL LIBRARY OF AUSTRALIA IN ASSISTING THE RESEARCH EFFORTS OF MUSICOLOGISTS
Paper presented by Prue Neidorf at the 51st ANZAAS Congress, May 1981.
The National Library of Australia has a wide range of collections and services which can contribute to the research efforts of musicologists. I wi I I concentrate my efforts in this paper on out I ining the scope and accessibi I ity of the relevant pub I icatlons, data bases and catalogues which are created and accessed by the Library, and how these may be made use of by mus i co Iog i sts. I wi I I a I so out I i ne significant co I I ect ions of musfcological interest.
NATIONAL LIBRARY PUBLICATIONS, UNION CATALOGUES AND DATA BASES
1 ANB, Australian National Bibliography, < ) I ists books and pamphlets pub I ished in Australia within the current and preceding two years. It is issued weekly, and cumulates monthly, quarterly and annually. It is also accessible through AUSINET, from 1972 onwards, by author, title, subject and PRECIS string. It includes al I pub I ished music deposited under copyright, and since 1973 it has included music pub I ished overseas by Austral Ian composers. This has predominantly been those pub! ishing in the U.K. It has always been difficult to persuade Australian music pub! ishers to be comprehensive in depositing music scores, but every effort is made to identify and receive materials which are eligible for inclusion in ANB.
2 APAIS, Australian Public Affairs Information Service, < ) began in 1945 with emphasis, as imp I ied in its name, on the social and administrative sciences. It now covers all subject fields in the social sciences and humanities which are not covered by CSIRO's Australian Science Index. The core journals (those indexed in depth) in music are the Australian Journal of Music Education, Studies in Music, Miscellanea Musicologica, and. Musicology. Conference proceedings are indexed, and significant articles in general quarter I ies, month I ies and weeklies are also 9
included. In 1978-79 the Music Section of the National Library created entries on RILM Abstracts' forms for 1780 items on music from APAIS and ANB, covering the ten years 1967-77. These entries need to be further sorted. Those of musicological emphasis require abstracts, and al I entries wi I I then be able to be used 3 in the next edition of ·the Australian Directory of Music Research. < ) 4 APAIS has recently pub! ished a thesaurus of terms used in Indexing. < > It was considered important to continue using broad terms for music headings, and the thesaurus sets out those used and related terms on page 52. There are about thirty terms used. APAIS is now avai I able on I ine through AUSINET, from 1978 onwards. Author, tit.le and subject terms may be searched.
SALSSAH, Serials in Australian Libraries: Social Sciences and 5 Humanities, ( ) is probably fami I iar to you al I, so I wi I I briefly out I ine two recent activities relating to it. In 1978 a Union Catalogue of Music Periodicals in A.C.T. I ibraries was compiled by a C.C.A.E. I ibrary student. This is on 5" x 3" slips and is housed in the Music Section. More recently, over the last year or so, Paul Bentley, I ibrarian of the Sydney Opera House has been compi I ing a I isting of al I periodicals indexed in Music Index and RILM, which are not' held by Australian I ibraries. This should be c i rcu I ated short Iy, and I hope wi I I I ead to the f i I I i ng of essential gaps. The National Library acted on the previous I isting compiled by Mary O'Mara in 1972, and subscribed to forty new music titles not held elsewhere in Australia. We chose the lesser known ones, as these are uni ikely to be considered by other I lbraries. A selection of these titles was I isted in the Acquisition Newsletters from 1973 to 1974. (6 ) As a consequence, some of the more obvious titles are sti I I not held by the National library, but they are usually held elsewhere. IAMLANZ wi 11 discuss Paul Bentley's I ist at its meeting in August, and welcomes al I queries and suggestions about periodical holdings from interested parties.
The Australian Reference Services Section maintains newspaper clipping fl !es on al I subjects, including music. These are c I i pped from a I I capita I city morn i;ng papers, The Melbourne Herald, The Australian, and week! ies such as The Bulletin and The National Times. About thirty music items are selected each week. These are sent to the Music Section, where subject headings are 10 assigned, There are twelve bro.ad cate~ories. The-se include blographlcal entry fqr lndivtduals and-~roups_by·.name. The Aust·ra I l an Reference Serv-i ces Sect ion a Iso maintains concert pro~ramme fl les,
(7) NUCOM, the National Union Catalogue of Monographs, needs no introduction, ·out I can let you know of recent decisions on NUCOMUSIC, which is maintained by the Music Sect1on. Requests on inter I lbrary loan forms, or by telex for music scores, orchestral sets or- choral works should be clearly marked NUCOMUSIC, as not al I music Items are identified as such by the National Lending Service. NUCOMUSIC is fully searchable and up to date, although there 1s about eighteen month's backlog of editing and fl I ing to integrate the pre-1981 file into one sequence. It is current I y in four sequ·ences. When i nterf i Ied it wi 11 be mi crof i Imed and made aval I able, The fl le beginning this year wi I I be edited using AACR2 rules for uniform titles, It wl 11 be malntal-ned as a para I lei service to the Australian Bibi lographic Network, as not al I music I 1braries wi I I have music scores on this data base, None of the National Library's holdings are in either NUCOMUSIC fl le, but they are always searched for loan or location requests,
A I ist of data bases which have information relevant to music was pub I ished in the December 1980 Issue of the M.S.A. Newsletter. These are al I avai Iable through the National Library's Computer Search Services. (S) It is necessary to use the Library's Search Request Forms for access to al I the computer based services avai Iable. Al I searches are done on a cost recovery basis, This includes the cost of time on-I ine, printing costs and royalties, if applicable, Retrospective and current awareness searches are aval Iable, The user may· nominate the data base(s) to be searched or may leave this to the I ibrary staff to select the most appropriate one(s). Al I users in most disciplines have difficulty in clearly describing the subject of their search in context, and in narrative form, Terms need to be defined, and aspects not required need to be spelt out as clearly as those that are, The National Library has done over ten successful searches of the RILM data base, and several queries have needed more than one data base, A request for a retrospective search on the topic "The musical cognition of children under five years old" was 11 searched on RILM, A.H.C. I., ERIC, Psychological Abstracts and Philosophy Abstracts. Over 200 relevant items were retrfeved.
Although the Arts and Humanities Citation Index was used in the above search, it is no longer avai I able on-I ine from the National Library. It is avai I able in hard copy, but requests for on-I ine searches can be sent direct to I .S. I. in America. An S.D. I. search on this data base would probably cost about $100.00 per year.
Al I of the other data bases I isted are available on the retrieval 9 systems such as Dialog, Orbit, BRS, or AUS I NET, < ) either through your own I ibrary system, or through the National Library.
A new development at the National Library is the Australian Bibi iographic Network, ABN, (lO) an on-I ine cataloguing system, currently accessible on a trial basis for six months to six participating organisations. The participating I ibraries wi I I have access to more than 1.8 mi I I ion bib I iographic records of books and other material catalogued by the Library of Congress, the British Library, the National Library of Australia and those . ( 11 ) I ibraries in the Washington Library Network. A by-product 1 of ABN is the National Library's own catalogue on microfiche( Z). This is avai I able on a subscription basis. It includes al I monographs catalogued since Apri I 1980. Music in ANB is i_ncluded, but as yet no other current intake of scores has been entered on ABN. It is expected that a pi Iot project of retrospective Australian pub I ished music wi I I be entered on ABN when the Australian MARC format for music and sound recordings is further developed later this year.
MAJOR COLLECTIONS OF MUSICOLOGICAL INTEREST
The Music and Sound Recordings Section was set up in 1973. Information about our activities since then may be gleaned from ( 13) the Nati ona I Library I s annua I reports, and more deta i Ied information about our major acquisitions are to be found in the Acquisitions Newsletters~ (6 ) Guide to the Colleations Current Austral iana (pub I ished music) is included in ANB and is presently housed in the Australian collection. Retrospective Austral iana is to be found in several col lectlons, now mostly housed In the Music Section. These collections come 16 from Individual collectors, such as J.A. Ferguson( ), 500 items, Kenneth Hince A sheet song collection of over 5000 items has been catalogued, with access by composer, lyricist, title and Australian imprint. It includes items from the Kersey Collection, the J.C. WI I I iamson Collection and various "piano stool" collections. Manuscript collections and items are kept in the Manuscripts Section, and are described in the Guide to The CoZZections and 25 Guide to CoZZections of Manuscripts ReZating to AustraZia. < ) Major collections include the Hince Collection, the Sitsky . (26) Col lect1on, and the Edith Harrhy Collection. Composers represented include George Dreyfus, James Penberthy, Fritz Hart, and Miriam Hyde. Seven fragments of original mediaeval music manuscripts from the Nan Kivel I Collection have been pub I ished by the Institute of Mediaeval Music this year. 13 The Music Section has acquired al I music pub I ished in the U.K. on a blanket order from Blackwel I's since 1973. (Sheet and popular music are excluded). A wide selection of European and American imprints has also been acquired. We now have considerable strengths in music of the 20th century and newly pub I ished editions of older works. Approximately 15,020 scores have been received; al I are accessible by composer and medium of performance. Standing orders and backsets for over seventy series have been placed. Volumes pub I ished in 1980-81 for twenty four of these series have been received; others are pub I ished more infrequently, have been completed, or are reprints and back sets. IAMLANZ wi I I shortly be circulating I ists of music and musical I iterature in sets and series, first to N.S.W. I ibraries and then Australia- wide. Two major collections from the American musicologist Everett 27 Helm have been received. The first, < > 1071 items of European 28 and the second, < > 670 items of British nineteenth century imprints. We have identified 220 items el i.gible for RISM Series A. These have recently been catalogued, and most were found in the two Helm and first Hince Collections. The Rare Books Section located 24 RISM Series A items. The National Library has acquired approximately 400,000 recordings over the last eight years. Many of the formed collections are of musicological interest. Descriptions of the major collections are in the Acquisition Newsletters~ and Guide to the Collections. Only 11,000 12 inch LP's have been catalogued, and al I other music recordings are currently inaccessible. Priority is being given to sorting and I isting radio serials, and in setting up an archival re-recording program. The use of a task force has accelerated the sorting program, and it is hoped that other collections wi I I be sorted before long. The setting up of an Australian Branch of !ASA, the International Association of Sound Archives last year, is of interest to musicologists, as many collectors and organisations have a wide range of recordings. !ASA, in its newsletters( 29 ) and conferences is making information about holdings, collections, services and activities more widely known. 14 IAMLANZ I have referred in p~ssing to two current projects of IAMLANZ: the compilation and circulation of I istings of periodicals and of sets and series. RISM, under the able chairmanship of Jane Hardie is on a secure footing, with al I entries for Series A now reported to Kassel. We have been most grateful for the efforts of Stephen Page in cataloguing the RISM holdings of the State Library of Victoria, the N.S.W. Conservatorium and the National Library. Work is proceeding on the MARC format for music and sound recordings, both In IAMLANZ and the National Library, and union catalogues of orchestral materials are being developed. Our newsletter, Continuo< 30) is again being pub I ished on a regular basis. This year sees two IAMLANZ meetings held conjointly with the Musicological Society of Australia, this one, and one anticipated in Adelaide in August. There wi I I be at least two meetings In Sydney as wel I. I am particularly happy about these developments, and I hope our mutual interests wi I I continue to coincide In meetings and conferences which can only be enharmonic. REFERENCES ( 1 ) (a) Australian National Bibliography. Canberra, N.L.A., 1961 to date. ( b) N.L.A. For Information. 271 /·80. ( 2) Australian Public Affairs Information Service. Canberra, N.L.A., 1945 to date. (3) Australian Directory of Music Research. ed. P. Drummond, Sydney, Australia Music Centre, 1978. (4) (a) APAIS Thesaurus: A List ( 8) N.L.A. For Information. 313/81. (9) (a) AVSINET User Manual. Canberra, N.L.A., 1980. (b) N.L.A. For Information. 261/80. (10) (a) Development of Resource Sharing Networks: Network Study No. 15. Draft Proposal for the Development of an Australian Bibliographic Network. Canberra, N. L.A. , 1981 . ( b) N.L.A. For Information. 309/81. ( 11 ) N.L.A. For Information. 256/80. ( 12) N.L.A. For Information. 301/80, . ( 13) National Library of Australia: Annual Report . Canberra, N.L.A., 1960/61 to date. ( 14) C.A. Burmester. National Library of Australia: Guide to the Collections. 3v. Canberra, N.L.A., 1974-. ( 15) N.L.A. For Information. A series of information sheets intended to keep users and co-operating institutions informed of current developments on matters of common interest. ( 16) Burmester Vol. 1 pp. 218-219. ( 17) (a) Burmester Vol. 1 p. 295. ( b) N.L.A. Acquisitions Newsletter. No. 25, 1974, p. 33. ( 18) (a) Burmester Vol. 3 p. 254. ( b) N.L.A. Acquisitions Newsletter. No. 39, 1977, p. 29. ( 19) N.L.A. For Information. 210/79. (20) N.L.A. Acquisitions Newsletter. No. 44, 1979, p. 27. ( 21 ) N.L.A. For Information. 210/79. (22) N.L.A. Acquisitions Newsletter. No. 25, 1974, p. 33. (23) N.L.A. Acquisitions Newsletter. No. 40, 1977, p. 23. (24) N.L.A. For Information. 210/79. (25) Guide to Collections of Manuscripts Relating to Australia. Canberra, N.L.A., 1964-. (26) N.L.A. Acquisitions Newsletter. No. 40, 1977, p. 23. (27) (a) Burmester Vol. 3 p. 252. ( b) N.L.A. Acquisitions Newsletter. No. 34, 1976, p. 35. (28) (a) N.L.A. For Information. 210/79. ( b) N.L.A. Acquisitions Newsletter. No. 44, 1979. (29) IASA (Australia). Newsletter. 1979 to date. (30) Continua. Newsletter of the International Association of Music Libraries (Australia and New Zealand Branch). 1971 to date. [Prue Neidorf is Chief Librarian, Music Section, National Library of Australia, and President of IAMLANZJ. 16 MUSIC MANUSCRIPT AND RESEARCH MATERIAL HELD ON MICROFORM IN THE MUSIC BRANCH LIBRARIES AT THE UNIVERSITIES OF MELBOURNE AND SYDNEY Stephen Dowland Page Part 2: University of Sydney, music branch I ibrary 1. Monographs and_scores AMMERBACH, N. Organ tablatures. Leipzig, 1571. (MIC 46). ANGLES, H. El codex musical de las Huelgas. Saree Iona, 1931. (MIC 48). ANGLES, H. La musica en la corte de los Reyes Cato I icos. Madrid, 1941, (MIC 93-94). ARKWRIGHT, G.E.P. Catalogue of music in the I ibrary of Christ Church, Oxford. London, 1915. (MIC 25-26). ATTAIGNANT, P. (Printer). Six gal I iards et six pavanes, avec 13 chansons. S, 1 ., n.d. (MIC 47). AUBERT. Concerts de symphonies (parts). Paris, n.d. (MIC 54). BACH, C.P.E. Zwey Trio, das erste fuer zwo Viol inen und Bass, das zweyte fuer I Querf Ioete, I Vi o I i ne und Bass. Nuernberg, n,d, (MIC 62), BACH, J.C. A third sett of six concertos for harpsichord or pianoforte (piano part only). London, n.d. (MIC 55). BENDA, F. Three sonatas for flute and harpsichord or pianoforte, op. 5. London, n. d. (MIC 52). BOISMORTIER, J.B. de. Suites de pieces a deux muzettes, op. 11. Paris, 1726. (MIC79). BONPORTI. lnvenzioni a viol ino solo. Venice, 1712. (MIC70). BRADE, W. Pa vanes and ga I I i ards. Hamburg, 1609. (MIC53). er CAPPUS, W. 1 , I ivre de viole, Paris, 1730. (MIC 80). CAURROY, E. du, Fantasies a 111, 1111, V, et VI parties. Paris, 1610. (MIC 128). CONFORTO, G, L.. Breve et fac i Ie man i ere. Rome, 1593; facsimile edn, Berl in, 1922. (MIC 57). CORELLI, A. Sonate ... opera quinta. Rome?, n,d. (MIC 75). DANDRIEU. Principes de I 1 acompagnement du c Iavec in. Paris, n, d. (MIC 77) . DIRUTA, Fra G, Del transi lvano. Venice, 1609. (MIC 91). 17 EDELMANN, J.F. Two sonatas for the harpsichord or piano forte with accompaniment for a viol ln. London, n~d. ERLEBACH, P.E. Sonata seconda a do!: vlol !no e viola da gamba. S. 1 . , n. d. (MIC 56) . GI BBS, J. Eight solos for a viol ln with a thorough bass. London, n.d. (MIC 136), HANDEL, G.F. VI senates a deux vlolons, deux flutes traversleres, et basse continue. London, n.d. (MIC 41). HANDEL, G.F. Solos for a german flute a hoboy or viol ln with a thorough bass. London, n.d. (MIC 40). JOSQUIN des Pres. Mlssarum I lber tertlus. S. 1., C1514J. LANDINI. Works (edited by El I Inwood). Cambridge, Mass., 1939. (MIC 44). LASSO, 0. Motetti et rlcercarl. Venice, 1585. (MIC 20). LASSO, 0. Saemtl iche Werke. Leipzig, 1894-1926. (MIC 21-24). LECLAIR. Second I lvre de senates a deux violons sans basse. Paris, n.d. (MIC 67). LEGRENZI, G. La cetra: ... llbro quarto di senate a due tree quattro stromentl, opera decima. Venice, 1682. (MIC 141). MACE, T. Muslck's monument. London, 1676. (MIC 2). MACHY, de. Pieces de viole. Paris, 1685. MARAIS, M. Pieces de vlole, I lvre 1-5. (MIC 82-88). MARAIS, R. Premier I lvre de pieces de vlole. Paris, n. d. (MIC 68) . METRU, N. Haute fantalsies a 2 parties pour les viol les. Paris, 1642. (MIC 5). MOULINIE, E. 5me I lvre d 1airs de cour. Paris, 1639. (MIC 8). PA IX, J. Orge I tab I aturbuch. Laug I ngen, 1583. (MIC 65-66). PARRAN, A. Tralte de la muslque. Paris, 1639. (MIC 73). PETRUCCI, 0. (Printer). Canti B., Canti C., Harmon Ice mus Ices odhecaton. S. 1., n.d. (MIC 95). PHILIPS, P. Cantlones sacrae a 5. Antwerp, 1612-1617. (MIC 14). PHILIPS, P. Cantlones sacrae a 8. Antwerp, 1613. (MIC 15). PH IL I PS, P. Gemmu Iae sacrae. Antwerp, 1621 . (MIC 13). PHILIPS, P. Lltanlae beatae mariae, etc. Antwerp, 1630. (MIC 16). PHILIPS, P. Les rosslgnols spirituels. Valenclenne, 1616. (MIC 17). PURCELL, H. Works, vols. 6-7, 20-22. London, 1895. (MIC67). 18 RINALDO di Capua. La Bohemienne: intermede en deux actes. Paris, n.d. (MIC 59). ROBERDAY, F. Fugues et caprices a quatre parties. Par i s, 1660. ( MIC 108) . ROUSSEAU, J. Traite de la viole. Paris, 1687. (MIC 100). SANTA MARIA, F.T. de. Arte de taner: fantasias •... Val ladol ie, 1565. (MIC 112). STAINER, J.F.R. (ed.) Dufay and his contemporaries: fifty compositions. London, Novel lo, 1898, (MIC 31-32) . STAINER, J.F.R. and C. Sacred and secular songs together with other MS compositions in the Bodleian Library, Oxford. Nove I Io, 1901 . (MIC 109). TOSI, P. F. Observations on the florid song, London, 1742. (MIC 57), UCCELLINI, P.M. Sonate correnti. Venice, 1645. (MIC 115). VECCHI, 0. L'Amfiparnaso. Venice, 1597. (MIC 117). VERACINI, F.M. Sonate a viol ino solo e basso ... opera prima. Dresden, 1721. (MIC 140 = MIC 118). VERACINI, F.M. Sonate accademiche a viol ino solo e basso ... opera seconda. London, 1744. (MIC 142). VIADANA, Sinfinie musicale a 8 voci ... opera XVI I I. Ven ice, 1610. (MIC 119) . VICTORIA, T.L. Opera omnia, vols. 1-8. Leipzig, 1908. (MIC 126). CVariousJ. Magnificat octo tonorum. Wittenberg, 1544. (MIC 130). [Various]. Parthenia in-violata. London, n.d. (MIC 132). [Various]. Selectissimae ... cantio. Augsburg, 1540. (MIC 134). 2. Manuscripts Benjamin Cosyn's virginal book. London, British Museum, R.M.23.L.4. BROWNE, J. Viol music (5 parts). Oxford, Bodleian Library, Mus. Sch. E415-418 (MIC 110). CANONIC I (?). 15th century secu Iar chora I music. Oxford, Bodleian Library, Can.Misc.213. (MIC 135). CARRERA, A. et. al. Keyboard music. Coimbra, Bibi ioteca Geral da Universidade de Coimbra, M.M.242. (MIC 71). EI i zabeth Rogers her vi rg i na I book ( 1656). London, British Museum, Add, 10337. (MIC 120). GHISELN, J. Motets. Wolfenbuettel, Herzog-August- Bibi iothek, MS.2.8-2.8.3, (MIC 37). HOLFORD, F. Five Elizabethan songs ( 1950). (MIC 61). 19 JENKINS, J. 6-part fantasies. Oxford, Bodleian Library, M.Mus.Sch.C.83. (MIC 72). JENKINS, J. and GREGORY, W.. Fantasies. London, British Museum, Add.31430. (MIC 63). KAUFMANN. Piano concerto no 2 CB-flat minor] op. 10. (MIC 43). LOCKE, M. and GIBBONS, O. Fantasies. London, British Museum, Add.31435. (MIC 34). LOCKE, M. Fantasies. London, British Museum, Add.31435. (MIC 63). LOEILLET, J.B. Flute concerto, d major, parts. (MIC 1). MATTEIS, Nicola. The false consonances of music (1680). Glasgow, Glasgow University Library, B.e.20. (MIC 3). MEALE, R. Sonata for flute and piano (score). (MIC 4 = MIC 137). MORELLI, C. Songs I ight, grave and sacred. CMS not identified]. (MIC 12). OXFORD, Bodleian Library: Christchurch music catalogue (MS). (MIC 89-90). PLA, M:., Divertimenti a due viol ini. Madrid, Bibi ioteca Nacional, M-1239. (MIC 18). PRINCE Arthur's chansonnier (c. 1495). Cambridge, Cambridge University Library, Pepys MS 1760. (MIC 133). RACCOLTE. Mauro foa, tome VI I. Italy, Bibi ioteca Nazionale, Nos. 8 and 37. (MIC 78). ROBERTSBRIDGE codex. London, British Museum, Add.28550. (MIC 138). RUE, P. de la. Masses, motets, magnificats. (MIC 101-105}. SCHOBERT, J. Three piano sonatas, CMs, source not identified]. (MIC 113). TORELLI, G. Sinfonia for 2 trumpets, 2 oboes, strings, organ; and other works by Tore I I i, Pert i, Manfredini . Bologna, Archivo de! Basi I ica di S. Petronio. (MIC 114). TREGIAN, F. (col I.). Anthology of madrigals and instrumental music. London, British Museum, Eg.3665. (MIC 106-107). WALTHER, J. Magnificats (1530). Nuernberg, National Museum, MS 83795. (MIC 129). BOLOGNA, Bibi ioteca musicale "G.B.Martini", Q.15. Various unidentified 15th cent. (MIC 69). BOLOGNA, Civico museo bib I iografico musicale, Q-53. Motetti. (MIC 38). CAMBRIDGE, Cambridge University Library, Pepys Ms 1236 (1760). (MIC 11). DUBLIN, Marsh's Library, MS Z.3.4. 1 - Z.3.4. 12. Viol music, various. (MIC 124-125). 20 LONDON, British Museum, Add. 17795-96. English fantasies. (MIC 120-21). LONDON, British Museum, Add.31922. Various songs, ballads, etc. , temp . Henry VI I I • (MIC 116) . OXFORD, Bodleian Library, ChCh89. Anonymous organ music ear I y 17th cent. (MIC SQ_) . OXFORD, Bodleian Library, ChCh423-28. Viol music, various. (MIC 74). OXFORD, Bodleian Library, ChCh2, 436. Viol music: fancies, etc. (MIC 123). OXFORD, Bodleian Library, ChCh 439 and 87. Songs and pieces for bass viol and lyra viol. (MIC 131). OXFORD, Bodleian Library, Mus.Sch.437-442. Various eng I i sh fancies. (MIC 122). PARIS, Bibi iotheque Nationale, Res.F.770. English viol music, 3-4 parts, 16th-17th cent. (MIC 10). VIENNA, Oesterreiches Natiorialbibl iothek, 18832 and 15941. Various 2-3 part vocal pieces, 16th cent. (MIC 49 = MIC 6). 3~ Dissertations BAGLEY, P.B.E. Benjamin Britten's War Requiem: a structural analysis. D.Mus, Indiana, 1972. (MIC 143). DANNER, P.K. The miserere mihi and the English Reformation: a study of the evolution of a cantus firmus g~nre in Tudor music. Ph.D., Stanford Univ., 1967 .. DA, 28, 2708A. (MIC 139). HALL, W.D. The requiem mass: a study of performance practices from the baroque era to the present day as related to four settings by Gi I !es, Mozart, Verdi, and Britten. D.M.A., Univ. of Southern California, 1970. (MIC 144). REILLY, E.R. Quantz's Versuch einer Anweisung die Floete traversiere zu spielen: a translation ahd study. Ph.D., Univ. of Michigan, 1958. (MIC 97). 21 PRESERVATION OF THE INDIGENOUS MUSICAL HERITAGE OF NEW ZEALAND Mervyn Mclean Unti I fairly recently, scholarly attention to indigenous Maori songs was directed almost exclusively to the texts and it is sti I I, indeed, commonplace for them to be referred to as "Maori poetry", almost as If the music did not exist. Up to a point this has impeded scholarship because text and music have turned out to be closely inter-related. The initial emphasis upon songs as I iterature did, however, have one beneficial effect. It ensured that from the very earliest days of the Colony numerous song texts were both collected and pub! ished. The first and most notable of the earl i~r collectors was Sir George Grey during his first New Zealand governorship from 1845-1853. In the Pref ace to the 1853 edition of his co I I ect ion of Poems~ Traditions and Chaunts of the Maori he explains why and how he went about the task. In order to show what the country was I ike before its natives were converted to the Christian faith he felt there could be no more fitting means of accomplishing such an objective: than that of letting the people themselves testify of their former state, by collecting their traditional poetry, and their heathen prayers and incantations ... He observes that at the time of collecting: . it appeared possible to make such a collection of the ancient poems of the New Zealanders, because they st i I I I i ngered in the memories of a Iarge portion of the population, although they were fast passing out of use, and so ancien~ and highly figurative was the language in which they were composed, that already large portions of them are nearly or quite unintel I igible to many of their best instructed young men (Grey 1853: vii-viii) Grey goes on to explain that the poems were collected over a period of seven years by means of visits to nearly al I parts of the islands of New Zealand. Written copies were sol iGited from Maoris, these were edited and rewritten to obtain correct word 22 and I ine divisions, and finally they were checked by means of hearing the poem chanted by several persons at different times and by subjecting the final draft to "the criticism and review of several good native judges of poetry" (ibid: ix). The most favourable times for collecting such poems was found to be "at the great meetings of the people upon pub I ic affairs, when their chiefs and most eloquent orators addressed them" i I lustrating as they did so by quoting appropriate portions of songs. ( loc.cit.). In al I, Grey pub I ished the texts of more than 500 songs, and more sti I I can be found in his extensive MS collection. Besides Grey's collection, the 1850s saw at least three other collections pub I ished, though none as extensive as Grey's. Edward Short land pub I ished the texts of 9 songs in his Traditions and Superstitions of the New Zealanders in 1854, together with translations, historical notes and useful information on song types. The missionary Richard Taylor included the texts of 8 songs in Ch. 10 of his Te Ika a Maui of 1855. And also in 1855, Charles Davis publlshed his Maori Mementos which, besides containing a series of addresses presented by the Maori people to Sir George Grey, included also the texts of 54 songs. Other 19th century sources of pub I ished song texts include John White's 6-volume The Ancient History of the Maori which incorporates 110 texts, and, pre-eminently, John McGregor's Popular Maori Songs of 1893, with supplements in 1898, 1903, 1905 and 1909. More than 400 songs were obtained by McGregor during the course of his occupation as one of the guards in charge of Maori prisoners of war confined after the Waikato wars on a prison ship moored in Auckland Harbour. I shal I mention only two of the numerous 20th century and remaining 19th century sources of traditional song texts. The first is the classic 3-volume set of Nga Moteatea by Sir Apirana Ngata and Pei Te Hurinui (1959; 1961; 1970). This contains texts, translations and historical notes on 300 traditional songs and can sti I I be obtained from the Polynesian Society. The other is Traditional Songs of the Maori by McLean and Orbel I (1975) which contains texts, translations and music of 50 songs. This book was first pub! ished by Reeds and is now distributed by Auckland University Press and Oxford University 23 Press. Taking al I sources together, the grand total of available pub I ished texts excluding duplications is at least 3000 and if to these are added MS texts in pub I ic institutions, such as those by Elsdon Best, Samuel Locke and Wi I I iam Travers in the Polynesian Society MS collection at the Turnbul I Library, Wei I ington, the total must certainly exceed 5000. On the whole, then, it can fairly be stated that a reasonably good job has been made of preserving traditional Maori song texts. The 5000'or so that are avai I able are probably only a smal I fraction of what may once have been the total repertoire, but this is a substantial oral I iterature by any standards and New Zealand may count itself fortunate that so many texts have survived. What then of the music? Here, less happily, the case is different. The first, and for more than 100 years.the only, attempt to notate the music of Maori songs was that of James A. Davies, late of Trinity College, Cambridge, in an appendix to Sir George Grey's Polynesian Mythology of 1855. Davies pub I ished music transcriptions of the opening I ines of four songs from Grey's Ko Nga Moteatea (1853) using a notation appropriate for the enharmonic genera of the ancient Greeks to which Davies thought Maori music conformed. Davies' however, was an isolated attempt and neither musical analyses nor any further transcriptions seem, indeed, to have been pub I i shed unt i I my own notations began to appear in the Maori magazine Te Ao Hou (Mclean 1964-66). This neglect of the music may have occurred partly because it was not considered worthy of study. A more I ikely explanation, however, is that it was simply foand too difficult. Davies noticed that his singer "did not always repeat the musical phrase with precisely the same modulation" (1855:326) and although he timed the airs he confessed to finding "neither metre nor rhythm of any marked character discernible in them". And three-quarters of a century later, even with the considerable advantage of working from dictaphone recordings, Johannes C. Andersen simply gave up the attempt, remarking that "there is no discredit in being unable to attain the impossible or in admitting the fact" (Andersen 1934:393). Andersen put his failure down to inabi I ity to capture in notation such features as the "weeping emotional tremor" which appears in some laments ( loc. cit.). But, I ike Davies, he seems to have been misled by the notion that Maori music exhibits 24 regular and consistent quarter-tones, Moreover, he must undoubtedly have encountered the same difficulties as Davies in attempting to notate rhythm and metre. Maori music does not, in fact, lack rhythm and nor even is it always non-metrical. But, uni ike (say) English folk music, its norms are radically different from Western ones and are a real stumbling block to anyone whose ear is adjusted only to the Western system. Thus transcriptions of traditional Maori music had to await a more developed science of ethnomusicology and, perhaps even more importantly, the invention of the tape recorder which permitted a single passage of music to be repeated over and over - if need be a hundred times - without wearing out the recording. In the case of English folk song, the problems of notation were not as severe. Early collectors were puzzled by apparently arbitrary and irregular rhythms and by the modal nature of many of the tunes. But it was, nevertheless, perfectly practicable to venture into the English countryside and collect tunes with apparatus no more sophisticated than paper and penci I. As early as 1843, fully half a century before the establishment of the English Folk Song Society in 1898, the Rev. John Broadwood had already pub I ished his collection of Old English Songs, exactly as sung by the country people of Surrey and Sussex, albeit harmonised for the collector by G.A. Dusart, organist to the Chapel of Ease at Worthing, in whose name the collection appeared. (Howes 1969:96-7). Broadwood's example was fol lowed by such luminaries as the Rev. Sabine Baring-Gould "who produced in 1889 the first part of Songs of the West 'Folk Songs of Devon and Cornwal I collected from the mouths of the people'" (ibid:100); Frank Kidson with his collections Old English Country Danaes and Traditional Tunes of J890 and 1891; and Lucy Broadwood and J .A. Fuller Maitland with their English Country Songs of 1893. From around the turn of the century, these pioneers were fol lowed by a host of others including the incomparable Ceci I Sharp (1859-1924) whose name is .identified with the English folk song revival, and the composer Ralph Vaughan Wi I Iiams who collected over 800 songs between 1903 and J913 (ibid:117), 25 In New Zealand with its much more comp I icated tradition of Maori tribal music such accomplishments were simply not possible, even if such giants as Ceci I Sharp and Vaughan Wi I Iiams had been active here. Instead, as in most countries with a tribal rather than folk heritage of traditional music, collecting activity has gone hand in hand with the technical advance of sound recording and ultimately with the establishment of a suitable archive for housing such recordings. Before describing the recordings themselves, let me digress briefly, then, to comment on how and where these have come to be archived. For many years the only repository for sound recordings in New Zealand was that of the Broadcasting Service. This, however, was maintained primarily for the use of broadcasting itself and was never intended as a pub! ic or research resource. The need for a specialist archive was eventually met by the establishment at the University of Auckland of the Archive of Maori and Pacific Music and this is now working very closely with broadcasting, documenting and cataloguing Radio New Zealand archival materials in exchange for copies. Some six years ago I spoke at length to this association on "Sound Archiving as an Aid to Music Conservation in the Pacific" and during the course of that address described the workings of the Archive of Maori and Pacific Music. The text of this talk was pub I i shed in vo I. 4 no. 1 of Continua (McLean 1974), and there have also been articles about the Archive pub I i shed by the Archives and Records Assochation of New Zealand (McLean 1977 and 1978). I shal I avoid going over al I this ground again. Suffice to say that the Archive was established to meet the need for a national repository of sound recordings dedicated to the active conservation of Maori and Pacific music. The concept of an archive was first promoted in 1965; the Archive was formally established at the University of Auckland in 1970; it gained permanent quarters with the commissioning of the University's new Human Sciences Bui I ding in 1978; and it is now - after 10 years of effort - adequaiie I y staffed, fu I I y equipped, and for the first time has a recurring, though smal I, budget from the University. The Archive is very much a service organisation which operates simultaneously on a number of fronts including 26 the encouragement of performance itself; recording, collecting, archiving and documenting field recordings; research both in the field and using the resources of the Archive; teaching and training both of ethnomusicologists and indigenous workers; dissemination both of recordings and the results of research; and finally co-operation and exchange with appropriate institutions both In New Zealand and overseas. Although primarily devoted to Maori and Pacific music, the archive also contains oral materials of other kinds. Amongst the holdings are Swadesh and other word I ists recorded by I inguists, besides numerous talks, speeches and stories in Maori and other Polynesian and Pacific languages. In some cases books or working papers have been pub I ished or are in press which contain transcripts of materials in the Archive, and work is currently being carried out on catalogues of Archive holdings. In al I there are about 2,500 tapes in the Archive with new accessions coming in at the rate of about 200 annually. In addition to its research role, a primary function of the Archive has always been the supply of materials to the Maori community by means of a free dubbing service. Demand for this service is slowly increasing as more people get to hear about it and is currently running at about 60 requests a year. The service is I imited to two or three songs at a time and, when these songs have been learned, others may be supplied on the same basis. The oldest recordings in the Archive are of Rarotongan ute or love songs recorded on January 1, 1907, at Otaki, New Zealand, from a troupe of singers and dancers who had visited New Zealand to perform at the Christchurch Exhibition of 1906-07. The songs were performed as a thanks offering by the Rarotongans in return for gifts they received from the Maoris of Otaki. The songs were recorded on an Edison cylinder phonograph by A.J. Knocks of Otaki and dubbed on to another phonograph two years later by Percy Grainger during a visit he made to Knocks on February 20-21, 1909. The richest and most extensive collections in the Archive are of New Zealand Maori music, the earliest of which were again recorded by A.J. Knocks. Two items have survived from Knocks' collection, apparently recorded in New Plymouth, and again dubbed by Grainger. Grainger himself soon fol lowed suit by recording a further seven songs, also in New Plymouth. (The Archive's 27 copies of these songs are from the Library of Congress, Washington D.C. and the original cylinders are held by the Grainger Museum in Melbourne.) Systematic recording on wax di ctaphone cy I i nders began. in 1919 on the occasion of a large meeting at Gisborne to welcome home members of the Maori Batta I ion from the First World War. A recording team from the Dominion Museum was led by Elsdon Best, accompanied by Johannes Andersen, James MacDonald and H. Balneavis. Subsequent cylinder recordings were made at Rotorua In 1920, when Apirana Ngata was apparently a member of the party; in 1921 at Koriniti and Hiruharama on the upper Wanganui River, when Te Rangi Hiroa (Peter Buck) was present, and finally in 1923 at Whareponga, Te Araroa, Waiomatatini and elsewhere on the East Coast when Best, Ngata and Buck again took part. Altogether 178 cylinders were recorded between 1919 and 1923. In 1975, another 200 cylinders turned up in the custody of the Maori Affairs Department in Wei I ington. These were recorded under the auspices of the Maori Ethnological Board and continue the earl i~r series through to about 1934. Al I of these cylinders have now been transferred to tape and transcripts of their contents have been prepared by the Archive of Maori and Pacific Music. Although most of the cylinders are very worn and difficult to I isten to, they are an invaluable resource not only because they give us such early examples of traditional songs which in some cases are sti I I extant, but because tribes are represented - e.g. Ngaati Kahungunu and Whaanganui - whose singing tradition has since become almost completely lost. Not long after the Ethnological Board ceased to record on wax dictaphone cylinders, occasional acetate disc recordings began to be made of Maori meetings and ceremonies by the New Zealand Broadcasting Service. Historical events of the 1930s and 1940s recorded by the NZBS include: (i) a large hui (meeting) held at Wairoa in 1938 to celebrate the opening of a meeting house erected to the memory of Sir James Carrol I (1853-1926); (ii) the opening of King Koroki 's meeting house on March 17, 1938; 28 (iii) the first Ringatu General Assembly at Poho-o-Rawiri meeting house, Glsborne on September 30, 1938; (iv) the opening of Tama-Te-Kapua meeting house, Rotorua, on March 24, 1943; (v) the opening of the Moana Ngarimu M~morial at Ruatoria in October, 1943; and (vi) the farewel I to Sir Peter Buck at Auckland in March, 1949. The recordings of these events are fi I led with numerous fine examples of waiata singing, performed in the customary manner as a kiinaki or 'relish' after speeches. After World War I I, the New Zealand Broadcasting Service established a mobile recording unit under the late Mr. Leo Fowler in order to put to use now surplus disc-recording• equipment that had been commissioned for recording soldiers' messages overseas. The mobile recording unit was in operation from 1946 unti I 1954 recording brass bands, school choirs (including many from Maori schools), dramatic societies and reminiscences from old identities, including some from Maoris. Most of the recordings from this series have survived and selected Maori items - together with other NZBC Maori recordings - are in process of cataloguing by the Archive of Maori and Pacific Music, With the advent of portable tape recorders In the early 1950s, recording Maori music and events became less difficult. The Board of Maori Ethnological Research - now re-named the Maori Purposes Fund Board - re-entered the field in 1953, after a hiatus of almost 20 years, using a Ferrograph tape recorder purchased in 1952. Under the leadership of the late Mr. W.T. Ngata - son of Sir Apirana Ngata - and working with technical assistance from the New Zealand Broadcasting Service, a series of field, trips was undertaken between 1953 and 1958, tape- recording traditional songs or waiata, action-songs and hymns and speeches in Maori, The most numerous of these recordings are from Mr. Ngata 1s own home territory of Ngaati Porou in the East Coast, recorded mostly in 1953, and from Northland, recorded in 1956, Amongst the recordings are many of those in the 29 Nga Moteatea series of annotated texts pub I ished by Sir Apirana Ngata and Pei Te Hurinui. In May of the self-same year the Maori Purposes Fund Board project ceased, I began my own recording activities with field trips in 1958, 1962-64 and from 1970 onwards. The Maori Purposes Fund Board had. operated by ca I I i ng I arge meet 1ngs in each district and recording groups of singers in large-scale recording sessions extending over many days. My own method was the obi igatori ly less expensive but more time-consuming one of visiting individual singers, mostly in their own homes, often in remote places. Tracking down songs and singers took many hundreds of hours and involved travel I ing thousands of mi !es - 20,000 in the period 1962-64 alone. The result, however, was some 60 hours of fully documented tape-recordings containing some 1300 songs from al I tribal areas, as sung by the acknowledged best performers of the day. The collections have spoken of do not exhaust the extant materials. The NZBC and Radio New Zealand, especially, worked steadily throughout the 1960s and 1970s recording Maori events for use in Maori broadcasts; and other recordings exist either in priv~te hands or held by other institutions. Not al I of these collections are as yet avai !able for study, but the Archive of Maori and Pacific Music has copies of a substantial number of them, is in process of acquiring more, and is working actively on cataloguing, indexing, and documenting its holdings in order to make them more access i b I e to users. It can be seen, then, that when al I of the materials so far gathered are taken into account, New Zealand has the great good fortune to possess a virtually continuous profile of recorded traditional Maori music from 1909 right through to the present day. BIBLIOGRAPHY ANDERSEN, Johannes C. 1 1934. Maori Music with its Polynesian Background. Polynesian Society Memoir, 10. New Plymouth, Avery. DAVIES, James A., 1855, "On the Native Songs of New Zealand," Appendix in Sir George Grey, Polynesian Mythology. London, Murray, pp,313-33. DAVIS, Charles, 1855. Maori Mementos, Auckland, Wi I I iamson and Wi Ison. 30 GREY, Sir George, 1853. Poems, Traditions and Chaunts of the Maoris: Ko nga Moteatea, me nga Hakirara o nga Maori. Wei lington, Stokes. HOWES, Frank, 1969. Folk Music of Britain and Beyond. London, Methuen. McGREGOR, John, 1893. Popular Maori Songs. Auckland, Field. Supplements published 1898 (no. 1), 1903 (no. 2), 1905 (no. 3), 1909 (no. 4). Auckland, Champtaloup and Cooper. McLEAN, Mervyn, 1964-66. "transcriptions of Authentic Maori Chant, Pts. 1-10." Te Ao Hou (Wei I ington), Nos. 48-57. 1974. "Sound Archiving as an Aid to Music Conservation in the Pacific." Continua, 4(1):8-18. 1977. 'New Zea I and Archives XI : The Archive of Maor I and Pacific Music." Arahifaats (We I I i ngton), n.s.2:26-30. 1978. "New Zealand Archives: XI I I. Maori Resources in the Archive of Maori and Pacific Music." Arahifaats (Wei I ington), n.s. 4 & 5:82-9. ______and Margaret ORBELL, 1975. Traditional Songs of the Maori. Auckland, Auckland University Press/Oxford University Press. NGATA, Apirana T., 1959. Nga Moteatea, Part 1. Wei I ington, Polynesian Society. ______and Pei TE HUR I NU I , 1961 . Nga Moteatea, Part 2. Wei I ington, Polynesian Society. 1970. Nga Moteatea, Part 3. Wei I ington, Polynesian Society. SHORTLAND, Edward, 1854. Traditions and Superstitions of the New Zealanders. London, Longman, Brown, Green and Longmans. TAYLOR, Richard, 1855. Te Ika a Maui or New Zealand and Its InJzabitants. London, Wertheim and MacIntosh. WHITE, John, 1887-90. The Ancient History of the Maori. 6 vols. Wei I ington, Government Printer. [Mervyn Mclean is Associate Professor of Ethnomusicology and Head of the Archive of Maori and Pacific Music at the University of Auckland.] 31 RECORDINGS RECOMMENDED FOR PURCHASE Mi chae I Ho I Iand [The idea of compi I ing a I ist of currently available recordings for recommended purchase by music I ibrarians was started by Dene Barnett and others in CONTINUO, Vol. 2, No. 1, 1972. It was later continued by Werner Gallusser and in recent years, by Michael Ho! land. From this issue, the I ists wi I I appear in composer order, rather than by record label order as in the past. Eds. J ALBRECHTSBERGER. Partita for harp and orchestra in F (with HOFMEISTER. Concerto for flute and orchestra in D) J. Szebenyi (fl.); A. Lelkes (hp.); Gyor P.O.; Sandor Hungaroton FX 12 C.P.E. BACH. Four sonatas for flute and harpsichord. A. Adorjan (ti.); H. Dreyfus 6hps.) Denon OX-7082-ND J.S. BACH. Magnificat, BWV243. Soloists; Bach Col legium Stuttgart; Ri I I ing CBS 76884 J.S. BACH. Motets, BWV225-230. Knabenchor Hanover; Col legium Aureum; Hennig Harmonia Mundi 157-99901/2. J.S. BACH. Complete organ works, Vol. 6(3 records) Peter Hurford. Argo 022603 J.S. BACH. Triple concertos Various soloists; Munich Bach Orchestra; Richter DG Archiv 2533452. J.S. BACH. Ricercar a 6 and other works Sofia Chamber Orchestra; Kasandjiev Denon OX-7028-ND J.S. BACH. Italian concerto BWV971, and other works for harpsichord. H. Dreyfus Denon OX-7083-ND J . S. BACH. Inventions H. Dreyfus Denon OX-7150-ND BAKFARK. Lute works. D. Benko. Hungaroton SLPX 11988 32 BALASSA. The man outside Soloists; Hungarian Radio Chorus; Budapest S.O.; Lehel. Hungaroton SLPX 12052/3 BARBER. Piano music. A. Brownbridge. Hyperion A 66016 BART6K. Piano concertos, Nos. 2 and 3 V. Ashkenazy Decca SXL 6937 BART6K. Songs (with LISZT. Songs) S. Sass (sop.); A. Schiff (pf.) Decca SXL 6984 BART6K. Fifteen Hungarian peasant songs; Viol in sonata No. 1 D. Oistrakh (vn.); S. Richter (pf.) Chant du Monde Melodiya LOX 78673 BARTOK. MikrokQsmos. complete. H. Francesch (pf.) OG 2740 239. BEETHOVEN. Septet, op. 20. A.S.M. Chamber Ensemble. Phi I i ps 9500 873 BEETHOVEN. Piano sonatas, Nos. 22, 24, 25, 27 V. Ashkenazy Decca SXL 6962 BEETHOVEN. Trio in B flat, op. 11 (wJth BRAHMS. Trio in A mi nor, op. 114). G. Pietersen (cl.); Beaux Arts Trio. Phi I ips 9500 670 BEETHOVEN. Trio for piano, flute and bassoon., Wo037; Sonata for piano and horn, op. 17. D. Barenboim (pf.); M. Oebost (fl.); A. Sennedat (hn.); M.' B I oom ( bn , ) OG 2531 293 BEETHOVEN. Piano sonatas, Nos. 16-22, 24 (3 records) A. Schnabel HMV RLS 755 BEETHOVEN·. Piano sonatas, Nos. 31-32 P. Badura-Skoda. Astree AS 49 BEETHOVEN. Septet in E flat, op. 20; Trio for clarinet, vi o Ionce I Io and piano in B f Iat, op. 11. Members of the New Vienna Octet Decca SOD 528 BEETHOVEN. Piano trio, op. 97 Beaux Arts Trio Phi I ips 9500 895 33 BERLIOZ. Symphonie fantastique Li I le P.O.; Casadesus. Harmonia Mundi HM 10072. BLAKE. Viol in concerto; In praise of. Krishna I. Brown (vn.); Phi lharmonia Orchestra; Del Mar (1st work); T .. Cahi 11 (sop.); Northern Sinfonia; Blake (2nd work) Argo ZRG 922 BOCCHERINI. Quintets for guitar and strings J. Wi I I lams; London String Quartet CBS 36671 BRAHMS. Symphony No. 4. Vienna P.O.; Kleiber DG 2532 003 BRAHMS. Variations on a theme by Han de I ; Intermezzi , op. 119 R. Serkin (pf.) CBS 76913 BRUCH. Viol in concerto No. 1 (with MENDELSSOHN. Viol in concerto in E minor) S. Mintz (vn. ); Chicago Symphony Orchestra; Abbado DG 2531 304 BRUCKNER. Symphony No. O, D minor Chicago Symphony Orchestra; Abbado DG 2531 319 BRUCKNER. Symphony No. 7 (2 records) Staats kape I Ie Dresden; Jochum HMV SLS 5194 BUXTEHUDE. Praeludium in F and other works. Soloists; Ferenc Liszt C.O.; Sandor Hungaroton Budapest FX 12 296 BYRD. Cantiones sacrae De I Ier Consort Harmonia Mundi HM 1053 BYRD. Ten motets Wi 11 iam Byrd Choir; Turner Phi I ips 9502 030 CHOPIN. Violoncello sonata, G minor; Polonaise Bri I !ante, op. 3, C major (with SCHUM~NN. Adagio and allegro, op. 70, A flat.major) M. Rostropovich (vc. ); M. Argerich (pf.) DG 2531 201 CROFT. Selected works. D. Thomas (bass); the Parley of Instruments Meridian E77038 CROSSE. Dreamsongs; Elegy; Symphony No. 1 Scottish C.O.; Brydon OUP 203 DANYEL. Lute songs, 1606 Consort of Music f<.e L'Oiseau-Lyre OSLO 568. 34 DEBUSSY. Images, Series 1 and 2; L'isle joyeuse and other piano works. P. Rage (pf.) Decca SXL 6957 DEBUSSY. Preludes, Book 1; Children's corner P. Rage (pf . ) Decca SXL 6928 DENISSOV. Trio; Sonata for viol in and piano; Signes en blanc J.-A. Armengaud (pf.); D. Erl ih (vn.); A. Meunier (vc.) Chant du Monde LOX 78685 DVORAK. Viol in concerto, op. 53, A.minor; Romance, op. 11, F. major S. Accardo (vn. ); Concertgebouw Orchestra; Davis Phi I ips 9500 406 DVORAK. Complete piano trios Cohen Trio CRD 1086-8 DVORAK. Symphony No. 9 (From the New World) Phi lharmonia Orchestra; Davis CBS. 76817 DVORAK. Symphony No. 7 Philadelphia Orchestra; Ormandy RCA RL 13555 DVORAK. Serenade in E (with TCHAIKOVSKY. Serenade in C) Sofia C.O.; Kasandjiev Denon OX-7078-ND DVORAK. Serenade in E (with TCHAIKOVSKY. Serenade in C) Orch. St. John's Square; Lubbock ASV DCA 505 ELGAR. The I ight of I ife Soloists; Royal London P.O. and Choir; Groves HMV ASD 3952 FAURE. Labonne chanson; Piano trio, op. 120, D minor S. Walker (sop.); Nash Ensemble CRD 1089 GEMIN~ANI. Six sonatas for guitar, violoncello and harpsichord. L. Karper (guitar); E. Banda (vc.); J. Sebestyen (hps.) Hungaroton SLPX 12013 GIBBONS. Roya·I fantasies J. Sava! I, C. Coin, S. Casademunt (viols,); J. Sonnleitner (chamb.er organ) Astree AS43 GLUCK. Orfeo ed Euridice (3 records) Soloists; Chorus and Orchestra of the Berl in State Opera Acanta FA 22140. GOLDMARK. Rustic wedding symphony Los Angeles P.O.; Lopez-Corbos Decca SXDL 7528 35 GREIG. Complete piano music, Vol. 14 E. Knardahl Bl S LP-117 HANDEL. Six sonatas for 2 oboes and continuo H. Hol I iger (ob.); M. Bourgue (cont.) Phi I ips 9500 671 HAYDN. The Morzin symphonies (3 records) LI Estro Armon i ro; So Iomons Saga HAYDN 1 HAYDN. Missa Cel lens is; Missa rorate coel i desuper (2 records) Soloists; Choir of Christ Church Cathedral, Oxford; Academy o-11' Ancient, Music; Preston L10iseau-Lyre OSLO 583-4 HAYDN. String quartets, op. 20, no. 4 and op. 74, no. 3 Guarneri Quartet RCA RL 13485 HAYDN. 11 ritorno di Tobia (4 records) Soloists; Brighton Festival Chorus; Royal P.O.; Dorati Decca D 21604 0 1 INDY. Jour d'ete a la montagne; La foret enchantee; Six tableaux de voyage Pays de Loire P.O.; Derv.aux EMI 2C 069-16301 .,, .... JANACEK. String quartets,Nos. 1 and 2 Medici String Quartet HMV HQS 1433 JOLI VET. Hymne a St. Andre; Hymne a I 1Univers; Arioso barocco; Mandala • D. Barraud (sop.); R. Perinelli (tpt.); D. Roth (org.) Arion ARN 38530 LAWES. Viol consort music Consort of Music; Rooley L'Oiseau-Lyre OSLO 560 LEFANU. The same day dawns; But stars remaining; Deva J. Manning (sop.); C. von Kampen (vc.); Nash Ensemble Chandos ABR 1017 LEHAR. The merry widow (2 records) Soloists; Bavarian Radio Chorus; Munich Radio Orchestra; Wal Iberg HMV SLS 5202 LI SZT. Songs J. Baker (m.sop. ); G. Parsons (pf.) HMV ASD 3606 LISZT. Late piano music E. Szegedi Hungaroton 11976/7 LISZT. Late piano works A. Brendel Phi I ips 9500 775 36 LISZT. Consolations; Liebestraum:e, Petrarch sonnets D. Barenboum (pf.) DG 2531 318 MAHLER. Symphony No. 4 M. Marshal I (sop.); Scottish National Orchestra; Gibson Chandos ABRD 1025 MAHLER. Symphony No. 10 (ed. Cooke) (2 records) Bournemouth S.O.; Rattle HMV SLS 5206 MART 1:NU. Comp I ete edition ( 5 records) Various performers Panton 8112 0021 MENDELSSOHN. Complete string quartets (4 records) Bartholdy Quartet Acanta JB 23075 MOZART. Four horn concertos G. Hogner (hn. ); Vienna P.O.; Bohm DG 2531 274 MOZART. Piano concerto No. 19 ~. Ashkenazy (pf.Jcond.); Phi lharmonfa Orchestra Decca SXL 6947 MOZART. Piano concertos, Nos. 22 and 8 M. Perahia (pf./cond. ); English C.O. CBS 76966 MOZART. Piano concertos, Nos. 20 and 23 S. Bishop-Kovacevich (pf,); London S.O.; Davis Phi I ips 9500 570 MOZART. Piano works. P. Badura-Skoda (fortepiano) Astree AS 40 MOZART. String quartets, Nos. 19 and 20. Gabriel i Quartet Decca 300 561 MOZART. Trio for piano, clarinet and viola in E flat major, and other chamber works Performers led by F. Rados (pf.) Hungaroton Budapest FX 12298 MOZART. Symphonies,Nos. 35 and 36 Col legium Aureum; Maier Harmonia Mundi 065-99 903 MOZART. La finta giardineria (4 records) Soloists; Salzburg Mozarteum Orchestra; Hager OG 2740 234 MOZART. Mass in C, K,258; Vesperae Solennes de Confessore, K. 339 Soloists; St. John's College Choir, Cambridge; Wren Orchestra; Guest Argo ZRG 924 37 MUSSORGSKY. Orchestral and choral works. London S.O. and Chorus; Abbado R~A RL 31540 NOVAK. South Bohemian suite; Marysa overture Brno State P.O.; Pinkas Supraphon 1110 2486 OFFENBACH. Overtures Berl in P.O.; Karajan DG 2532 006 OFFENBACH. Suites, 2 violoncellos E. Peclard; R. Pidoux Harmonia Mundi HM 1043 OSTRCIL. Calvary; The orphan's tale L. Marova (m.sop. ); Czech P.O.; Neumann Supraphon 1110 2548 PALESTRINA. Missa Papae Marcel Ii and other choral works Pro Cantione Antiqua; Turner ASV. ACM 2009 PARSCH. The bird flew over the clouds (with REZAC. Sinfonietta) J. Kaniak (ob.); Brno State S.O.; Rohan Supraphon 1110 2339 PROKOFIEV. Piano sonatas, Nos. 3 and 6 S. Scheja BIS LP-155 PUCCINI. Le vi I Ii Soloists; Adelaide S.O.; Fredman Chandos ABR 1019 PUNTO. Four horn concertos B. Tuckwel I (hn. ); Academy of St. Martin-in-the Fields; Marriner HMV ASD 4008 PURCELL. Theatre music, Vol. 5 Soloists; Academy of Ancient Music; Hegwood L'Oiseau-Lyre OSLO 561 RABAUD. Orchestral works. Pays de Loire P.O.; Dervaux EMI 2C 069-16303 RI LEY. In C Members of the Center of the Creative and Performing Arts; Riley CBS 61237 ROSS IN I . Se i sonata a quattro; Un mot a Paganini; Duet for ce I Io and double bass; Une larme (double bass) (2 records) Accardo; Gazeau; Marriner; Petracchi; Canino Phi I ips 6769 024 SATIE. Piano works D. Varsano CBS 61874 38 SAUGET. Les Forains; Piano concerto No. 1 Various performers Chant du Monde LOX 78300 D. SCARLATTI. Harpsichord sonatas C. Ti lney L'Oiseau-Lyre DSlO 567 D. SCARLATTI. Harpsichord sonatas T. Pinnock CRD 1068 D. SCARLATTI. Harpsichord sonatas, Vol .6 G. Rowland Key boa rd KGR. 1012 SCHOENBERG. Fifteen poems from the Book of Hanging Gardens; Eight songs, op.6 E. Sziklay (sop.); J. Jendo (pf.) Hungaroton SLPX 12040 SCHOENBERG. Piano concerto (with STRAVINSKY. Concerto for piano and wind) A. Fellegi (pf.); Budapest S.O.; Fischer Hungaroton SLPX 12021 SCHUBERT. String quartets. Nos. 12 (D.703) and 14 (D.810) Quartetto Italiano Philips 9500 751 SCHUBERT. String quartet No. 15 (D.887) Jui I I i ard Quartet CBS 76908 SCHUBERT. String trios, D.581 and D.471; Arpeggione sonata, D.821 R. Pasquier (vn. ); B. Pasquier (via.); R. Pidoux (vc. ); J .-C. Pennet i er (·pf.) Harmonia Mundi HM1035 SCHUBERT. Viol in sonata, 0.754; Three sonatinas for viol in and piano, D.384, 385 and 408 A. Grumiaux (vn. ); P. Crossley (pf.) Phi I ips 9500 394 SCHUBERT. Impromptus, D. 899 and 935 A. Schiff (pf.) Decca SOD 563 SCHUMANN. Works for oboe and piano H. Holliger (ob.); A. Brendel (pf.) Phi I ips 9500 740 SHOSTAKOVICH. Symphony No. 7; The Age of gold suite (2 records) London P.O.; Haitink Decca D 21302 SHOSTAKOVICH. Symphony No. 13 D. Petkov (bass); London S.O. and Chorus; Prevln HMV ASD 3911 SPOHR. Clarinet concertos, Nos. 1 and 2 A. Pay ( c I . ) ; London- Si nfo n ietta; Atherton Argo ZRG .920 39 R. STRAUSS. Intermezzo (3 records) Soloists; Bavarian Radio s.,O.; Sawal I isch HMV SLS 5204 TCHAIKOVSKY. Symphony No. 1 Concertgebouw Orchestra; Haitink Phi I ips 9500 777 TELEMANN. Concerto in A major for flute, viol in, violence I lo. and orchestra; Concerto in A minor for 2 flutes and orchestra Soloists; Ars Rediviva Ensemble, Prague; Munchinger Musicaphon BM 30SL 4204 VARNEY. Les mousquetaires au convent Soloists; RTBF Orchestra and Chorus; DoHeux EMI 2C 167 16361-2 VIERNt. Symphony in G minor, op. 32; Pieces en style I ibre 6 and 11 D. Sanger (erg.) Meridian E 77033 VIVALDI. Concertos, op. 8j Nos. 1-12; Flute concerto, R. 429; Violoncello concerto, R.424 (3 records) S. Standage (vn. ); S. Preston (fl.); A. Pleeth (vn,); English Concert; Pinnock CRD 1092/4 WIRKLUND. Piano concerto, No. 2 and other works for orchestra G. Erikson (pf.); Swedish Radio S.O.; Westerberg Caprice CAP 1165 WOLF. Songs, Albums 1-7 (7 records) Various performers HMV RLS 759 COLLECTIONS JEFFREYS A MUSICK STRANGE (Anthems and songs) University of East Ang I ia Singers; Aston UEA 80031 CLARINET CONCERTOS BY STAMITZ AND MOLTER L. Horvath (cl.); Ferenc Liszt C.O.; Pol la Hungaroton SLPX 11954 WIND QUINTETS BY NIELSEN, FERNSTROM AND BIBALO Norwegian Wind Quintet Simax PS 1003 MUSIC INSPIRED BY PELLEAS ET MELISANDE (OF SCHOENBERG, SIBELIUS AND FAURE) (2 records) J, Gomez (sop.); Rotterdam P.O.; Zinman Phi I ips 6769 045 VEN ICE PRES ERV' D (inc I udes works by Monteverdi, Marini, Cava I I i and others) (2 records) Academy of Ancient Music; Hegwood Folio Society FS 1007/8 40 CANTIGAS DE SANTA MARIA Schol a Cantorum Basl I iensis; Binkley Harmonia Mundi 065-99898 ENRICO CARUSO, Vol. 4: Thirteen operatic arias E. Caruso (ten.); Various orchestras and conductors Rubini GV 558 DIVINE ORTHODOX LITURGY (2 records) Various choirs Chant du Monde LOX 7869/2 JOSEPH HISLOP-RECITAL (2 records) J. Hislop (ten.); Various orchestras and pianists Rubini RS 308 RENATA SCOTTO OPERATIC RECITAL (2 records) R. Scotto (sop.); L.P.O.; L.S.O.; Gavazzeni CBS 79230 CONCERTOS FOR BRASS INSTRUMENTS J. Svejkovsky (tpt.); S. Suchanek (hn. ); Plzen R.O.; Macura Supraphon 1110 2434 GUITAR MUSIC OF SPAIN C. Bone 11 ASV ACM 2003 SCANDINAVIAN MOODS (chamber music for horn, flute and piano) I . 0 i en ( hn. ) ; P. 0 i en ( f I . ) ; G. H. Braaten (pf.) Bl S LP-171 THE VIRTUOSO SAXOPHONE (works by Creston, Hindemith, Joi ivet, and others) P. Savijoki (sxophone); J. Siirala (pf.) BIS LP-159 FLUTE AND HARP (works by Donizetti, Hovhaness, Krumpholz, Spohr) R. Aitken (f I.); E. Goodman (hrp.) BIS LP-143 BRITTEN SUITE 3 (works for violoncello and piano by Britten and I re Iand) J. Lloyd Webber (vc. ); J. McCabe (pf.) ASV ACA 1001 THE MERRY COMPANIONS: songs and catches from Purce I I to Arne Hi I I iard Ensemble Saga 5477 DREAMSCAPES (vocal works by Harvey, Dickinson, Panufnik, Lutyens) M. Dickinson (m.sop. ); P. Dickinson (pf.) Uni corn UN S 268 4J JAZZ BIG GEORGE George Coleman Octet Affinity AFF 52 NEW DIRECTIONS IN EUROPE Jack De Johnette ECM 1157 THE RIVERSIDE TRIOS Thelonius Monk Milestone M 47052 THE GOLDEN DUKE Duke EI I i ngton Prestige P24029 LIVE HOT ON THE ONE James Browr.i Polydor 2683 085 ONE IN TWO - TWO IN ONE Max Roach Hat-Hut SIX 2R06 THE LONG MARCH Max Roach Hat-Hut THIRTEEN 2R13 LANDSCAPE Bi I ly Higgins Galaxy GXY 5128 HARRISBURG HALF LIFE Ray Anderson Moers Music 01074 ORANGE JUICE - NICE FOOD Antone I Io Sa I i s Hat-Hut IR10 STRANGE SERENADE Andrew Hill Soul Note 1013 ONCE UPON A SUMMERTIME Chet Baker Artists House AH 9411 80/81 (2 records) Pat Metheny ECM 1180/81 42 SALSSAH CARD FILE ON MICROFILM In its For Information leaflet 331/81 dated 31 July, 1981, the National Library announced the pub I ication of the SALSSAH card file on microfilm. The file contains al I entries contributed to SALSSAH by over 400 I ibraries 1from its inception to 30 June 1981 which have not been selected for SALSSAH on COM'. Included are al I titles from the 1968-74 edition of SALSSAH~ titles received from 1974 but not selected for inclusion in SALSSAH on COM, some minor serials rejected by both SSAL and SALSSAH) and temporary entries for some National Library material. Purchase of the two pub I ications wi I I give I ibrarians and users access to the complete SALSSAH'fi le, Pub I ishing detai Is, as provided in the For Information sheet 331 /81: SALSSAH card file on microfilm 1981. - 9 microfi Im reels; 16 mm. - Includes index. ISBN 0642 99238X Cost of 9 reel set: $250 Despatch and packaging: $15 Orders should be sent to: Principal Librarian Bibi iography National Library of Australia CANBERRA A.C.T. 2600 *********** MEDIEVAL MANUSCRIPTS IN THE NATIONAL LIBRARY The Institute of Medieval Music, based in Switzerland, has pub I ished a book on the important fragments of medieval music held by the National Library of Australia. The book results from a visit to Australia by the Director of the institute, Dr. Luther A. Dittmer, in 1978, when he attended a Medieval Music Conference at the Australian National University. 43 Dr. Dittmer saw the fragments in a special display at the Library and decided they should be pub! ished "so the rest of the world would know there ~as significant medieval music material In Austra I! a". The book, ca 11 ed "The Mus l co-Li turg i ca I Fragments from the Nan Kl ve l I Co I I ect ion", was edited by Dr. Gordon A. Anderson in association with Dr. Dittmer. Dr. Anderson, a musicologist of international standing, was Professor of Music at the University of New England unti I his death this year. The 15 fragments described and l I lustrated in the book are al I of I lturglcal music of the 13th to 16th centuries, mostly from France and England. They were acquired by the Library some years ago as part of the col lectlon of Rex Nan Klvel I, a London-based New Zea lander who was one of the Library's greatest benefactors. Although seldom displayed, because of their fragl I lty; the fragments can be seen in the Library's rare book and manuscript reaqlng room. One of the National Library of Australia's 15 fragments of medi.eval music which have become the subject of a book published by the Institute of Medieval Music, in Switzerland. The fragments are all of liturgical music of the 13th to 16th centuries. 44 The Chief Librarian of the National Library of Australia's music section, Mrs Prue N eidorf, examines a copy of the book published by the Institute of Medieval Music about the Librarts medieval music fragments. RISM LIBRETTO PROJECT There is a new RISM project in progress. At present it is sti I I in the planning stages, and RISM collaborators have been asked to provide some initial information regarding collections of I ibrettos pub I ished before 1801, or of any important later collections. It would be appreciated if Librarians would communicate the fol lowing information to Jane Hardie, at the N.S.W. Conservatorium of Music, as soon as possible. 1. Existence in your I ibrary of I ibretto collections, either separately pub I ished or as parts of other pub I ications. This wi I I include programme notes and other ephemera. 2. Approximate extent of the collections. 3. Whether they are catalogued or under any form of control. RISM - Australia has been asked to submit a pre I iminary report on the anticipated amount of material, to the central RISM office in Kassel before the end of 1981. Your immediate response therefore would be appreciated. Jane Hardie Chairman - RISM - Australia 45 IAMLANZ GENERAL MEETING FEBRUARY 1982 It is anticipated that there wi I I be an IAMLANZ General Meeting on the 26th February 1982 which wi I I be held as a teleconference - a telephone I ink-up of a centre in each IAMLANZ Division to centres in al I other Divisions through Telecom Australia fact I ities. Each centre has speakers and microphones specifically designed for this purpose. It is intended that the meeting wi I I be held from 12.00 to 2.00 p.m., Eastern Summer Time. The success of a meeting of this kind wi I I be very much dependent upon thorough preparation by each branch prior to the meeting. Branch and committee reports as we! I as any resolutions wi I I need to be circulated to al I other branches in advance of the meeting to faci I itate proceedings. Members wishing to have items placed on the agenda for the meeting are asked to contact the President, Mrs. Prue Neidorf, or their branch representative as soon as possible. Further information and a provisional agenda wi I I be circulated to al I members in December. ******** NEWS FROM BLACKWELL'S MUSIC SHOP In 1978, Blackwel I's Music Shop began cataloguing music in a machine readable format, which is broadly compatible with UK MARC, with in-house additions and amendments to suit Blackwel I's own particular purposes. The file covers both new and retrospective pub I ications. New material is.added to the file as received on blanket plans, and includes European and American pub I ications. Earlier pub I ished material (prior to June 1978) is being added by medium of performance. An organ catalogue appeared in 1980 and a piano catalogue is expected at any time. A note at the head of the new organ catalogue states that I it wi I I be revised and re-issued in two years' time. 1 46 ANTIQUARIAN MUSIC MONOGRAPHS IN AUSTRALIA: A NEW BIBLIOGRAPHIC PROJECT Information is currently being gathered for a bib I iography of Australian holdings of early printed monographs on music. As an in it i a I step, a I I i terns I i sted in "Printed Writings of Music" Series Bvi of Repertoire International des Sources Musicales (RISM)) have been· Iooked up in the Nati ona I Uni on Cata Iogue of Monographs and card supplement, and those items for which Austr.al ian holdings were I isted have been examined in the various I ibraries. Other items have been located through shelf and catalogue searches in some I ibraries. A computer database has been developed and a draft I isting was produced and circulated last May. Pub I ication (In an Australian musicology journal) is scheduled for early 1982. The criteria for inclusion in this bib I iography are basically the same as those used for RISM Series Bvi. The material must have been pub! ished before 1801, and may comprise al I or a substantial part of a monograph. Periodicals and articles in general encyclopedic works are excluded, Subject areas range widely, including not only music theory, but also the scientific and phi tiosophlcal aspects of music. A form headed "Report of pre-1801 music monognph" is avai Iable on request. This form specifies the items of information needed. Ful I physical descriptions (e.g. pagination, dimensions) are not required, since these wi 11 eventually be available through the Early Imprints Project. For further information, to obtain report forms, or to request inclusion on the circulation I 1st for the next draft, contact Stephen Page, Department of Music, University of Queensland, St. Lucia, Q. 4067. ************ 47 MUSIC LIBRARIES AND COLLECTIONS IN QUEENSLAND The three major collections of music materials in Queensland are held in the Architecture/Music Library at the University of Queensland, the Library of the Queensland Conservatorium of Music and the State Library of Queensland. Apart from smal I collections, which consist principally of books on music and sound recordings in the larger pub I ic I ibraries and are described in more detai I under the State Library of Queensland, the remaining collections of any significance are held by the other tertiary education institutions. In Brisbane, the I ibraries of the Mount Gravatt, Kelvin Grove and North Brisbane Colleges of Advanced Education (to become the campuses of the Brisbane College of Advanced Education from 1982) al I have collections of varying sizes to support music education programmes, and in some cases there are also modest collections of books, scores and parts, and sound recordings held in the music departments themselves. Outside Brisbane there are three institutions with similar collections designed to serve the same function: the Dari ing Downs Institute of Advanced Education at Toowoomba, the Capricornia Institute of Advanced Education at Rockhampton and the Townsvi I le College of Advanced Education. Last year the Library Resources Centre of the Townsvi I le College of Advanced Education began compi I ing the North Queensland Catalogue of Choral Music with financial assistance from the Music Board and the Community Arts Board of the Australia Counci I. The catalogue is designed to serve choral societies in the North Queensland region north of Mackay and west to Mt. Isa. The first catalogue, produced on the College's computer, was recently issued and comprises over 2,000 titles. A further smal I collection of operatic scores with orchestral parts and books on music is held by the North Queensland Conservatorium of Music at lnnisfai I. The North Queensland Conservatorium, funded partly by the State Government and partly by tuition tees, is primarily concerned with the teaching of instrumental and vocal music and the production of operatic performances in conjunction with the surrounding community. 48 ARCHITECTURE/M~SIC LIBRARY, UNIVERSITY OF QUEENSLAND Mary O'Mara The University of Queensland Library consists of a Central Library and 16 branch I ibraries. At the end of 1980, the total bookstock of the network was 1,143,581 volumes. The Library currently receives 20,705 periodicals and serial pub I ications; it holds over 40,000 microforms and over 20,000 audio-visual items. The Library has a total staff of 230, of whom 60 are professional I ibrarians. The Architecture/Music Library was formed when two former branch I ibraries moved into a new bui I ding in 1976. The former Music Library traces its origins back to 1934 when the Department of Music was established. It remained a tiny collection unti I the establishment of a Chair of Music in 1966. In that year a Music Librarian was appointed from the staff of the University Library, and from that time the collection has developed steadily. From a collection of about 600 books, 800 scores, 1000 discs and a few periodical titles in 1966, holdings had increased to 3300 books, 9000 scores, 4000 discs, 320 microforms and 216 periodical titles (160 of them current) by the time of the move t9 the joint I ibrary in 1976. At the time of the move, both I ibraries were of comparable size, and at the end of 1980, total holdings were 13,000 books, 12,000 scores, 6200 discs, approximately 800 cassettes and other audio-visual materials, 927 microforms and 970 periodical titles (640 current). Due to present and pending space problems throughout the system, the University Library has, since 1979, been engaged in a programme of removal of less used materials from prime storage to remote storage, The Architecture/Music Library deletes between 800 and 900 items from stock each year. Most of this material goes to a warehouse, but catalogue records remain in the Central Library catalogue and material is retrievable on demand. 49 In 1980, the I ibrary handled over 30,000 internal loans, 750 inter-I ibrary loan transactions, and over 8000 reference and directional queries. It is open from 9 a.m. to 5 p.m. on weekdays throughout the year (except between Christmas and New Year), and during semesters, unti I 8 p.m. on Tuesday, Wednesday and Thursday evenings. Owing to the diverse areas of performance, teaching and research of the Department of Music, the I ibrary has been unable to develop major subject strengths in music. However, the rationale behind its collection bui I ding has been that a university music I ibrary should collect primary source materials and materials of musicological interest as a particular responsibi I ity, with less emphasis on a comprehensive collection of performing materials, especially orchestral parts. The collection is therefore strong by Australian standards, in the areas of music periodicals, research level monographs and European manuscript microforms. The I ibrary primarily serves the staff and students of the Departments of Music, Architecture and Regional and Town Planning. There are six members of staff, of whom two are professional I ibrarians specializing in Architecture/Planning and Music respectively. The multi-disciplinary nature of the collection does not impede access to each subj act area, as a I I mater i a I is fully catalogued with multiple access points. Materials are naturally separated on the shelves by the classification scheme (library of Congress). While the subject catalogue contains some amusing sequences, e.g. Concrete construction - Concrete music - Concrete-Periodicals; Wind trios - Wind tunnels; 1/Joodwind - Woodwork, it is, in my view, as usable as it would have been in the old single-discipline I ibraries. The sound materials collection of the Department of Music has a separate card catalogue with ful I composer-title-subject (but not performer) access. With the exception of large anthologies, analytical entries for al I works on every disc are provided. The original brief for the Architecture/Music Library was drafted by the University Librarian, Mr. F.D.O. Fielding, who firstly presented a series of background statements about the type of service this branch I ibrary would provide, and then went on to out I ine factors affecting I ibrary planning. He discussed the 50 infinite flexibi I ity needed in most I ibraries, mentioning such factors as overal I shape ('preferably a square or wide rectangle preferably on one level'), distribution of pi I lars and other aspects of modular I ibrary planning. He examined expansibi I ity, suggesting the fol lowing breakdown of the 5500 sq. feet provided: Storage 1500 sq. feet Office work space, display areas, catalogue, service counters and associated pub I ic space 1500 sq. feet Reading and I istening 2500 sq. feet He then discussed general atmosphere, ducting, cei I ing, floor covering, air-conditioning, preferred wal I materials, I ighting, electric outlets, windows, pub I ic entrance, goods entrance, and the general concept of the I ibrary regarding staffing arrangements etc. The second part of the brief is headed 'Specific Areas', and he discussed the general layout and major functions of the entrance area, pub I ic service desk, general staff office area, the offices of the two professional I ibrariaos, the reference counter, consultation area, storage, and reader accommodation. He used several diagrams to i I lustrate his concepts to the architect, of which the first is reproduced. (Fig. 1). Fig. 1 51 The diagram indicated the relationships he saw between the various physical parts of the layout of the future I ibrary. He shows the progression of the average student user from the entrance to the bag racks, to enter the I ibrary proper after that point; the necessity for separate but related pub I ic service and reference desks, wfth the Architecture and Music Librarians' offices near the reference desk. His brief then out I ined the detailed requirements for each area of the I ibrary. S\\Gl.'11..,.;; F041. c:.:KJ Fig. 2 represents the floor plan and furniture distribution in the completed I ibrary. Necessity compels us to have para I lei runs of reference materials, octavo, quarto and folio books, sco~es, periodicals, monograph-type microforms (chiefly manuscripts and dissertations; periodical microforms are shelved in sequence with the bound volumes), set course cassettes and other audio-visual materials, and the sound materials collection of the Department of Music. The last of 52 these is housed, processed and distributed within the I ibrary for staff and students of the Department of Music. The Audio-Visual collection at present consists of cassettes and filmstrips, many of which are relevant to Architecture and Planning needs. Al I films and videotapes belonging to the University Library are housed centrally in Library Audio-Visual Services, to which we have immediate access as needed. The division of shelf space has proved satisfactory. There are 24 I istening carrels (12 each containing turntables or cassette decks). These are slightly larger than the normal carrel, and apart from the equipment which is set on a lockable she~f above the table level, there is room in each for a user to write, read a score and have books for reference within eye reach. There are 8 carrels for use with audio-visual materials, in the form of slides, filmstrips, cassettes (music students are encouraged to use the larger decks in the I istening carrels), 26 regular study carrels, a group study room for smal I seminars and group needs, and 6 chairs for the perusal of current periodicals. The office area is quite extensive but rather ful I, mainly because of the volume of the Department of Music sound materials collection and other closed access material, such as theses, unbound periodicals, and rare books. The central generation unit near the reference desk has the abi I ity to generate sound from disc, open reel tape or cassette to al I or any of the 24 I istening carrels, on two Ii nes. While the total floor space is considerably less than had been recommended for this I ibrary, the distribution of areas al located has worked out wel I. The large centre aisle between the stacks adds an air of spaciousness and makes stack ends easily visible from both reference and· lending desks. We have consistently released closed access materials to open access, to reduce storage needed in our crowded office area. However, the necessity to provide office space for six members of staff as wel I as housing items which it is felt must stay on closed access has made crowding inevitable. Also, the arrangement of the office space, split as it is by the Architecture and Music Librarians' offices, separates the two parts of the closed access collection. Thus, reference staff spend considerable time retrieving discs for music students. 53 One area where Mr. Fielding's recommendations were not fol lowed is that of I ighting. He expressed a preference for the flexibi I ity attained by the north-south and east-west I ighting in Central Library. He expressed a second, less ambitious, preference for I ighting running at right angles to the· shelving 'to provide a high intensity on the lower shelves in the stack and to permit stacks to be closed up or spread out'. He further stated that the rows of I ight 'can be 6' apart but should be continuous and must run right up to the wal Is'. Our I ighting fol lows the second plan, but most rows are 8 feet apart and in places, I ight is quite inadequate. Although I ibraries are rarely large enough, I believe that the present 5500 square feet of air-conditioned, carpeted space assists in the provision of a professional service to our users in an .environment conducive to quiet study or research. [Mary O'Mara is Music Librarian at the University of Queensland] THE LIBRARY OF THE QUEENSLAND CONSERVATORIUM OF MUSIC David Barkla Dr. Wi I I iam Lovelock, founding Director of the Queensland Conservatorium of Music, established the Library in 1957. Generous gifts of music from interested persons and from companies in Brisbane and elsewhere formed the core collection in the early years. Later a positive acquisiti?ns programme was instituted with funding from the Conservatorium as wel I as the Commonwealth Government. Originally the Library was housed in the caretaker's cottage at the rear of the old South Brisbane Town Hal I and had a floor area in its 5 rooms of approximately 672 square feet (48 X 14) 54 The new bui I ding at Garden's Point, into which the Conservatorium moved in mid-1975, provided an expanded area for the Library, giving a single room to service. The new premises offered a comparatively spacious floor area of 2064 square feet (86 x 24), The need for a new bui I ding specifically designed for Conservatorium purposes was dictated primarily by three factors: the cramped and inadequate faci I ities at South Brisbane, the establishment of a school music teacher training course, and the prospect of d~gree-granting status for the institution. In addition, the growing number of ful I-time and part-time students and the consequent increase in the number of lecturers eventually made larger accommodation imperative. Student numbers have grown from 200 (17 ful I-time and 183 part-time) in 1957 to 596 (296 ful I-time and 300 part-time) in 1981. The number of lecturers has grown to a present total of 19 ful I-time and 58 part-time. In 1969 there were 405 students (50 ful I-time and 355 part-time) and 34 staff (8 ful I-time and 26 part-time). In 1969 a brief was given to the architect to prepare plans for a new bui Iding. It was stipulated that reasonable access between the educational section, general study faci I ities and other general faci I ities during teaching hours was desirable. The Library had special conditions prescribed for it and these the architect was requested to incorporate into his drawings and plans. Although the re~I isation of these conditions was not entirely successful, the I ibrary was to be: (a) designed, equipped and furnished for efficient operation Cb) functionally designed for I ibrary purposes (c) attractive in appearance so as to invite use of its faci I ities by its aesthetic appeal (d) located in a part of the bui Iding free from noise and sound (e) flexible in its furnishings to provide for future expansion of reading areas and book space (f) provided with readers' places calculated on 25% of the current ful I-time day student population al lowing 25 square feet per place 55 (g) provided with a staff area estimated at 125 square feet of floor space per person (h) provided with a I istening area at one end of the I ibrary with suitable faci I ities (i) provided with book space for present needs and future expansion on the basis of 45 square feet per 1000 volumes, and adequate housing for periodicals, recordings, tapes, films, etc. (j) provided with furniture and equipment of attractive and comfortable design including carrels, individual desks and open tables. It was prescribed that the Library should occupy one room with a floor area of 2000 square feet. Subsequent discussions between the Conservatorium and the Works Department in 1973 made available a tutorial room across the corridor on the fourth level for the use of I ibrary staff. The new bui I ding has been constructed on five levels with a narrow corridor running the length of each floor with rooms on either side. The Library has been al located the whole of the area on the northern side of the corridor on level four. The main I ibrary room is 86 feet long and 24 feet wide. The office section with the charging desk occupies an eight foot section of t~e room giving approximately 192 square feet of space as a working area. Turnstiles have been installed to provide a security check on students leaving the Library. Faci I ities provided for students and staff include: 18 three- in-one integrated stereo systems, 4 integrated record player/ tape deck systems, a dual cassette deck, 3 cassette recorders, I reel-to-reel tape recorder, 2 photocopiers and a microfi Im/ microfiche reader-printer. An adequate supply of headphones is provided for al I I istening equipment. The hours of opening during term are 8.00 a.m. - 5.00 p.m. on Monday, Wednesday and Friday with an additional two evening openings on Tuesday and Thursday when the Library is open from 9.00 a.m. - 9.00 p.m. 56 2i' t(]D A•.1 1 · IC47 1i·, 1 1 i 4 ii( A~dla •q1.l;,m4nt It ,'1u1(c a aooka ,"ft •""tnt.~t"'r• 3cor1• C C.rrwl• MA ,'1\crafllm rudar•orlnt1r (ltlnolta ~II 405) c.c C•tologu• PC Phatac>pl•r• (NP 5000) co C~1r9L'1g .:ia1k R Racard• Ca C.us1tt1• Ref ~,,,r.,r,c• /Jacikt L.'1 l.i\, • rslttd "''"'ale scar•• 5 5•r1als Sc: Cl.lrr •nt l11t..•• Jf 11rl d.s (CL ... ,n,l~"' ltl Ln ,,.c ,,.,d incl"!••> The usual services are provided for I ibrary users: reference, inter-I ibrary loans, ordinary loans, and I istenlng, recording and copying faci I ities. Student loans exclude records, but music may be borrowed for use within the bui !ding on the day of loan only. As students intensify their searches for assignment materials, inevitably the Library has to cal I uponQ the specialised resources of other I ibraries through inter-I ibrary loan. To cater for these needs the National Library's loan service for university theses on microfi Im has been used extensively in recent years. An innovation introduced in 1978 prescribes that an archive of tape recordings is to be made comprising al I concerts that are advertised on the Conservatorium Concert Calendar. This collection of cassettes is kept in the Library and provides a record of musical activity given under the auspices of the Conservatorium. The paucity of I ibrary materials noted when the application was made for status as a degree-granting institution gave impetus to the move for substantially expanded resources. At the time of the application the Library was reputed to have had 1400 monographs, 6000 music scores and 2550 recordings, as wel I as a I i brary of orchestra I and chamber music. Much of this material was donated and was not in good condition. The 1970 1 s 57 saw the Commonwealth providing finance for I ibrary materials, a fact which enabled the purchase of a large number of new books, records, music and serials. The Conservatorium Library has grown in size and substance as a result of this. In addition to the provision of Federal finance the Conservatorium has increased its own al location of funds and permitted the holdings to increase to the fol lowing (1980 statistics): Monographs (volumes) 4907 Music scores 17115 Recordings 5305 Serials (titles) 105 Films 15 and a smal I number of cassettes, microfiche and microfilms. Back- runs of serials on microfi Im are being purchased selectively to increase serial resources and at the same time to save storage space. At the time the architect's brief was prepared, there were no professional staff attached to the Library. The first officiil I i brary position was created and f i I I ed in 1971 . In 1981 , the staff numbers five persons: I ibrarian, assistant I ibrarian (who is the cataloguer), I ibrary assistant (for loans, etc.) and two clerk-typists. The I ibrarian, assistant I ibrarian, and I ibrary assist ant are profession al Iy qua I if i ed I i brar i ans. The I i brary assistant and the two clerk-typists are located in the main I ibrary room while the I ibrarian and the assistant I ibrarian occupy the room opposite. Cataloguing of books and music is done under AACR North-American text (1967), and the classification is DDC 1ith edition. Records are classified according to a modification of the scheme developed by Mrs Mary O'Mara, Librarian of the Architecture/Music Library at the University of Queensland. The backlog of cataloguing and recent heavy purchases have been under massive attack in the last three years since the appointment of a ful I-time cataloguer. Both recataloguing as wel I as new cataloguing are included in the addition of 7413 new titles to the catalogue from December, 1977 to October, 1981. The foregoing statistic is an increase of some 47,888 cards to the catalogue, representing 1944 book titles, 2045 record titles and 3424 score titles. Purchasing and cataloguing is sti I I going on at the same rate but there are some signs of slackening due to cut-backs in 58 Federal funding. Improvements in the academic and performing sections of the Library's collection are necessary however, before equi I ibrium is reached. Stock additions have placed a strain on existing storage faci I ities. Additional storage units have been acquired, but this has I imited space in some directions and forced more efficient use of space in others. It is the pol icy of the Library to be self-sufficient for teaching purposes. Stock deficiencies are remedied quickly as soon as circumstances permit. The use of the Library by students and staff continues to increase. Approximately 10,000 loans are registered each year. Fines for overdue Ioans have been introduced this year to· act as a prompt for the return of borrowed materials, The fine system applies to orchestral parts and choral copies used in performances as wel I as to books, serials and music. Charges have also been introduced for the borrowing of orchestral sets and multiple copies of choral parts and vocal scores by outside bodies. After six years occupation of the new bui I ding, signs that the cuts in the size and capacity of the bui I ding, which were initially necessary because of financial stringency, and were more severe than the prospects for the future use and development of the bui ldlng would comfortably al low, are beginning to appear, The Library ls now starting to experience the effects of these cut-backs as more and more material is added to its shelves. To maintain it In the terms envisaged in the 1969 brief ls beginning to require the appl !cation of a certain amount of Ingenuity, In spite of the economic cuts which reduced the size of the bui I ding, the substance and services of the Library continue to make an important and valuable contribution to the education of students of music at the Conservatorium. [David Barkla is Librarian at the Queensland Conservator~um of Music.] 59 STATE LIBRARY OF QUEENSLAND MUSIC COLLECTION Gordon Abbott The State Library of Queensland was founded in 1896 when the government purchased part of the I ibrary of Mr Justice Harding as the nucleus of a free pub I ic I ibrary. The collection was opened to the pub I ic in 1902 as the Pub I ic Library of Queensland, the name which it retained unti I 1972 when it became known as the State Library of Queensland. As with the various other state I ibraries in Australia, the formation of their respective I ibrary boards brought about significant developments in the growth and progress of these I ibraries. The Library Board of Queensland was formed in 1943; the Oxley Memorial Library (now the John Oxley Library, the Queensland history section of the State Library) came under its control in 1946 and the Country Extension Service (now the Pub I ic Libraries Service) was established in 1948 to provide lending and reference services to residents outside the Brisbane area. In 1981 the combined holdings of the State Library, the John Oxley Library and the Pub I ic Libraries Ser.vice were in excess of 600,000 volumes, 25,000 microforms and 26,500 audio visual items. The Pub I ic Libraries Service serves 234 I ibraries throughout the State. Music materials are held in al I three collections. The State Library has the major collection with approximately 4000 books on music, 74 periodical titles, 14,500 scores and 3500 sound recordings. The John Oxley Library holds a smal I collection of books on music and music scores as wel I as concert programmes, manuscripts and archival material relating to Queensland, dating back to the last quarter of the nineteenth century. The Pub I ic Libraries Service collection also contains books on music, together with an extensive collection of sound recordings on disc and cassette which are available for loan through the pub I ic I ibraries. 60 In the mid 1970 1 s, when it was decided that the State Library would become part of Brisbane's new Cultural Complex, the State Library began an intensive programme to acquire music scores in anticipation of a closer I ink with the performing arts In the new complex. The first stage involved establishing an extensive reference collection based on collected editions, historical sets and monumenta, fol lowed by a lending collection of performing scores with parts. Although the first music I ibrarian was not appointed unti I February 1980 there were several I ibrarians with musical knowledge and expertise working in the technical services areas who were responsible for the acquisition of scores and sound recordings. A major strength of the music col lect~on is the reference collection which comprises approximately 8000 scores, including 74 individual composers' collected editions and 65 titles of historical sets or monumenta. A union catalogue of scores in these categories held by the State Library, the Architecture/ Music Library at the University of Queensland and the Library of the Queensland Conservatorium of Music is currently being pub! ished by IAMLANZ (Qld.) and wi 11 be avai I able later this year. In October 1980 the State Library commenced a lending scheme for music scores with a collection of approximately 4000 scores comprising works for keyboard, instrumental and chamber music, and vocal and choral music. Although the collection is housed in the State Library it is avai I able to any resident of Queensland. Brisbane residents borrow direct from the State Library and residents outside of the Brisbane area borrow through the Pub I ic Libraries Service network. To provide the latter borrowers with access to the co 1-1 ect ion a c I ass if i ed 11 st of scores was pub I ished and circulated to the pub I ic I ibraries throughout the state. In the first twelve months of its operation, the response to this service has been encouraging ~, 942 loans from a col lectLon of around 4000 scores - and it is intended that this aspect of the music collection wi I I be developed extensively in the future. An additional 2500 scores have already been added to the collection since the service began. Further I ists of scores in the lending collection are being produced and distributed annually. 61 The music collection includes only a very I imited range of orchestral scores with parts and it wi I I be a number of years before the State Library wi I I be able to provide a wide range of material for loan in this area. As an alternative, work has commenced on the compilation of a union catalogue of orchestral scores held by youth and community orchestras in Queensland. At the present time there are 52 orchestras of this kind in the state with holdings of a wide diversity of scores, which wi I I ultimately be accessible to al I participants in a cooperative lending scheme which is being coordinated by the State Library. Al I scores in the collection are on closed access as a result of the space I imitations in the existing premises. The majority of them have been processed for shelf location on a temporary system which comprises two numerical sequence~~reference and lending. Access is by composer, and, where necessary, by title; the lending col lect~on has additional access by performance medium. These scores wi I I ultimately be classified accordtng to DDC in keeping with the rest of the I ibrary. As mentioned previously, the Pub I ic Libraries Service has a circulating collection of sound recordings~ However, unti I recently,there have been no faci I ities in the State Library for using the reference collection of sound recordings. In August this year a smal I audio visual unit commenced operating in the State Library. It consists of six I istening or viewing carrels and the audio visual hardware includes three centrally control led turntables and amp I ifiers, three cassette players and various filmstrip and slide viewers and projectors. In the first month of the unit's operation, 132 sound recordings were played, w~ich was an encouraging response to this new service. A reference service for music is avai I able not only to Brisbane residents but also to residents in the provincial cities and country areas. The larger pub I ic I ibraries have their own collections of books and periodicals on music, as does the Pub I ic Libraries Service. However, if these resources are insufficient to satisfy information needs, the request is passed on to the State Library. Alternatively, requests may be made direct to the State Library by telephone or letter. 62 A wide variety of queries have been answered over the past eighteen months. These have ranged,for instance, from the words of the song BeautifuZ QueensZand to the sources or composers of the original tunes used by John Gay in the Beggar's Opera. These two examples of the types of queries suggest the wide diversity of interests of the users of the collection and at the same time point to the breadth of coverage which the collection must ultimately provide. Similarly, the users of the lending collection of music scores include musicians, both professional and amateur, as wel I as music students. The range of their interests covers not only classical music but also jazz and popular music. It is expected that the State Libr9ry wi I I open in the new Cultural Complex at South Brisbane in 1984. The first two stages of the complex, incorporating the Queensland Art Gallery, and the Perfor~ing Arts Complex, are wel I under way and are expected to open in March and September 1982 respectively. The Q~eensland Museum is also expected to open in 1984. The music collection wi I I be separated from the general collection within the State Library with scores and books arranged on open shelving for ease of access. There wi I I also be a more extensive audio-visual unit, incorporating not only music but al I other audio-visual forms as wel I. It is intended that the music collection wi I I provide comprehensive reference, research and lending services to users throughout the State. [Gordon Abbott is Music Librarian at the State Library of Queensland] During Australian Library Week, 18th to 26th September 1981, the State Library of Queensland held a display of modern reproductions of early European musical instruments to promote the Music Collection. Included in the thirty six instruments on display were sets of crumhorns, gemshorns, cornetts, recorders, shawms, rauschpfeifen, Baroque and Renaissance flutes, and viols. In addition there were a rebec, a Medieval fiddle, a lute, and a spinet. The 63 flutes, rebec, lute, fiddle., spinet and the viols were al I made in Brisbane. Fol lowing extensive radio and newspaper pub! icity, pub! ic response to the display was good, and resulted in a wider awareness not only of the Music Collection but also of the general collection and the accompanying I ibrary services. Section of the display of early European musical instruments at the State Library of Queensland, September, 1981.