MMLLAA NEWSLETTER
MLA Vi s i t s San Diego, Part II
Annual Meeting coverage begins on page 3
Inside: President’s Report ...... 2 Transitions ...... 12 Chapter Reports ...... 17 Annual Meeting ...... 3 In Recognition ...... 15 New Members ...... 17 Calendar ...... 4 Roundtable Reports ...... 16 Member News ...... 17 Committee Reports ...... 10
No. 161 May–June 2010 ISSN 0580-289-X President’s Report MUSIC LIBRARY ASSOCIATION Ruthann McTyre, MLA President that I want to share: room rates Board of Directors irst things first – our thoughts are lower and Officers and prayers go to everyone in lower over the next three years! The RUTHANN MCTYRE, President the Nashville area who are un- CMs and the board are also planning University of Iowa F JERRY MCBRIDE, Vice President/ doubtedly still dealing with the after- on taking a very close look at our President Elect math of Spring’s flooding. As the meeting footprint at the upcoming Stanford University rains have been falling pretty much September board meeting here in PAMELA BRISTAH, Recording Secretary non-stop here in Eastern Iowa for Iowa City and will be targeting the Wellesley College the last few weeks, I’m reminded of Nashville meeting as a possible start- MICHAEL ROGAN, Treasurer/ post-flood life and I’m sure everyone ing point for that reduced footprint Executive Secretary Tufts University joins me in sending only best wishes for meeting spaces. The Annual for a successful restoration to life-as- Meeting Survey in which so many of Members-at-Large 2009–2011 LINDA FAIRTILE normal, or close to it at least. you provided extremely useful data is University of Richmond As always, there is a lot going on going to inform us about all aspects STEPHEN MANTZ with MLA. First of all, it’s renewal of the meeting, so thanks to those of University of Colorado–Boulder time! If you haven’t done so, get to you who took the time to participate. JENN RILEY the online membership directory and Sincere thanks, too, to Beth Christen - Indiana University
renew your dues. While you’re there, sen and her Task Force for the her- Members-at-Large 2010–2012 take time to look over the revamped culean work they did putting that SUSANNAH CLEVELAND form that includes expanded oppor- survey together and then gathering Bowling Green State University tunities for giving to the association, and assessing the data so quickly. CHERYL TARANTO through our new Orpheus Society You are aware by now that there University of Nevada, Las Vegas or Ostinato Club, as well as through is a Task Force working towards the LIZA VICK one-time donations, rechristened draft of a new Strategic Plan for MLA, Harvard University “MLA Soloist.” chaired by David Gilbert. I encourage Typeset by A-R Editions, Middleton, WI. The Executive Board met at our everyone to offer input to the task Business Office in Middleton in late force when asked. MLA is at a real MLA NEWSLETTER May where we approved a more turning point and your participation Misti Shaw, Editor stringent budget than in past years, in this endeavor will help to “steer The Newsletter is published four times a year: cutting Association-related travel by the ship.” Another new task force September–October, November–December, March– 10% and reducing projected spend- getting to work soon will examine April, and May–June, by the Music Library Associa tion, c/o A-R Editions, Inc.; 8551 Research Way, Suite 180; ing in other areas (phase 2 web de- options for virtual meeting/ VLE op- Middleton, WI 53562, and is issued to its members sign, Presidential discretionary funds, tions and yet another soon to be or- free of charge. The purpose of the Newsletter is to keep the for example). On a brighter note, we ganized will begin to explore meth- membership of the Association abreast of events, voted to increase the Freeman Award ods for archiving our electronic data. ideas, and trends related to music librarianship. All communications and articles are welcome. Address pot from $3000 to $3750 in order to On the horizon: As previously correspondence to: share the wealth of that vital fund mentioned, the Executive Board will Misti Shaw with more future music librarians. Of meet in Iowa City 15–17 September. DePauw University course, Pat Wall and Jim Zychowicz Joining us for part of the meeting GCPA Music Library 605 S. College were wonderful hosts and my thanks will be members of the IAML-US Greencastle, IN 46135 go to them and their staff at A-R for board as we continue to chart the [email protected]
sharing their office space and their possible affiliation with IAML and The deadline for submitting copy to the editor for refrigerator with us for a few days. merger with IAML-US. Also, we will issue number 162 (Sept.–Oct. 2010) is August 15, 2010. Submissions in Microsoft Word sent via e-mail Our Convention Manager Bonna welcome David Gilbert, the “strat- attachment are preferred. Boettcher and her “posse”, Laura plan man” who will deliver the draft Gayle Green, incoming Assistant CM of the MLA Strategic Plan to the and Paula Hickner, nearly-retired board for discussion. CM, have been hard at work negoti- Busy, busy, busy! Happy Summer ating with conference hotels in the everyone. As the boys from Rascal immediate and distant future. Bonna Flatts like to sing, “Let your Igloo On the cover: Balboa Twilight, by Gerry pointed out a very pleasant trend Cooler mark your piece of Paradise”! Szymanski.
2 M L A Newsletter • No. 161 Annual Meeting Plenary II: Wish They All Could Be California . . . . Women
Contributed by Lydia Welhan Switching gears from experimen- Rachmaninoff, all the time playing (Missouri Southern State Univ.) tal music to the plectral world, concerts for packed audiences. Yet, and Scott Stone (Chapman Univ.) Nelson discussed the career of gui- by the time she was thirteen, critics tarist Vahdah Olcott-Bickford. A ma- were labeling her interpretations as Tuesday was kicked off by the jor proponent of the BMG (Banjo, immature. So, she took time off from second Plenary Session, “Wish They Mandolin, Guitar) Movement, Olcott- the public stage, attended college All Could Be California . . . Women.” Bickford was an influential publisher, without any financial support from Consisting of four different presen- arranger, and performer of guitar her father, and eloped (which re- ters and topics, this session high- music in the first half of twentieth sulted in a permanent rift with her lighted four incredible and influential century. While there were others do- father). Slenczynska taught piano for women in music from California. ing this at the same time, Olcott- several years, but after seeing the Hosted by Caitlin Miller (LC), the Bickford stood out from destruction of Cologne four presenters included Ana Dub - her peers because she ad- “. . . Olcott- during World War II, she njakovic (Virginia Tech), Mac Nelson vocated all finely crafted Bickford stood found her purpose in life: (Univ. of North Carolina at Greens - music, not just Western art out from her peers to bring something beauti- boro), Therese Dickman (Southern music. Throughout her because she advo- ful into people’s lives Illinois Univ. Edwards ville), and Beth life, she published over cated all finely through the public per- Fleming (Kent State Univ.). 160 works for guitar, over crafted formance of music. She Dubnjakovic began the morning 500 arrangements for music, not just began to perform again, with her paper, “Mildred Couper & plucked instruments, and Western art giving hundreds of con- Her Quarter-Tone Compositions.” performed on early radio music.” certs a year. In 1964 she While Couper was not a Californian broadcasts and motion accepted a position at by birth (having been born in pictures. She also attempted to col- Southern Illinois University Buenos Aires), the bulk of her work lect all printed music for guitars and Edwardsville, where she remained comes from her time spent in Santa plucked instruments. Other accom- for 34 years. Barbara. Prior to moving to plishments include founding the The session was wrapped up by California, Couper spent time in New American Guitar Society and Zarvah Beth Fleming (Kent State University) York and was exposed to the experi- records, creating a major collection and her talk on “Betty Freeman’s mental music of composers including of plectral instruments, and subse- ‘Wonderful World’: The Music Scene Charles Ives and Henry Cowell. Ives’ quently donating this collection to in California.” Freeman, based in use of quarter-tones in some of his Cal State, North ridge after part of it Beverly Hills, began as a concert pi- compositions directly influenced had been devastated by a serious anist, but she was too nervous on Couper’s piece, “Dirge for Two California earthquake. stage to be a successful performer. Pianos Tuned ¼ Tone Apart,” which Sticking with names that are dif- As a result, Freeman decided to dedi- was warmly received at its premiere ficult to pronounce, the life of Ruth cate her life to financially helping in New York City. Dubnjakovic Slenczynska, child piano prodigy, other artists, especially composers. walked the audience through this in- was discussed by Dickman. Pushed As of 2002, Freeman was responsible teresting work, at times both jarring from a very young age by her father, for distributing 432 grants to com- and hauntingly beautiful, with sounds Slenczynska earned a full scholarship posers; the names of those she sup- blending together to create a wash of to the Curtis Institute of Music at the ported reads as a “who’s who” of color. The piece represents Couper’s age of five. She was so small at this American music: John Cage, Virgil own unique style of quarter-tone mu- time that she had to use a special ap- Thompson, Lou Harrison, Steve sic, which Henry Cowell described paratus constructed by her father to Reich, John Adams, Pierre Boulez, as being very accessible. Couper help her use the piano’s pedals. For and many more. She was not cate- stands along with Ives and Cowell in the next decade, Slenczynska trav- gorical about choosing which com- pioneering experimental music in eled the world and studied with fa- posers to support; she simply sup- America, and pushing quarter-tone mous teachers including Nadia ported those whose music she liked. music into the mainstream. Boulanger, Alfred Cortot, and Sergei continued on page 4
M L A Newsletter • No. 161 3 Annual Meeting Joint Session Provides Presentations on Collection Development for World Music Scott Landvatter, merous music archives contain forms, advising the donor on obtain- University of Chicago mainly media, especially archives ing appraisals and related tax deduc- composed of ethnological items, tions, and also working with donors A joint session of the World Bittel proceeded to discuss how an who choose to give funds or mone- Music Roundtable and the Resource archivist approaches collection de- tary bequests rather than physical Sharing and Collection Development velopment and how a media archive items. Committee convened in San Diego is expanded over time. Presenting next was Liza Vick, on March 22nd to hear three speakers It may come as no surprise that a Music Reference and Research discuss matters related to the build- media archive grows largely through Services Librarian at the Loeb Music ing and development of world music donations of research and field Library at Harvard. As Associate collections. Attendees heard Aaron recordings, both audio and video. In Editor for the World Music portion of Bittel (UCLA) speak of world music particular, field-recorded videos have the fourth edition of A Basic Music archives, Liza Vick (Harvard) cover increased in recent years, as technol- Library, Vick gave the audience an the ethnomusicology portions of the ogy has advanced and video equip- overview of how this section is or- fourth edition of A Basic Music ment has become more compact and ganized and what methods were Library, and Alec McLane (Wesleyan) practical for use in varied geographic used to obtain the citations included. discuss three issues to consider settings. If growth of an archive is First, taxonomy and terminology had when regarding the actual scope of greatly dependent upon gifts, then to be decided upon. On one level, world music. an important collection development these decisions resulted in geograph- Aaron M. Bittel, Archivist- role of the archivist is that of liaison ically focused portions such as the Librarian and Head of Digital Proj - with potential donors. Personal col- “Americas and the Caribbean,” “Asia ects for the UCLA Ethno musicology lectors have often devoted many and Oceania,” and so forth. These Archive, began by reviewing how years to obtaining items characteriz- geographic portions were then fur- the term “archive” has evolved ing the music, dance, and culture of ther divided into smaller geographic through the years to include not only a particular geographic region, a spe- areas, specific genres, and even per- special print materials, but also very cific ethnic group, or ethnic genre. forming artists and composers. As large collections of media. The UCLA To know of such collectors and to can be observed from this careful or- Ethnomusicology Archive, for exam- build an institutional relationship ganization, the fourth edition will in- ple, consists almost exclusively of with them may well lead to a future clude many more geographic and audio and audiovisual recordings in gift of significant research value. continued on next page numerous physical formats. A few Bittel concluded his presentation by photographs, musical instruments, touching upon some of the addi- and other items constitute only a tional duties connected to the receiv- small percentage of the archive’s ing of donations, including various Calendar holdings. After explaining that nu- deeds of gift, donor, or “depositor” 1 August 2010 Plenary II: continued . . . Annual Reports due to MLA Board continued from page 3 The Plenary Session II brought As a result of her generosity, many some needed attention to some of 15 August 2010 pieces, such as Adams’ Nixon in California’s great women in music MLA Newsletter China, have been dedicated to her. and their impressive personal collec- no. 162 submissions due Because of her communications with tions. It was an engaging session so many important composers, that provided a perfect start to the Freeman’s personal papers are now second day of MLA’s 79th annual Renew your MLA membership kept at Uni versity of California, San meeting. if you haven’t yet! Diego.
4 M L A Newsletter • No. 161 Annual Meeting Two Presentations Representing Best of Chapters Linda Blair, University, SEMLA Chapter), for his In the first presentation, Smith- Awards Committee presentation “Collecting on the Edge Borne recalled a spring 2008 visit to Redux: Recording the Traditional Uganda, in which he assisted the Two presentations were selected Music of Uganda,” and Jane Subra - founder of the Global Music Archive this year to represent the best of manian (State University of New (GMA), ethnomusicology professor, programming from our regional York at Potsdam, NYS/O Chapter) Gregory Barz, in the gathering and chapters. This year’s winners were for “The Norwood Brass Firemen organization of information and Holling Smith-Borne (Vanderbilt Band’s Strong Beat Since the 1870s”. continued on page 6
Joint Session continued . . . continued from previous page selector may consider when making ular cultural group. The enormous genre subcategories than present in new acquisitions choices. The first is- increase in global diaspora, however, the third edition of 1997. Vick also sue approached the question of what has extended research far beyond stressed that many more citations re- might qualify as an “authentic” the confines of such categorizations. flecting the diaspora of ethnic groups recorded example of a particular cat- McLane offers the example of and the spread of world music gen- egory of world music. Here, McLane South Asians, relocating first to res will be included in the new edi- used three recordings meant to rep- Trinidad and then to New York City, tion. To obtain citations, several resent music from the rainforests of now forming musical groups per- types of sources were consulted. Central Africa. The first example was forming Indian music, very likely First was the third edition A Basic a field recording released on LP in including both Caribbean and Music Library, which offers many ci- the 1970s, demonstrating the fact American influences. Also, the tations of continued value, and also that, for many years, recordings ac- “where” of world music is no longer guides the editors in considering cepted as authentic were almost ex- necessarily located in an exotic “over which areas require greater emphasis clusively those made in the field. there.” This is made clear by the and rebalancing in the new edition. The second example, from 2004, monograph, Community of music: Additional sources for citations in- is “intentionally” performed and an ethnographic seminar in cluded World Music: the Rough recorded by African musicians who Champaign-Urbana, 1993, which Guide, 1999–2000, The Garland have created their own arrangement contains ethnographic studies of the Encyclopedia of World Music, 1998– of what they identify as music of the music in this Illinois region. The 2002, WorldCat, and other sources. Baka people of Central Africa. The third and final issue tackled was the Vick closed her presentation by men- third recording was performed by a matter of how recordings of world tioning the impact of emerging for- French techno-dance group, who music should “sound.” Once again, mats, such as subscription audio merely “referenced” the music of the ethnomusicology research conducted databases and MP3 download sites. Baka people in their program notes. in the past would stress the authentic She also emphasized that Which of these recordings sound of field recordings. But this, a certain imbalance, espe- is “authentic?” McLane too, has changed. Much world music cially regarding citations How do you makes a good case that, is now recorded in studios using so- of sound recordings, was determine which with ever-changing defini- phisticated technology, producing a inevitable, since ethnic recording is tions and approaches to sound that may be quite different recordings so often be- “authentic”? ethnomusicology, all these from what might be heard on site in came quickly unavailable. recordings are authentic in the field. In conclusion, studies in Presenting last was their own fashion and that ethnomusicology have expanded Alec McLane, Music Librarian and a selector should consider obtaining greatly over the years, making selec- Director of the World Music Archives access to all three. The second main tion decisions more complex, but at Wesleyan University. In McLane’s issue examined was “where” world also allowing the selector to build a discussion on the collection of world music may be found. Years ago it far more multifaceted and rich col- music, particularly sound recordings, was easier to associate world music lection than would have been justi- three issues were addressed that a with a geographic region or a partic- fied in the past.
M L A Newsletter • No. 161 5 Annual Meeting
BCC sponsors program RDA: Approaching Implementation
James Mason, Univ.) spoke next about the signifi- The first stage of the test period, University of Toronto cant changes for cataloging music un- beginning July 2010, will offer testers der RDA versus AACR2. Last on the an opportunity to gain familiarity This timely and well-received program was Mark Scharff (Washing - with RDA, and allow for local policy presentation outlined issues associ- ton Univ.), chair of BCC’s Subcom- decisions on implementation. Formal ated with RDA that have a particular mittee on Descriptive Cataloging, testing will begin in October, run- impact on the musical community. who spoke about deferred issues of ning for three months. During this Damian Iseminger (New England interest to the musical community. phase, catalogers will work with a Conservatory), Chair of BCC’s Au- Iseminger first listed institutions “common set” of twenty-five titles, thorities Subcommittee, and partici- and organizations involved in the representing textual monographs, pant in the MLA/OLAC RDA testing RDA testing process set to begin later audio-visual material, serials, and in- funnel, quickly brought us up to this year. Along with the US national tegrating resources. These records speed on the implementation plans libraries (LC, National Library of will be cataloged by each participat- for RDA. Next, Kathy Glennan (Univ. Medicine, and the National Agri- ing institution using both AACR2 and of Maryland), BCC chair and member cultural Library), test libraries include RDA; however, only bibliographic of the RDA/MARC Working Group, academic and public libraries, library- records will be created. In addition spoke about the changes made to related service providers, museums, to the “common set,” participants MARC in order to accommodate school districts, and of course, the will catalog items from their regular RDA. Daniel Paradis (Concordia MLA/OLAC funnel. continued on next page
Best of Chapters continued . . . continued from page 5 server, and all original CDs and pa- musical training, use no printed mu- recordings for the project,. The GMA, perwork are retained for possible fu- sic, employing instead a sort of first introduced to MLA audiences in ture reference and back-up. At this Dixieland band technique in which an earlier presentation by Dennis time, the Digital Collection of East all music is improvised and learned Clark and Catherine Gick, was cre- African Recordings holds more than by rote in a limited number of keys. ated to collect and provide access to 1700 recordings, with plans to con- Through the many years of the sound recordings and images of in- tinue to add more recordings from band’s history, they have often trav- digenous music performances from Uganda, as well as to add additional elled long distances to performances, Africa and the Americas. In Uganda, databases from other geographic re- but by far the longest was to recording is conducted on site in lo- gions. The Global Music Archive, a Sarajevo to perform at the Winter cal villages by a highly regarded lo- free internet resource, can be found Olympic Games in 1984. As a reflec- cal musician, Centurio Balikoowa, at: http://www.globalmusicarchive tion of the townspeople’s high re- and is accomplished with a relatively .org/. gard for their band, the Norwood small and portable complement of In the second presentation, Museum has created an exhibit of ar- equipment. A one-page licensing Subramanian presented a historical tifacts, scrapbooks, and photographs agreement is signed by all individu- portrait of the Norwood Brass documenting the Band’s long and als before recording and a simple Fireman’s Band, a community band illustrious history. hand-written form is used to collect based in a town just north of The Best of Chapters Compe- the metadata for each session, which Potsdam, New York, that has been tition “was created to honor presen- will then be sorted into categories continuously active in various incar- ters at chapter conferences for their using a controlled vocabulary to nations since 1870. After the end of excellent research and to allow a form the basis of the retrieval system. World War II, the band was reorga - broader sharing of that valuable Finally, all materials are sent to nized as an all-brass band, and it has work.” Additional details about the Vanderbilt University, where media continued in this configuration to the competition are available at http:// files are created for streaming audio, present day. The group members, www.musiclibraryassoc.org/about digital audio files are stored on the who vary widely in age and level of .aspx?id=561.
6 M L A Newsletter • No. 161 Annual Meeting
continued from previous page controversial “gender” field (375). around substituting the term “audio” work flow. This work will conform Similarly, the attributes of works/ for “sound.” Place and date of cap- to local cataloging practices; author- expressions brings us a choice of ture are two separate elements, pro- ity work and subject analysis is in- new fields including “content type” viding more granularity. cluded. The final stage of the test (336), “other distinguishing charac- The addition of “adaptations” as project will begin in January of 2011, teristics of work/expression” (381), a choice for access points is new. when the national libraries will ana- and “key” (384). MARC Access points for librettos lyze the submitted records and indi- will also be able to repre- will be affected, as well vidual catalogers’ reports. sent the possibilities for “The addition of as variant access points Iseminger also discussed the defining relationships de- ‘adaptations’ as for cadenzas and libret- publication of RDA, which is envi- tailed in RDA Appendix I, a choice for access tos. With the “adapta- sioned as an online product (see J and K: name to resource, points is new.” tions” option, a performer http://www.RDAonline.org) with no resource to resource, and can now be notated as an plans for a print counterpart. The name to name. Examples adapter, in place of com- base price for U.S. subscribers is include the use of subfields for con- poser as creator, particularly affecting $325 annually for a single user at a ductor, and relating a name with a works where the performer substan- time with unlimited user profiles, al- “real identity.” Other changes that tially adapts or alters a piece, as is though there is pricing for additional have been made to MARC include typical in jazz. Librettos will now list users. subfield specificity and repeatability, the author as the creator. During dis- Glennan discussed changes in and additional codes in various 007 cussion, concern was raised about MARC21, intended to accommodate and 008 character positions. composers of operas who also wrote the granularity offered by RDA. Daniel Paradis spoke about the libretto, a known problem with Some of the changes were required changes to the glossary, rules for de- the current RDA instructions. RDA for implementation, some were cre- scription, choice of access points, contains new instructions on the ated more for experimentation (e.g. and uniform titles. Not all changes variant access points for librettos and for those working toward more can be listed here; for a more com- cadenzas. The variant access points FRBRized displays), and some re- plete description please contact for librettos will be the musical sulted from earlier attempts to apply Paradis or James Mason. Changes in work. Cadenzas will follow a similar RDA. All of the changes she dis- the glossary section of AACR2 in- pattern. cussed have been incorporated into clude terminology for describing Some changes will appear with the online MARC documentation at: printed music, such as definitions for uniform titles. Abbreviations will be http://www.loc.gov/marc/ and will chorus score, score, and vocal score. removed, modifications to titles, be available for use in May 2010. Modifications from AACR2 to RDA rules governing notation of medium Glennan also spoke about attri- for rules of description include of performance, and notation of butes of names and resources. New sources of information, the GMD, continued on page 8 fields have been defined for names edition statements, physical descrip- (authority format only) and works/ tion of notated music and sound expressions (bibliographic and au- recordings, place and date of cap- thority formats). Glennan noted that ture, and publisher numbers. issues related to encoding, relation- Rules governing sources of infor- ships between other fields, what to mation were generalized in three cat- do with the information, and how to egories: those consisting of leaves, display the data would need to be sheets, or cards; resources consisting resolved at an institutional and na- of moving images; and other re- tional level. sources (including discs). Physical A few of the new fields include description of notated music will be “special coded dates” (046) for infor- narrowed down. Statements such as mation such as birth and death dates “v. of music,” “p. of music,” or as well as start and end periods, “as- “leaves of music” will be notated as A trio of Toms: Thomas Bell, Tom sociated place” (370) for information “score.” Physical description of Caw, and Thom Pease breaking in such as place of birth or place of sound recordings will change as the Exhibits Hall (by Gerry origin of work, and the somewhat well, with changes primarily focused Szymanski)
M L A Newsletter • No. 161 7 Annual Meeting BCC Metadata Subcommittee Sponsors Program: Workflow Design for Metadata Creation Felicia Piscitelli, spective institutions and the problems preservation and archiving of sound Texas A&M University and successes they encountered. and moving image material. At LC, a Caitlin Hunter began her pres- technician creates metadata records The Metadata Subcommittee is entation, “MAVIS Audio Collection in MAVIS containing the title, compo- new, having been formed at the 2009 Management Software and the nent (copy) and carrier information, annual meeting in Chicago with Jenn National Jukebox Project,” with a which the cataloger then reviews. Riley (Indiana University) as chair description of the organization and The system generates pull lists; and nine other members. On Wed nes - staffing at the Recorded Sound recording engineers can also add day, March 24, 2010, the subcom - Section of the Motion Picture, metadata, since they must listen to mittee presented a program on Broadcasting, and Recorded Sound the recordings in the process of digi- “Work flow Design and Metadata Division at the Library of Congress, tizing them. A workflow software Creation” in San Diego. In this pro- where she is Processing Unit Head. that can “sit” on top of MAVIS is still gram, the three presenters, Caitlin She then described how the Division in development. Hunter (Library of Congress), uses MAVIS (Merged Audio Visual Hunter then gave a report on the Amanda Harlan (Baylor Univ.), and Information System), a collection National Jukebox Project, in which Renée McBride (Univ. of North management software program de- LC is partnering with the University Carolina-Chapel Hill), described dif- veloped by ScreenSound in Australia, of California-Santa Barbara and Sony ferent metadata projects at their re- as an inventory control tool in the continued on next page
BCC sponsors program RDA continued . . . continued from page 7 Working from the official Other deferred issues of high “key” will be changed. In addition, “Deferred issues” document, ALA’s priority include: clarification on situa- medium of performance has changed Committee on Cataloging: Descrip - tions of music where the intention is in some important ways. For exam- tion and Access (CC:DA) prioritized for variation between performances; ple, the limit of three elements has concerns at the ALA 2010 refining the language in been removed. Terms for groups of Midwinter meeting. This Deferred issues relation to choosing pre- instruments or solo voices are used incorporated feedback of high priority ferred titles; expanding only for standard combinations in from CC:DA constituen- for MLA the terms available for chamber music such as string quar- cies, including MLA. discussed large ensembles when tet, piano, strings, accompanying en- Scharff brought forth the recording medium of per- sembles, and cases where composer following “big three” is- formance; determining if did not indicate instrumentation. sues for resolution on MLA’s behalf: music-specific instructions are And, instructions on indeterminate 1) remove confusion associated needed for devised titles; removing medium have been developed. with balancing the recording of data ambiguities in collective titles for Scharff summarized the JSC’s elements that name musical works composers who are literary authors, “Deferred issues,” items from the re- with the creation of preferred access or vice versa; and improving the def- view of RDA which elicited objec- points; 2) resolve the ambiguity of inition for “distinctive title.” The JSC tions, yet could not be resolved prior containers being permitted as a will develop a procedure for consid- to publication. Some of these issues preferred source of information; eration of proposed revisions; CC:DA resulted from the shift in emphasis and 3) lessen the Western bias in will work on its own procedure to from the creation of AACR3 to the instructions about arrangements/ accept proposals from its various creation of RDA, some from compati- adaptations to better represent world constituencies. BCC will determine bility with AACR2, some from at- and folk musics and work on the which subcommittees should be in- tempts to align with FRBR entities, problem of naming a libretto whose volved in preparing revisions for and others deferred due to the need author is also the composer of the CC:DA review. to get RDA published. dramatic work.
8 M L A Newsletter • No. 161 Annual Meeting Developing Trends Jim Cassaro, ganization to partially cover the costs with a one-time gift to the Associ - MLA Development Officer of some of our important functions: ation. Any and all gifts are greatly Web site redevelopment, directors’ appreciated. How time flies! This is my one- insurance, audiovisual rentals for our There are a few other initiatives year anniversary as Development annual conference, among others. I that I want to share with the mem- Officer for MLA, and in that short know these are difficult economic bership. At its meeting in San Diego, time, we have accomplished great times, but if you can, please consider the ML Board voted to reserve the things. Of course, none of this would upgrading your membership. first $1,000.00 of income generated be possible without the generosity of With this dues renewal cycle, the by our annual Silent Auction, to fund the MLA membership. Your passion membership now has the opportu- the Carol June Bradley Award this and dedication to the Association is nity to join our newly implemented year. This decision allows the award what will ultimately make its devel- giving circles, the Orpheus Society to be given, as well as increases the opment program successful. I hope and the Ostinato Club. The Orpheus opportunity for additional items in you all know how grateful I am, and Society is designed to accommodate the Silent Auction, as it now will sup- the Association is, for all you do. significant gifts to MLA with dona- port something concrete. Such usage As you know, this is our annual tions made over a period of time will give us the time to plan for a dues renewal cycle for fiscal year (quarterly, biannually, annually), campaign to endow the Bradley 2010–11. I encourage you all to re- while the Ostinato Club makes possi- Award, and other worthy initiatives, new your membership as soon as ble a monthly donation to the orga - without significant burden on the you can, and if possible to become a nization ($10.00/month minimum). If membership. Sustaining Member. The additional either of these opportunities do not Stay tuned for more exciting revenue that is generated by this fit your giving ability, toot your own news to come! membership category helps the or- horn and become an “MLA Soloist”
BCC Metadata Subcommittee Sponsors Program continued . . . continued from previous page Frances G. Spencer Collection of When it comes to creating meta- Corporation to make thousands of Popular Sheet Music and the data for these collections, Harlan rec- sound recordings from the 78-rpm Black Gospel Restoration Project ommends moving from a standard era available for listening online, par- and outlined the procedures used one (having richer content, such as ticularly those on the Victor and to create metadata for them. The MARC or MODS) to a simpler one Columbia labels. This project thus re- sheet music collection contains over (such as Dublin Core), rather than quires coordination of participants 30,000 titles from the late eighteenth the reverse. She begins with the on opposite coasts. On the LC side, a to early twentieth centuries; digitiza- MARC record and uses MARCEdit technician prepares a spreadsheet tion began in 2000. Shelf cards and to extract Dublin Core (for with representative samples. Pull lists cover images are outsourced to the CONTENTdm) and MODS records. are created before the recordings are Flourish music cataloging service. MODS is used for preservation meta- digitized; technicians compare copies The gospel music collection, on the data; Harlan mentioned that it is of discs and select the one in the other hand, consists of sound record- also used in other venues for “dark best condition for digitization. A sim- ings in various formats archives.” For technical ilar workflow is followed at UC-Santa from the 1940s through metadata, she uses JHOVE 1,190 albums Barbara, which is contributing much the 1970s; a professor at (which is compliant with of black gospel discographical information. The digi- Baylor collaborated with the NISO Z39.87 standard) music have been tization on the West Coast is being a businessman who for images and AES-X098B cataloged. done by a Seattle-based company, wanted to help preserve for audio. AES-0X098C is Reclaim Media. this music. So far, 2,786 used for digital prove- Amanda Harlan, Metadata & pieces of sheet music and 1,190 al- nance and process history (adminis- Catalog Librarian at Baylor Univer - bums of black gospel music have trative metadata), and METS for sity, gave an overview of the been cataloged. continued on page 10
M L A Newsletter • No. 161 9 Committee Reports
with other headings. The idea has that take care of the concept? Sub - Bibliographic Control come up of incorporating additional divisions that include medium (“Solo Committee: terminology used in RDA for format with piano”, etc.) imply something of notated music and for type of mu- that could be made more explicit. Genre/Form Task Force sical notation into the thesaurus, in By itself, there is no literary warrant addition to the lengthy list of subdi- for “Solo with piano”; the terms Beth Iseminger, vision terms already being consid- “Orchestral reduction” or “Arranged Chair ered for inclusion. In doing this, the accompaniment” might be better. Sacred Music genre/form thesaurus could be posi- “Solo . . .” implies one instrument The group discussed and ap- tioned as a source of additional vo- with or without something else. This proved LC’s favored option for sa- cabulary for RDA. concept could be conveyed in a cred music: to keep several genre/ Things to consider when deter- medium statement. form terms which are currently pre- mining which subdivisions should coordinated with the terms “Sacred” become genre/form head- Next Steps ings: Do these subdivision The group discussed and “Secular”. For a list of headings “Do these which will be retained, and those re- terms apply to expressions timeline issues, and a or manifestations? If the subdivision terms question arose about quiring further consideration, please apply to contact Beth Iseminger. genre/form thesaurus is when the task force’s meant for terms for works, expressions or work ends. If there are Subdivisions where does this leave manifestations?” ongoing tasks, who will At the most basic, the direction expression/ manifestation overtake them? Should this members will go with subdivisions is terms? Do some subdivisions still become a separate BCC subcommit- to turn them into genre/form head- need to remain for contextual clarity, tee, or would the Subject Access ings which can be post-coordinated or are there other parts of the record continued on next page
BCC Metadata Subcommittee Sponsors Program continued . . . continued from page 9 volumes of nineteenth-century sheet Internal consistency is the immediate structural metadata. Harlan noted music at her library, consisting of goal; conformity with established LC that METS is more flexible than nearly 3,500 pieces. Over the years, authorities may be pursued later. PREMIS. Rights metadata schema for several attempts were made to cata- The 19th-Century American Sheet the Black Gospel Music Project is log this collection, and later, to digi- Music project can be found at: http:// taken from several sources and com- tize it and put it online. However, www.lib.unc.edu/dc/sheetmusic/ bined into a single schema called the each time the project was interrupted After the presentations followed Baylor Copyright Metadata Schema for one reason or other, usually as a a brief question/answer period. One (BCMS). This is not needed for the result of lack of funding or staffing. discussion concerned collaboration sheet music, as most of that collec- In 2008, library staff, along with stu- with public services and systems li- tion is in the public domain. dents enrolled in the School of brarians in metadata creation. These collections can be accessed Information & Library Science, began McBride commented that she kept at: http://contentdm.baylor.edu/ transferring the collection from end users in mind when cleaning up Renée McBride (Head, Special MySQL (an open-source database the database, and that CONTENTdm Formats & Metadata Section, software) to CONTENTdm. As a re- requires you to choose which fields Resource Description & Management sult of this on-and-off approach, are searchable and which ones are Dept. University of North Carolina- there has been great inconsistency in visible to the public. Responding to a Chapel Hill) addressed the all-too- the “legacy” metadata. McBride de- question about the Black Gospel common scenario of projects begun tailed how she reduced the number Music project, Harlan said that and left unfinished in “Look What of fields in the Dublin Core records, Baylor does not physically own all of We Got! How Inherited Data and created a “data dictionary” of the recordings, and that some of Drives Decision-Making.” She be- controlled vocabulary and used them are reproductions. gan with a historical synopsis of the CONTENTdm’s “find and replace” fortunes of a collection of 129 bound function to clean up the database.
10 M L A Newsletter • No. 161 Committee Reports
continued from previous page SACO process. The task force feels added granularity to the 518, and Subcommittee continue the work? there would simply be too many adding codes to the 033, since these The conclusion was that the project terms to go through the SACO fields have linked information. In the will have a definite end with a tangi- process as it stands now. Another end, changes were made to both ble product: the completed music option might be to put the new fields and the proposal passed. part of the genre/form thesaurus and terms into an organized list, possibly These changes will be part of an LC the list of medium terms (probably in with references and/or scope notes, MARC update in May, which will in LCSH), both ready for use. Intro duc- and to present this list to LC as a turn make it available to RDA testers tion of new terminology will follow whole, similar to the way in which in time to start their work in June. LC LC’s procedures for new vocabulary the MLA Working Group on 20th- turned this around very quickly in the genre/form thesaurus and Century Music Terminology went (dated March 5, 2010), as MARC up- LCSH. It is hoped that the task about its recommendations. dates usually only come out every force’s work will be finished within This thesaurus represents a great October. the next two years. opportunity. It is the time to ask The second music-related pro- what we want our terms, especially posal was MARC Proposal 2010–04: Joint Meeting Report medium, to do for us. What do we New data elements in the MARC21 The MLA-BCC Genre/Form Task want our catalogs to do in relation to Authority and Bibliographic Format Force and the LC Music Genre/Form medium? What are the principles of for works and expressions: This pro- Project Group held a closed working providing medium of performance posal dealt with the addition of fields meeting in San Diego. There is now through the catalog? for both authority and bibliographic enough agreed-upon thesaurus vo- The next steps for the MLA task formats to enable experimentation cabulary to start creating hierarchies. force will be: working on hierarchy with RDA elements within the con- Starting with the first 1000 terms for the first 1000 agreed-upon terms, straints of MARC21. Another consid- agreed on by the two groups will looking at hierarchy issues as they eration for this proposal was to es- give both groups a sense of what it arise, finishing the process of search- tablish the same tags for new content needs to do next. If terms are too ing Garland and Grove for new in both bibliographic and authority granular, they might be included as terms, searching any other pertinent records. The proposal focused on cross-references instead of estab- sources, and examining MARC issues RDA chapter 6 and enables record- lished headings and scope notes may and doing the groundwork for ing of this information even if not re- be transformed. Working on the hier- MARBI proposals to support medium quired. Glennan went through some archy will help illuminate where the terms in particular. The next discus- of the finer details of the codes in- holes are and which terms are too sion paper from LC might be about cluding: 380 – form of work; new specific. A benefit of establishing hi- classes of persons subdivided by $v subfield codes in field 046 for date of erarchy is that there will be no more Music. work or expression; 382 – medium orphan terms in the thesaurus. How of performance; 383 – numeric des- geographic relationships are in- ignation of a musical work (specifi- cluded in the thesaurus is not so MARC Formats cally, make repeatable for multiple much the issue, but including those Subcommittee numeric/thematic catalog designa- relationships in some way is very tions; think Vivaldi); and 384 for mu- important. Bruce Evans, Chair, sical key. MARBI approved the pro- While LC is not presently adding and Kerri Baunach posal and these changes will be part terminology that does not have liter- of Update 11. See www.loc.gov/marc ary warrant (in other words, terms Kathy Glennan reported on for more details; changes will be that do not apply to some library- music-related MARBI Proposals pre- marked in red. owned object), it is part of the MLA sented at Midwinter. The first was Glennan also reported that there task force’s charge to create a list of MARC Proposal 2010–03 Recording are some additional tasks that need new vocabulary. The task force Place and Date of Capture in the to be accomplished to fully enable needs to know where this work fits MARC21 Bibliographic Format (033/ the adoption of the IAML codes for into the project. It could possibly 518): this was a discussion paper at the 047 and 048; specifically, the cre- search the list of terms for literary Annual and then came as a proposal ation of appropriate $2 source codes warrant in OCLC and submit them to at Midwinter; discussion was lengthy (i.e. $2 “iamlmf” is available for 047 PSD through some type of expedited regarding adding subfield coding for continued on page 12
M L A Newsletter • No. 161 11 Committee Reports
continued from page 11 RDA publication/availability until the so should be able to; Kerri Baunach and $2 “iamlmp” is available for end of August and about three (Univ. of KY): it is a possibility, and 048). Last summer, Glennan wrote to months of testing. This will be fol- she would have to talk to the sys- LC requesting that these be created, lowed by review and report. tems person at her institution. Grace and they were. OCLC implemented Glennan mentioned that MLA is part Fitzgerald followed this up by sug- use of these codes in August 2009. of a test funnel in cooperation with gesting that we make friends with Next, Jay Weitz reported on OLAC. our programmers, because they OCLC’s plans for implementing the Evans then asked the committee could enable us to test these fields. various changes (in time for the US for ideas about how MLA should re- national libraries’ test of RDA) and spond to RDA-related MARC issues any particular impact it anticipates. arising out of the RDA test. The Metadata Weitz said that OCLC had been 033/518 issues are a good example Subcommittee working on Update 10 when Update of problems that can arise during 11 appeared. OCLC decided to im- testing. As things specific to music Jenn Riley, plement all of Update 10 concerns come up, how Chair and those things in Update should these be handled? The BCC Metadata Subcommit- 11 that relate directly to RDA-related The subcommittee dis- tee had its first in-person business RDA. One thing not being changes and cussed filtering this infor- meeting in San Diego. Linda Barn- implemented was the addi- implementations mation through the MLA/ hart announced her resignation from tion of the “Form of Item” discussed BCC structure, how the the subcommittee. Subcommittee (CF 008/23, 006/06) ele- MLA membership is to be members thanked Linda for her ment to the computer file kept informed, and when service. format. This will happen sometime an announcement should be made. The Metadata Subcommittee has in the next year with the next ver- With the upcoming release of completed a document describing sion of the Connexion Client. RDA- RDA, Evans asked if any members of metadata standards for audio, in col- related changes being implemented the committee are working in envi- laboration with the ALA Association include: 38X fields in Authorities and ronments where they can test some for Library Collections & Technical Bibs; 046 field in Authorities; 336, of the new functionality that the re- Services (ALCTS) Preservation and 337, 338 and repeatable 041 $e in cent MARC changes would enable Reformatting Section (PARS) Audio Bibs; and 336 and 37X fields in for RDA. Specifically, members are Metadata Task Force. This resource Authorities. All should be imple- interested to see how the 38X fields may be found linked from the PARS mented by May 16; some aspects and other newly approved fields home page at
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continued from previous page approved fields are for form (MARC and members are looking at ways to The Subcommittee discussed 380) and medium of performance make it public (online or otherwise). possible session proposals for the (MARC 382). These new fields intro- Some revision may be necessary, de- 2011 MLA annual meeting. Ideas duce possibilities for where genre/ pending on LC’s decisions regarding raised were focused on promoting form and medium of performance a proposed fiction/nonfiction revi- awareness of issues related to meta- information might go in MARC sion to the hierarchy and a possible data usage in practice, including records. LC discussion paper on headings for non-descriptive metadata, music in- ALA’s Subject Analysis Commit- performances. formation retrieval, and audio in tee (SAC) is beginning to study the A group from IFLA released the more generalized digital repositories. nature of facets and how they have first draft of Functional Requirements The Subcommittee will decide been used. SAC has also discussed for Subject Authority Data (FRSAD). whether to put forward one of these separate thesauri for facets which This report dismissed genre/form session proposals after the official could complement genre/form completely and did not consider it in call is issued. access. The SAC Genre/Form Imple - the realm of subject data. It presented The meeting closed with brain- men tation Subcommittee (SAC-SGFI) a conceptual model which offers little storming on committee activity is working on statements regarding guidance for the RDA subject chap- priorities for 2010. A decision was geography, language and ethnicity as ters that still need to be written. Both reached to begin the process of facets within the context of the the ALA-SAC response and the MLA building an online clearinghouse for genre/form projects. response criticized the report, espe- information on music metadata. Such A small group from SAC-SGFI is cially for its short-sightedness regard- a resource would include basic intro- analyzing existing subdivisions (au- ing form/genre. ductions to some technical standards, thority field 185) to determine which citations to published articles, copies should be made into genre/form Library of Congress report of relevant conference presentations, terms. The terms under consideration (Gerry Ostrove) and white papers and other informal by this group are those that are not LC’s Policy and Standards reports on standards. To begin plan- disciplinary specific. Division (PSD) is considering a proj- ning the structure of this resource, LC is planning for the genre/ ect for adding 072 fields to subject members will survey the MLA mem- form thesaurus to be a separate authority records. The 072 field con- bership on current metadata usage product, not linked to LCSH. This tains a code for the subject category and needs. The Subcommittee plans brings up issues of how genre/form associated with the heading. Adding to have results from the survey by terms should be coded in 655 fields. 072 fields and using them in con- the MLA 2011 annual meeting. Should there be a new subfield code junction with 073 fields (subdivision for the genre/form thesaurus? Sug - use field) might make possible better gestions from the SAC-SGFI which machine manipulation of headings PSD is discussing include defining a with subdivisions. For example, it Subject Access new indicator for the thesaurus or could permit computers to provide Subcommittee retaining current coding of indicator lists of free-floating subdivisions al- 7 + $2 with a new code lowable under an indi- A special “thank you” goes to for the thesaurus. vidual heading. outgoing members Stacey Allison- The development “. . . the groups The LC Music Genre/ Cassin and John Wagstaff and to out- phase of the OCLC FAST have agreed on Form Proj ect Group and going chair Beth Iseminger for their project is complete, and about 1000 the MLA/BCC Genre/ valuable contributions and time serv- the focus has now genre/form Form Task Force have ing on the committee. The Subject shifted to maintenance headings to be been working together Access Subcommittee (SAS) wel- and enhancement of the included in the for the past year on the comes Hermine Vermeij as the new FAST vocabulary. A thesaurus.” music portion of LC’s chair. book on FAST by Ed genre/form initiative. So O’Neill and Lois Chan is far, the groups have ALA report (Beth Iseminger) being published this spring by agreed on about 1000 genre/form Several MARBI proposals passed Libraries Unlimited. headings to be included in the that are for new fields used in work/ The OLAC Best Practices Task thesaurus. expression identification. Two of the Force is finished compiling its report, continued on page 14
M L A Newsletter • No. 161 13 Committee Reports
continued from page 13 Collection Development Using examples from music librarian- PSD has created approximately Workshop ship courses from Stuttgart and 50,000 validation records to date at a Erin Mayhood (University of Aberystwyth, he demonstrated differ- rate of 500 new records each week. Virginia) and Darwin Scott (Princeton ent online applications that can be They expect to be through all the ex- University) presented a music collec- used to teach this course. He de- isting subject headings by the end of tion development workshop with a scribed the advantages and disadvan- 2010. Validation records can be “twist”: the session was intended for tages of using Moodle (a free Web viewed in Classification Web and both outreach and training trainers. application that educators can use to through OCLC. Scott and Mayhood followed a three- create online learning sites) and the part agenda consisting of separation challenges and successes of teaching into role-playing groups articulating students in an online environment. different user needs, merging of In addition to citing increased Education Committee groups to share results, and presen- enrollment when moving from a tra- tation of a model session. For exam- ditional face-to-face teaching situa- Abby Cross, Chair; contributions ple, Group A’s generalist public li- tion to an online environment, Wag - from Tammy Ravas, Patricia brarians discussed the importance of staff mentioned the ability to “patch Thomson, Holling Smith-Borne, the community’s heritage and inter- in” special speakers, the increase in and David King ests, and Group B’s liberal arts col- student participation, and the ability lege librarians offered that faculty, to record and archive sessions. Poster Sessions course listings, and ILL are valuable Instructors have advantages as well; All of the ten applicants for the resources. The title of the model they can travel and be able to teach poster sessions were selected to presentation was “A few basic sur- on the road, they don’t have to be present in San Diego. A wide range vival skills for finding music web- tidy, and can still maintain quality re- of topics included the following: a sites, acquiring CDs and scores, and lationships with students. study of user-centered library instruc- coping with the complexities of mu- Wagstaff recommended that stu- tion for music students, cataloging sic materials.” The tour that followed dents have at least one on-campus photographs of the Los Angeles Jazz included marketing your presenta- day to allow the students to bond Scene, digital signage in the library, tion, keeping the MLA connection and get to know each other in per- digital bookplates, interdisciplinary visible, discussion of tools, formats, son. This could include tours of involvement of a music library with editions’ quality, choosing vendors, archives or libraries, and lunching to- an engineering school to design mu- lists of music, out-of-print resources, gether, resulting in an increase in sical instruments, organizing concerts approval plans, and copyright. The student participation in the course. and performances in music libraries, final note from Mayhood and Scott Instructors of distance education providing access to broadcast tran- brought the group back to the start: courses should be prepared to opti- scription discs of the 1930s through remember—thinking about your au- mize participation by keeping activi- the 1950s, an art exhibition of jazz dience is the key to success. ties going so students are not photographs in a public tempted to multi-task and begin library, collaborative Distance Learning checking their e-mail or Facebook A smoother composition through a Continuing Education while attending the course online. process has been web site, and a study of Session He recommended taking advantage established for users’ needs when con- John Wagstaff pre- of special features such as student uploading poster ducting music-related re- sented an informative voting, virtual hand-raising, and si- session materials search in an online cata- session on his experi- multaneous chat. to the conference log. Thanks to the efforts ences teaching music Last, Wagstaff mentioned how Web site. of this year’s Local librarianship students his course is mapped to MLA’s 2002 Arrangements Com mittee, through distance educa- core competencies for music librari- a smoother process has been estab- tion. He began the session with a ans, and he is mindful of the ques- lished for uploading poster session brief history of the Music Librarian - tion “Why turn out music librarians if materials to the conference Web site. ship course at the University of there are no jobs?” Graduates of his Diane Steinhaus has been instrumen- Illinois including the transition from courses have done very well in the tal in assisting with getting these ma- a face-to-face course to a distance profession. Even if a student does terials on the site. education course starting in 2008. continued on next page
14 M L A Newsletter • No. 161 Committee Reports
continued from previou page (two this year). Gerry Szymanski presentation “Music Information not ultimately become a music librar- (Co-chair) will be in charge of the Retrieval Systems: Midomi and ian, the knowledge of music librari- program for next year. Verletta Kern Shazam.” Next, Erin Mayhood (Univ. anship can help in a variety of career is gathering updated information on of Virginia) presented on the Music paths, especially in administration. the various music user groups for the Encoding Initiative. Jon Haupt MLA Web site. There was extended (Southern Methodist Univ.) gave a Education Outreach Program and enthusiastic discussion about an demonstration of Dropbox, and Alisa Task forces of EOP instructors updated requirements document, Rata Stutzbach (Southern Methodist and MOUG members are being es- with agreement that one was Univ.) followed with a lively demon- tablished to create learning objec- needed, and that it would be vendor- stration of Hiveminder. Next, Nara tives for two new workshops: Scores neutral and applicable to all types of Newcomer (East Carolina Univ.) cataloging and Video-recordings cat- systems. The first step will be to pre- gave a brief presentation about aloging. This is particularly timely pare a proposal for the Board, in- Googlewave, followed by Joy Pile since a scores cataloging workshop cluding information based on com- (Middlebury College), who discussed was recently requested by Tufts Uni - munication from the Board to the Mosio. Erin Conor (Reed College) versity. David King has been actively then Integrated Library Systems Sub- presented on LibraryHelp, and Misti working with the MLA Assistant Web committee in 2005. Shaw (DePauw Univ.) ended the ses- Editor to revise and update the EOP The committee-sponsored ses- sion by discussing SMS (text) mes- web pages. sion, “A Match Made in Heaven: saging from library online catalogs. Other EOP activities since the Merging Emerging Technical and The committee’s second formal last report to the board include two Public Services,” consisted of a panel meeting was held on March 24, with EOP workshop presentations. “Music of speakers describing some of the much of the discussion centered on is not my forte: Music Reference for new technologies available. Szyman- feedback about the session, and pos- the Non-specialist,” a collection de- ski (Eastman, Univ. of Rochester) sibilities for a program proposal for velopment workshop, was presented read Jenny Colvin’s (Furman Univ.) 2011. to the Alabama Library Association by Liza Weisbrod (Auburn Univ.) on April 14. Christ Durman (Univ. Tennessee-Knoxville) and Grover Baker (Middle Tennesee State Univ.) In Recognition gave the workshop “Music Refe- rence: Just the Basics” on March We appreciate our Corporate Patrons and Corporate Members and their 18. support of MLA! Corporate Patrons American Institute of Musicology A-R Editions, Inc. Emerging Technologies ejazzlines/Jazz Lines Distribution and Services Committee Harrassowitz J. W. Pepper & Son Inc. Grace Fitzgerald and OMI - Old Manuscripts & Incunabula Gerry Szymanksi, co-chairs Theodore Front Musical Literature Inc. Corporate Members The Emerging Technologies and aaa Music Hunter Distributing Company Services Committee rounded off its Alexander Street Press first full year of existence at the San Broude Brothers Limited Diego meeting. The first session was rd G. Schirmer Inc./Associated Music Publishers Inc. a business meeting on March 23 ; Harmonie Park Press the agenda included a brief overview Music Library Service Company of the formation and work of the New World Records committee, discussions about the Preservation Technologies size of the committee (in transition), Yesterday Service Sheet Music, Inc. and the selection of new members
M L A Newsletter • No. 161 15 Roundtable Reports
staff purchase cheaper sets (under film Hangover Square. Gibbs pro- Conservatories $20) since the quality does not vided commentary about how the Roundtable matter with streamed sound, as it music contributed to the mood or cannot be controlled by the user. story of each film. He also made One library sold cheaper head - comparisons between piano concer- Jennifer Hunt, phones to users while some of us tos written for concert performance Coordinator wondered why we supply head- and the miniature form that ap- phones anymore when so many peared in film, and discussed why The San Diego meeting was students come to the library with this style of music may have fallen attended by a small but dedicated their own sets. out of use in movies of subsequent group of librarians. Laurie Lake This lead to a discussion about decades. (Interlochen) will be taking over for digital reserves and the platforms The Film Music Roundtable is Jennifer Hunt as the Roundtable being used by libraries. Some have seeking a volunteer for a new coor- coordinator after the San Diego streaming audio servers, and dinator. Please write to Myrna Layton meeting. Members should be resources such as iTunes can stream if you are interested; contact infor- watching for an e-mail with informa - music on campus. Others still use mation may be viewed here: http:// tion about the annual survey. Infor - Blackboard while a few are music.lib.byu.edu/servfac.html mation is gathered each year to experimenting with Sachi, an open- conduct an informal comparison of source tool. And then there is conservatory libraries. Survey results Indiana University’s Variations2 and remain anonymous to protect Variations3 projects involving a few confidentiality. institutions. Technical Services With a few libraries having just Other topics discussed included been through the accreditation one librarian’s idea for open-stacks Roundtable process, members discussed whether audio collections, the ways in which Mary Huismann, Deb Kulczak, any librarians had regular programs staff choose student workers for em- Co-coordinators related to library assessment. One ployment in their libraries, and the suggestion was to target small areas progress of the chamber music wiki of interest, and using a vehicle such sharing project. Technical Services Roundtable as Survey Monkey to solicit user attendees were treated to an excel- opinions. Others have simply made lent presentation by Marty Jenkins small cards with questions that could (Wright State Univ.) titled “MARCEdit: be deposited in a drop-box, while Film Music Roundtable How Did I Ever Live Without It?” one library has links on its Web site MARCEdit is a freeware program inviting users to make suggestions. Myrna Layton, developed by Terry Reese at Oregon Members also pondered whether Coordinator State University. The primary pur- anyone has implemented a pose of the software is to facilitate comprehensive library instruction Film Music Roundtable partici- batch processing of bibliographic program. Should all students of an pants enjoyed a presentation by records that sometimes cannot be institution be required to take some George Gibbs (Univ. of Kansas) enti- done within many ILS systems. Marty sort of class or program related to tled “Piano Concertos for the Movies: presented several scenarios in which the library? A few librarians have The ‘Miniature Piano Concerto’ in he uses MARCEdit at Wright State: been able to work with their faculty British and American Films from the addition of 949 fields to incoming to teach class sessions in the library, 1940s and 1950s.” Gibbs surveyed and outgoing records, vendor- while others at least obtain syllabi of the use of this style of composition supplied e-book record files, and classes to be aware of class needs. in movies of the time period by dis- creating brief bibliographic records More partnership with faculty will be cussing and playing clips of about from Excel files. a future theme that librarians should fifteen works. Participants heard ex- The Roundtable session ended consider in their daily work. cerpts of Richard Addinsell’s The with a call for future meeting ideas, Another topic of discussion cen- Warsaw Concerto in the film and for new Roundtable coordina- tered upon what type of headphones Dangerous Moonlight, and Bernard tors. Please contact the current Co- members use in their libraries. Some Herrmann’s Concerto Macabre in the coordinators for further information.
16 M L A Newsletter • No. 161 Chapter Reports
currently using the system (which Thanks to everyone in both MLA Southern California they have named ORCA) for bound and AMS who organized this event. Chapter journals and low-use items. After the tour, attendees were pleasantly sur- prised by free drinks at the in-house Stephanie Bonjack, Starbucks, courtesy of Dean Roman Chair Kochan. Next, members convened for the New Members The Southern California Chapter business meeting and then rejoined of MLA met Saturday, February 13, AMS colleagues for the remainder of Welcome to these new or return- 2010 at California State University, the afternoon. Graduate student ing members! Long Beach, in a joint meeting with Stephen Penner from California State the Pacific Southwest Chapter of the University, Northridge discussed Jacqueline Frances Brellenthin, American Musicological Society. hype in classical music. He exam- Mukwonago, WI Balmy weather, gracious hosts, and ined hype in the history of the Los Sotos George Djiovanis, Oxford, engaging presentations made for a Angeles Philharmonic as a tool to FL truly enjoyable conference. gauge the future success of Gustavo Tammy Dawn Dugan, Santa The morning program opened Dudamel’s massive ad campaign in Barbara, CA with a paper by USC doctoral candi- Los Angeles. Mary Prichard Laverty, date Seth Houston, whose paper, The program concluded with an Liverpool, NY “Restoring Self through an Exotic entertaining presentation by Roger Jeong Lee, Dublin, CA Other: Orientalism and the Poetic in Hickman (Cal State Long Beach) on Meghan Joanna Mazur, Rowlett, Robert Schumann’s Das Paradies “Miklós Rózsa’s March Madness.” TX und die Peri,” examined this particu- This prolific film composer made use Joan M. Reitz, Western lar oratorio within nineteenth-cen- of the march in everything from Connecticut State University tury Orientalist literature and its rela- comedies (Thunder in the City, 1937) Mary Wolcott, Blue Hill, ME tionship to German culture. He was to historical dramas (Ben-Hur, 1959). Lisa Wollenberg, Crawfordsville, followed by Alejandro Planchart Hickman posited that Rózsa’s interest IN (Univ. of California, Santa Barbara), in marches followed his exposure to who gave a meticulously researched Honegger’s Les Misérables in 1935. paper on prose repertory in southern Italy. The morning session concluded with Catherine Brown’s presentation, “Music in a Library!? The UCLA Member News Powell Library as a Non-Traditional Performance Space.” Ms. Brown co- Dr. Lois Kuyper-Rushing, Associate Librarian ordinates and promotes a music se- and Head of Carter Music Resources Center (LSU ries in Powell Library and gave the Libraries), received one of five nationwide travel nitty-gritty on scheduling, acoustics, awards given by ARTstor in May, 2010. Kuyper- and the highlights and pitfalls of live Rushing will receive $1500, which she will use to music in study spaces. defray costs of traveling to Valenciennes, France, Following lunch, attendees were during the spring semester of 2011 to study manu- treated to a tour of the automated scripts of composer Eugène Bozza and to interview storage and retrieval (ASR) facility at his daughter. In addition, Lois has received the max- the CSU Long Beach Library. imum $10,000 faculty research grant from LSU’s Office of Research & Supervisor Vicky Munda demon- Economic Development to further assist in these research endeavors. strated the seamless process from re- Lois’ award-winning essay, “Music Iconography and ARTstor,” and questing a book through the catalog, more information about the ARTstor award, can be viewed on the ARTstor to the machine finding the container Web page: http://www.artstor.org/index.shtml with the item, to its retrieval and de- livery to the patron. The library is
M L A Newsletter • No. 161 17