MMLLAA NEWSLETTER

MMLLAA MMeeeettss iinn DDaallllaass Part I of Annual Meeting Coverage

Inside: Feature: Get to Know Your Calendar ...... 15 President’s Report ...... 2 Membership ...... 9 MLA News ...... 18 Annual Meeting Coverage . . . . 3 Developing Trends ...... 10 Announcements ...... 23 In Recognition ...... 5 New Members ...... 10 Members’ Publications ...... 25 Transitions ...... 8 Committee Reports ...... 11

No. 168 Mar–April 2012 ISSN 0580-289-X President’s Report MUSIC LIBRARY ASSOCIATION Jerry McBride, MLA President In addition to the annual meet- Board of Directors Greetings, MLA members. ing, the work of Officers It is always a pleasure to review MLA continues. Work on the strategic JERRY MCBRIDE, President the events at a MLA meeting, and plan continued culminating in the Stanford University this year’s meeting at Dallas had its town hall meeting at the conference. MICHAEL COLBY, Vice-President/President Elect share of high points. From jazz col- Strategic planning is an ongoing University of California–Davis lections at UNT to best practices for process, and MLA members are en- PAMELA BRISTAH, Recording Secretary fair use, from form/genre terms to couraged to contact members of the Wellesley College information-seeking behaviors and board with your ideas and sugges- LINDA W. BLAIR, Administrative Officer new information tools in the cloud— tions for future directions MLA Eastman School of Music these are just a sampling of the should be taking. PAUL CARY, Assistant Administrative Officer wealth of interesting programs at the There were a number of task Baldwin-Wallace College conference. When there was time to forces that submitted their reports to slip out of the hotel, you could visit the board at its Dallas meeting. The Members-at-Large 2011–2013 DANIEL F. BOOMHOWER the nearby historic section of Dallas Archive’s Policy Task Force is plan- Library of Congress and performances of the Symphony ning for much better handling of KIRSTIN DOUGAN and Opera in the evening or more MLA’s eighty years of organizational University of Illinois at Urbana–Champaign native forms of Texas entertainment. records. The Branch Libraries Task LAURIE J. SAMPSEL Visiting the exhibits was more con- Force report, soon to be on the MLA University of Colorado at Boulder venient than ever as they were di- Web site, will help libraries that are Members-at-Large 2012–2014 rectly next to the main meeting room, facing integration into a larger li- PAULA HICKNER making it very easy stop by in those brary. Both of these task forces will University of Kentucky spare moments in between sessions. continue their work into the next STEVE LANDSTREET No annual meeting is a success year. The IT task force has issued a Free Library of Philadelphia without the many hours of hard RFP to improve the entire MLA infor- MARK SCHARFF Washington University work by MLA participants. Thanks mation technology infrastructure for an imaginative program go to upon which the board will act this Typeset by A-R Editions, Middleton, WI. Morris Levy and the Program Com - year. A new Membership Committee MLA NEWSLETTER mittee. The smooth operation of in- has just been appointed with Misti Shaw, Editor numerable details of every aspect of Ruthann McTyre as chair to work on the conference is due to the superb building MLA’s membership. We are The Newsletter is published four times a year: September–October, November–December, March– planning and constant vigilance of moving forward on all of these is- April, and May–June, by the Music Library Associa tion, the convention managers, Bonna sues to maintain the vitality of MLA c/o A-R Editions, Inc.; 8551 Research Way, Suite 180; Middleton, WI 53562, and is issued to its members Boettcher and Laura Gayle Green. as an organization. free of charge. Making our stay in Dallas and at the All of this work happens as a re- The purpose of the Newsletter is to keep the membership of the Association abreast of events, Fairmont a welcoming and pleasant sult of the dedication of MLA mem- ideas, and trends related to music librarianship. All experience were the many volun- bers. Members Paula Hickner, Steve communications and articles are welcome. Address correspondence to: teers in the Local Arrangements Landstreet, Mark Scharff, assistant ad- Committee headed by Michelle Hahn ministrative officer Paul Cary, and Misti Shaw DePauw University and Tina Murdock. Jim Zychowicz vice president Michael Colby join the GCPA Music Library and the Business Office ably handled board this year. Susannah Cleveland, 605 S. College Greencastle, IN 46135 the registration and other member Cheryl Taranto, and Liza Vick step [email protected] services. Many thanks to all of you. If down this year with our deep grati- The deadline for submitting copy to the editor for you were not able to attend the tude and thanks for their service. issue number 169 (May–June 2012) is May 7, 2012. Dallas conference, seriously consider Past president Ruthann McTyre, and Submissions in Microsoft Word sent via e-mail attach- ment are preferred. attending the San Jose conference administrative officer Michael Rogan next February 27–March 3. Being in completed four years of amazing ac- the heart of Silicon Valley is sure to complishments for MLA. We will miss provide opportunities for exploring their experience and wisdom. The cutting-edge technologies in music Publicity and Outreach Officer, On the cover: A breathtaking view of the night- librarianship. continued on next page time Dallas skyline, taken by Gerry Szymanski.

2 M L A Newsletter • No. 168 Annual Meeting Coverage Plenary I: Jazz Collections and Performance Practice at the University of North Texas Submitted by Bracken Klar are now 350 student participants in those collections. Since the record- one of nine Lab Bands. ings are quite old and in a rather del- This, the 1st Plenary Session of Next, we were told about the icate state, there is a lot that hasn’t the 81st Annual Meeting, immedi- evolution of the band and some of been heard by any UNT folks at all. ately set the tone for the rest of the its accomplishments. Gene Hall came There is also an ongoing effort to se- conference. The presenters, Andrew into the picture in 1942 when he of- cure funding to transfer these older Justice, Mark McKnight, Donna fered a “Dance Band” undergraduate holdings onto more modern, stable, Arnold, and John Murphy, were en- degree. This was the program that formats. I was very happy to have gaging and obviously engaged with became the Jazz program in 1947. learned a little something a bit their subject, jazz. More specifically, Both the One O’Clock Lab Band and more obscure and a lot less “cow- the topic of this meeting was jazz at the jazz program are around today, boy” about the Texas area. While UNT and, as you will read, proved to having evolved into highly praised Western Swing is cowboy jazz, Texas be informative and unique to the and regarded entities, each in their isn’t a place that comes up a lot in University of North Texas. own right. The One O’Clock Lab jazz conversations. The first part of the presentation Band has performed at the White The next part detailed the per- was a kind of origins of jazz at UNT House and toured what was then the formance of jazz in the Denton area. presentation. We learned that UNT U.S.S.R. in the service of the Depart- There were two major media outlets offered a jazz degree program for ment of State, among other achieve- for jazz in the Denton area, WFAA the first time in 1944 and was the ments. UNT has a very nice collec- Channel 8 and WBAP 96.7 FM. Both first jazz degree program in the tion if one wishes to discover more started back in 1922, even before U.S. It was also the first program in about the history of jazz at UNT. The Fessor was leading the Aces around which students could receive aca- Kenton Collection details the devel- town. In the beginnings of radio, it demic credit for playing in a jazz opment and gradual acceptance of was common practice to eschew band. The program’s (pre) begin- the jazz program at UNT, in which prerecorded music in favor of live nings were traced back even further the One O’Clock Lab Band played an performance. These two outlets were to 1927 when Floyd “Fessor” Graham important role. both in that habit as well. During the started the “Aces,” a group of student In addition to the Kenton collec- time before televisions were present musicians who played around town tion, UNT houses a sizeable collec- in huge numbers throughout the at silent movie screenings. The Aces tion of studio, non-commercial, jazz country, WBAP collected huge were the progenitors of the One recordings. There is an ongoing at- amounts of sheet music. WFAA had O’Clock Lab Band. The One O’Clock tempt to better catalog the collection collected a large amount of sheet Lab Band is still around today. There and determine unique holdings in music as well, before the switch to prerecorded performance became the standard. As Television became the pub- lic’s preferred source of enter- President’s Report continued . . . tainment in the home, the switch continued from previous page As we look toward MLA’s work from live to recorded perfor - Renee McBride, and Index and Bibli- in the coming year, please feel free mance became more and more ography Series Editor, Mark Palkovic, to contact me any time with your prevalent. This left the vast collec- are handing over their responsibili- questions about MLA and your ideas tions of sheet music to be underused ties to Bob Follet and Dick Griscom. for how the association can best by the owning stations, which led to Both Renee and Mark have set high serve the needs and interests of all of the stations wanting rid of these col- standards for our outreach efforts its members. lections. During the live music era, and publications. Also, thanks to the these two stations amassed over many committee members, represen- Jerry L. McBride 100,000 sheet music titles, a great tatives, and liaisons who do so much President deal of which are now housed and for MLA. continued on page 4

M L A Newsletter • No. 168 3 Annual Meeting Coverage What It Is! Music Genre/Form and Medium of Performance Terms in the Future of Music Subject Access

Submitted by Patty Falk genre heading projects by the Library Iseminger continued with the of Congress (LC) include moving im- implementation process. There will This session provided an over- age, cartographic, and law. The next need to be creation of genre and view and update on the status of the projects in progress are music, reli- medium of performance authority genre/form task force and medium of gion, and literature. The music genre/ records, as well as conversion of ex- performance project. Beth Iseminger form task force is currently creating isting headings in bibliographic led the meeting by providing defini- hierarchies to have narrower and records. Local systems will need to tions of genre, form, and medium, broader terms. An example of the have indexing capabilities for the and an outline of the session. popular music hierarchy was pro- 655 genre field and the new 382 Mark McKnight provided a his- vided. Vermeij explained the medium of performance field. The tory of music genre projects going medium of performance project and expectation is that these fields will back to the 1930s and continuing up the establishment of the 382 field for provide direct access to faceted to present day, including the devel- bibliographic and authority records. searches in local catalogs. Two ex- opment of a music thesaurus and the Examples of how the 382 field amples of how the search might ap- difference between genre and sub- would be used were given. There pear to users were shown, using ex- ject headings. Beth Iseminger and are more than 900 terms in the list amples provided from the Ball State Hermine Vermeij gave information currently. The Subject Access Sub - Media Finders. on the current status of the genre/ committee is still working on terms form and medium of performance for vocal music as well as other areas. projects, respectively. Completed

Plenary I continued . . . continued from page 3 getting to the original arrangements. production. I have only been to one cataloged at UNT. The University has During the presentation, this is other MLA conference and that was recently added a similar collection brought to life through the song in San Diego. It was a swell time and from WOR (NYC) and several private Stella by Starlight. We are treated to a very informative and fun meeting. I donors. several versions of this song, from its recall a lot of the sessions there but The last section of the Plenary original performance in the movie Plenary I: Jazz Collections and Per- Session was a live performance. In The Uninvited, to a more modern en- for mance at UNT will stick with me addition to the performance, we semble performance with several for years to come. All of the presen- were shown why UNT collects the stops along the way. From the solo ters, Andrew Justice, Mark McKnight, WFAA and WBAP sheet music and voice accompanied by piano all the Donna Arnold and John Murphy (all the historical performance record- way through to the ensemble per- of UNT) were great. Each of their ings. These collections are a great re- formance, these live pieces were separate pieces tied in very nicely to source for UNT jazz students who great. The pieces selected and the the theme, building on it as they want to go from the fake book/ performances given were very went along and all coming together modern arrangement back to the demonstrative of the stylistic changes with an inspired live performance original arrangement, who want to a piece goes through with time, with section in the end, like a well-written see how a piece progressed from its the changes in the proclivities and phrase or movement. Such a great original performance to how it is preferences of the band leaders and way to showcase a piece of Texas performed today. The handwritten arrangers of the day. music history that I am sure not notes on the sheet music and the The first Plenary session of the many of us in the audience knew ephemera are especially useful in 81st annual meeting was a truly great and won’t soon forget.

4 M L A Newsletter • No. 168 Annual Meeting Coverage BCC Town Hall: Breaking News in Cataloging

Jen Matthews, Thesaurus (LCGFT) and the LC Congress/NACO Authority File, BCC Secretary medium vocabulary will eventually which meets the need for a list of RDA updates were presented by replace LCSH terms for music re- thematic indexes used in creating Kathy Glennan, Mark Scharff, sources. Until that work is complete, authorized and variant access points Damian Iseminger, Robert Freeborn, catalogers should assign LCSH sub- in the Library of Congress/NACO Steve Yusko, and Casey Mullin. ject headings as usual. To prepare Authority File. The resource can be Chapters 6, 9,10,11, and 17 of for implementation, music catalogers viewed at http://bcc.musiclibraryassoc RDA are under review. The JSC ap- should communicate to technical .org/BCC-Historical/BCC2011/ proved a proposal for broadening services and systems librarians at Thematic_Indexes.htm. RDA7.24 (Artistic and/or Technical their institutionsthe importance of In conjunction, the MARC sub- Credit) to allow for recording this el- genre/form access for music. committee submitted a successful ement for sound recordings. Imple - The Subjects subcommittee is MARBI proposal to expand MARC mentation is delayed so the instruc- working on medium of performance field 383 for coding the source of a tion can be generalized formultiple terminology. A preliminary list of thematic index number. types of resources. medium terms is available on LC’s Steve Yusko discussed LC’s Bib- BCC will submit additional pro- website. To facilitate medium imple- liographic Framework Transition posals for RDA. During the confer- mentation, the MARC subcommittee Initiative. The main goal is creating a ence, Authorities and Descriptive submitted a successful MARBI pro- metadata format to replace MARC21. met jointly to discuss several pro- posal to expand field382. Details can be found at http://www posal ideas. See their meeting min- Damian Iseminger and Bruce .loc.gov/marc/transition/. All music utes for more information.The RDA Evansdiscussed the resource The - catalogers are encouraged to provide Music Revisions Joint Task Force, matic Indexes Used in the Library of feedback. involving LC, MLA, and the Canadian Association of Music Libraries (CAML), identified 18 high priority is- sues concerning music instructions in RDA. The group divided the issues In Recognition between the three constituencies, These are the current Corporate Members and Corporate Patrons of MLA. We and revisions will hopefully be con- appreciate their support of MLA! sidered at the JSC’s November meet- ing. The RDA Music Implementation Corporate Members Task Force identified RDA instruc- aaa Music Hunter Distributing Company tions affectingdescription and access Alexander Street Press of music resources. They will draft a Broude Brothers Limited best practices document and monitor G. Schirmer Inc./Associated Music Publishers, Inc. the work of other constituencies New World Records which might influence their work. Preservation Technologies RDA training opportunities will Yesterday Service Sheet Music, Inc. be provided by ALA-ALCTS at ALA Corporate Patrons Annual 2012. Additional opportuni- A-R Editions, Inc. ties will be available through webi- American Institute of Musicology nars. Further information can be Arkivmusic found at http://www.ala.org/alcts Ashgate Publishing /confevents/upcoming/webinar. Harrassowitz Updates on the genre/form and J. W. Pepper & Son Inc. medium of performance projects OMI-Old Manuscripts & Incunabula were presented by Beth Iseminger, Theodore Front Musical Literature Inc. Hermine Vermeij, and Bruce Evans. The Library of Congress Genre Form

M L A Newsletter • No. 168 5 Annual Meeting Coverage RDA and Linked Data: Moving Beyond the Rules

Sarah Hess Cohen, property from another source, such munity should determine where best Florida State University as GeoNames, DBpedia or Last.fm data creation happens, so that we and use it in the description. can concentrate our attentions there. In the twenty-first century infor- In the Semantic Web/Linked The library community is using mation landscape, everything is in- Data environment, which looks at the Open Metadata Registry (http:// terconnected. Jenn Riley (UNC- the information world as a graph, the www.metadataregistry.org) to share Chapel Hill) and Kimmy Szeto (SUNY concept of a “record” isn’t really RDA values and element sets, al- Maritime College) presented a ses- meaningful. The “open world” as- though this initiative has not yet sion which explored these connec- sumption is that there can always been endorsed by the JSC. Authority tions and their implications for li- be more information. In this environ- and bibliographic data and vocabu- braries, which will need to maintain ment we will be using many vocabu- laries are being exposed as Linked and share data beyond their own laries, with connections between Data. There is also the W3C Linked walls, and indeed beyond the scope them, so we should expect that im- Library Data Incubator Group, the of the traditional library community. plementations will deal with data Stanford Linked Data Technology Riley began the session with an from multiple sources. Plan, and the LC Bibliographic overview of the Semantic Web (which In order for this to become real- Framework Transition Initiative. she described as an “authority file on ity, library systems will first need im- Meanwhile, there are music Linked steroids”) and Linked Data, which proved infrastructure. We will need Data initiatives outside the library uses URIs for identification. These ways to identify trusted data sources, community, such as Last.fm, BBC URIs can then be used to discover ways to find properties and classes Music, MusicBrainz, Discogs, more information about a thing, and defined by others, best practices for DBtune, and Magnatune. With these also link to other URIs, which can data caching, actual shared cata- sources already in place, libraries can lead to still further discoveries. RDA loging, and of course, better systems be Linked Data consumers as well as data elements could be the basis of for data creation, management, shar- publishers, connecting us with the machine interoperability of data in a ing, and exposure. The library com- greater information community. Linked Data environment. Szeto delved into a technical dis- cussion of Linked Data, introducing the Resource Description Frame- “Musical Theater: Jewish Audience work. This provides the structure to draw relationships between elements. and Influence” An RDF statement “triple” is three or- dered parts—for example, two enti- A Jewish Music and Musical Theater Roundtables Joint Session ties connected by a relationship, such as “resource – has property – Submitted by Judy Pinnolis there was interest by anyone in be- value.” The URI references can apply ing chair or co-chair of the Jewish to things, classes of things, or prop- On Friday afternoon at the MLA Music Roundtable as her term is set erties. These URIs have human- Conference in Dallas, a joint session to expire in 2013. If you have inter- readable labels. of the Jewish Music Roundtable, est in getting involved with this RDA is a descriptive standard in- chaired by Judith Pinnolis, and roundtable, please contact Judy at dependent of metadata coding. RDA Musical Theater Roundtable, chaired [email protected]. elements can be expressed in RDF as by John Brower, was held. The ses- The opening presentation was properties. RDA properties are de- sion theme was “Musical Theater: by Michael Ochs, a well-known fig- signed to work with FRBR entities. Jewish Audience and Influence.” ure among our MLA membership. Szeto gave an example in xml for Before the main presentations, His most recent published article, on manifestation data. By using this we Pinnolis spoke briefly about the re- a performance in Chicago in 1927 of can go beyond library data to partici- cent passing of two important Jewish Mendelssohn’s Elijah, rewritten in pate in the wider information com- music composers: Jack Gottlieb and Yiddish for a Communist chorus, munity. This framework can take a Debbie Friedman. She also asked if continued on next page

6 M L A Newsletter • No. 168 Annual Meeting Coverage “Texan Legends and Singing Sensations” Sponsored by Women in Music Round Table

Submitted by Anna E. Kijas and bringing, and the music reflected the reer of thirty years in the U.S. and Cait Miller compositional training she received abroad. Fleming discussed the early under Rubin Goldmark and formation of the Melody Maids, On Friday, February 17, 2012, Frederick Jacobi, while a student at which began as a group of teenage the Women in Music Round Table Juilliard. Buehner’s music examples girls studying voice with vocal sponsored a program, in which the demonstrated how the opera’s folk teacher and mentor, Eloise Milam. lives and musical contributions of music attempted to create a sense of Fleming articulated the impact the several Texan women were exam- authenticity by placing the audience Melody Maids had on U.S. troops, as ined over approximately a thirty year into the work’s Western setting. they traveled and performed at mili- period (1939–1972). Katie Buehner Buehner also discussed primary tary bases and hospitals between (University of Houston) began the sources for Cynthia Parker, which in- 1942 and 1972. The group’s popular- session with her presentation on cluded Natalie Curtis’s The Indians ity grew making them the most re- composer Julia Smith’s first opera, Book, and folk song settings from quested musical group traveling with Cynthia Parker. She presented the grade school textbooks to which the Entertainment Branch, which story of Texas legend Cynthia Parker Smith contributed. prompted the Entertainment Branch and how the legend inspired the li- In the second presentation, Beth of the Department of Defense to fi- bretto for the opera. Its premiere was Fleming (Oklahoma City University) nance all of their tours from 1956 on- given in 1939, in time for the cele- shared her research about the lives ward. Both presentations demon- bration of the state’s centennial. and works of the Melody Maids, a strated the ways in which these Buehner explained how Smith’s li- musical group centered in Beau - Texan women made a significant im- bretto was a tribute to her Texan up- mont, Texas, who had a prolific ca- pact locally and abroad.

“Musical Theater” continued . . .

continued from previous page and English. Many were especially Israel. From 1974–2001, he served as appeared in the Spring 2011 issue of impressed at the singing and quality Director of Music at Temple Emanu- American Music. His talk was: from these old recordings. Kudos to El in Dallas, Texas and established “Tailoring an Operetta to Its Ochs for a terrific reconstruction of himself as a major creative figure in Audience: Rumshinsky’s ‘Di goldene this Yiddish theater musical! contemporary American Jewish mu- kale’ (‘The Golden Bride’).” Ochs’s The second key presentation, sic. Sargon was a terrific presenter, approach was thorough and had “From Symphonies to Psalms: the sa- and talked about many of his com- many musical examples from very cred and secular music of Simon positions and gave musical exam- early recordings. Yiddish theater is a Sargon,” was by Simon Sargon him- ples. Although seen only as a brief precursor of the American musical self. Sargon is Meadows Dis- excerpt, one delightful piece, among theater in many respects, including a tinguished Professor of Composition so many beautiful compositions, was continued development of dramatic at Southern Methodist University in a musical theater piece for children, realism as well as melodrama. We Dallas, Texas, and is widely known “The Town Musicians of Bremen” for learned about the compositional by musicians and audiences as a narrator and orchestra. Mr. Sargon’s process and product of Rumshinsky, composer, pianist and educator. Prior works are published by Boosey and the plot, the characters, the music to his appointment at SMU in 1983, Hawkes, Southern Music, Trans- and the singing styles. We also found Sargon taught at Sarah Lawrence continental Music, and Lawson- that the musical had multiple lan- College and the Juilliard School and Gould.To see a full list of composi- guages including Yiddish and served as Head of the Voice and tions by Simon Sargon, CDs, and Russian. Occasionally, songs had Opera Department at the Rubin publications for your library, please “Yinglish,” a combination of Yiddish Academy of Music in Jerusalem, visit www.simonsargon.com.

M L A Newsletter • No. 168 7 Annual Meeting Coverage Building Bridges Through Service Innovations: New Approaches to Reference and Instruction

Submitted by Joy Pile the librarian who will be their “per- “very satisfied” with the personal li- sonal librarian” welcoming them to brarian program. The Small Academic Libraries Yale, and giving a few details about Among the unique resources in Roundtable and the Instruction Sub - the program. As the semester pro- the University of Miami’s special col- committee jointly sponsored this ses- gresses, the students continue to re- lection is the Cuban Heritage sion on unique ways of reaching stu- ceive email messages from the librar- Archive. Nancy Zavac delineated a dents. The slides from each of these ian on topics which range from music class which utilized this re- presentations can be found in the information about campus events to source to transform the student’s conference section of the MLA Web “fun facts” on campus, such as in- experience and bridge the gap be- site. forming them about the “cupcake tween the special collections and Ellen Hampton Filgo is the e- truck.” Each of the librarians who student learning and involvement learning librarian at Baylor Uni - participate in the program has a Web with primary resources. The students versity. Her presentation highlighted page detailing the benefits of the used existing finding aides, and an interesting experience she had us- program to students. In assessing this helped create more detailed path - ing Twitter with a media and com- program, the librarians at Yale have finders for the archives as they dis- munication studies class at Baylor. seen an increase in the number of covered music-related materials. The She described how she and faculty reference questions asked by stu- library gained better finding aides, member created online Twitter dis- dents; additionally, the 93.5% of the but a proposed article for Latin cussions that occurred during the students who replied to the survey American Review remains incomplete. class meetings. She remained in the stated that they were “satisfied” or library, but monitored a live Twitter feed so that she could answer ques- tions in real time, make comments, and lead students to relevant re- sources. She said that the tweets ranged from the mundane to insight- Transitions ful, and some students in the class Our best wishes to all those pursuing new opportunities. were led to seek her out for further assistance with their research proj- Jieun Kang, Humanities Librarian, Grinnell College ects. Because she was live with the Maristella Feustle, Music Special Collections Librarian, University of North class, she didn’t think that this pilot Texas project would be scalable, but by the Lina Terjesen, Music Librarian, Belmont University same token she also didn’t think that John Morgan-Bush, Senior Library Clerk, Technical Services, Mannes The many professors would want to in- New School corporate live tweeting within a Bojana Skarich, Non-Print Catalog Librarian, Michigan State University class. Richard Griscom, Editor, MLA Index and Bibliography Series, Music Remi Castonguay described a Library Association personal librarian program instituted Mark Zelesky, Technical Library Assistant, Rowan University at Yale University designed to com- Nathan Coy, Audio Digitization Technician, University of California Santa bat the steep decline in questions Barbara asked at the forbidding reference Laura Stokes, Performing Arts Librarian, Brown University desk in the main library. The librar- Sarah Griffin, Public Services Library Assistant, Duke University ian participants—who represent a Laura Brown, Music Cataloger (part-time), Old Dominion University broad spectrum at Yale—are volun- Frank Ferko, Cataloging Assistant, Westminster Choir College of Rider teers. Before the beginning of fall University classes, each freshman receives a let- ter sent to their home address from

8 M L A Newsletter • No. 168 Feature Get To Know Your Membership

In this issue, we get to know aloger at the under Karl Kroeger. I Kathy Abromeit, Public Services was in grad school and had a teach- Librarian at Oberlin Conservatory. ing assistantship in musicology, but I As Public Services Librarian at wanted to make a little more money. Oberlin, what are some of the cre- It was Karl who turned me on to ative ways you advocate for your librarianship as a career, and library and market its services? while in this support staff posi- Of course we do the standard tion, I went to my first MLA meet- web marketing with Facebook, ing with another colleague who and with our library blog (http:// was also a support staff member. oberlinconservatorylibrary.blogspot I gained a great deal from MLA in .com/). We have the luxury of having those days, both technical skills for student lockers in the Conservatory, my cataloging job, but also in the so one of the things that we take ad- opportunity to meet other people in Kathy Abromeit vantage of is creating postcards and the field. hanging them on their lockers. I’ve I then went to library school and A-R Editions, and I call on my MLA done several campaigns to advertise started working at Morris County colleagues a great deal for guidance our individual reference appointment Library in. Again, the public library and inspiration with this project. services. The most successful cam- group was important to my career Additionally, we have been in paigns have involved dogs. I know success. I found public library col- the position to lead many students that sounds strange, but I asked some leagues who understood where mu- from Oberlin to MLA and librarian- of my colleagues in Student Life Ser - sic met the community in daily life– ship. I suppose it’s come full circle vices what they hear students voicing weddings, funerals, community the- from those days when Karl Kroeger as something they miss from home. ater auditions, bar mitzvahs, the lat- introduced me to MLA. My heart No, it’s not mom, dad, sister, etc. – est pop music, wondering what that tingles when I see a post on MLA- it’s their dogs! So I did a campaign piece was that aired on WQXR, etc. L from a former Oberlin student that involved two dogs, and it was I then moved on to where I was or when they write me to schedule very successful. I also did a campaign the first professional music librarian lunch at MLA. It’s like watching one with a teddy bear that was bandaged they had on staff. I was given an old of my kids launch. Professional legacy up and in need of TLC. That cam- band rehearsal room and told to turn is something I think about when I paign was a “First Aid for your it into a library space. MLA was so consider both my research projects Research Skills” theme, and it failed helpful. The transformation was diffi- and students I mentor. In terms of terribly. Stay away from teddy bears. cult, but ultimately successful with the community, some of my deepest and I think the students were insulted! collective wisdom of the organization. most appreciated friendships are MLA Another marketing campaign And now, here I am at Oberlin colleagues. These are the people with that I think was quite successful was for the past nineteen years. MLA con- whom I have walked the path of life’s called “igeekresearch,” in which I tinues to provide wisdom and com- tragedies and joys. Those are not ex- taught a series of workshops. I think munity. In terms of wisdom, from periences to be taken lightly. We are it’s important with these kinds of each meeting I bring back ideas truly a group of fortunate people to campaigns to realize that the for the public services support be part of this professional organiza- number of students who attend is staff. Usually, that means I connect tion and community. important, but the real value is in an Oberlin colleague with a librarian making the presence of the li- who presented at the meeting. Those brary known. connections often germinate from Can you discuss how your the techie presentations sponsored MLA membership has enriched by the Emerging Technologies and your professional life? I have a Services Committee. I’m in the pretty diverse resumé as a music li- process of writing a research guide to brarian. First, I worked as a copy cat- spirituals to be published by MLA /

M L A Newsletter • No. 168 9 Developing Trends

Jim Cassaro, rubrics on how the dividends avail- on legacy giving to the association Development Officer able for use will be calculated. were mounted on the MLA website Also in Dallas, the Development (http://www.musiclibraryassoc.org Yee-haw! I don’t know about Committee was given a presentation /sub.aspx?id=46). Along with an- you, but I’m still reeling from all the by Matt Bennett, the Special nouncing the establishment of The energy and excitement of our recent Audience Marketing Coordinator for Founders Circle—a planned giving meeting in Dallas. Again, members GEICO Partnership Marketing on the initiative that is designed to ensure of MLA showed how generous they process of establishing a partnership the legacy of both the association are, and how that generosity is con- with MLA. Such a partnership would and the donor—the information pro- sistent from year to year. In Dallas, help increase revenue for the vided supplies answers to a number we raised a respectable $4,314.00. Association in the form of kickbacks of questions concerning planned giv- This includes $771.00 in sales from for auto insurance quotes, as well as ing, while the associated FAQs docu- the MLA Shop, $1,859.00 from the sponsorship money for our annual ment further clarifies the terminology Silent Auction, $275.00 to the MLA conference. The partnership is based that pertains to planned giving. The Fund, $1,035.00 to the Coral IAML on MLA members asking for quotes FAQs also provide the association’s Travel Grant Fund, and the balance from GEICO—quotes only, purchase business address, the date of its in- divided among various other funds of a policy is not required—and de- corporation, and its FEIN number for (Freeman, Ochs, Epstein, and Un - pending on how many quotes are tax purposes. Any member of the as- restricted). Bravo! provided, a kickback is given to the sociation who wishes to establish or We continue to make great association. For an organization of has already established a legacy gift strides in the development agenda our size, our annual profit would be should contact the MLA president for MLA. In Dallas, the Development in the $3,500 to $5,000 dollar range, and/or the development officer. Committee completed a draft of a with an additional $1,000 offered to I would be remiss if I did not document on how to establish en- help sponsor an event (e.g., our an- thank the Denton Bach Players, and dowment funds for the association. nual conference). While the partner- Andrew Justice, Director, for the This important document will be ship is based on email contact with wonderful concert played in support sent to the MLA board for its consid- our members, the minute influx of of the Lenore Coral IAML Travel eration at its spring meeting in advertising received by MLA mem- Grant Fund. The superbly performed Middle ton, WI. Such a policy will fi- bers will be far outweighed by the works—all from the music of the nally codify the steps necessary to monetary gain achieved. We will also eighteenth century in which Lenore establish endowments within MLA as be looking at setting up partnerships was interested—were interspersed well as create strong relationships with other vendors, including with recorded excerpts of Lenore’s with our donors. The creation of the Google, Brooks Brothers, Bank of 1997 oral history interview, con- necessary legal documents will also America, and Amazon. Such outreach ducted by Jane Penner. It was won- be implemented, so that we have a will begin to move our development derful to hear Lenore’s voice again, record of the donor, the amount of agenda to outside sources of support. and to hear why she became a music the endowment, how payments are Prior to the annual meeting in librarian, how she rose in the ranks to be made into the endowment, and Dallas, documents and information of her career, and what she saw of our future. The concert was attended New Members by 150 people, all of whom left with a greater understanding of Lenore’s We welcome the following new or Barbara Dobbs Mackenzie, New place in our history and her impor- returning MLA members! York, NY tance to the continued work of IAML. Joseph Daniel Olivarez, College Nicholas Casas, Chicago, IL Dues renewals for FY 2012–2013 Station, TX Mary Freeman, New York, NY will be coming shortly, and I hope Zachary Rowden, Midlothian, VA Mandi Goodsett, Savoy, IL that when you re-up, you’ll consider Jonathan Sauceda, Longview, TX Christopher David Holden, a donation to the association, or to Robert Stewart, Asbury Park, NJ Carrboro, NC become a member of our two giving Ann Sylvester Roseman, Dallas, Ryan Jebavy, Los Angeles, CA circles: the Orpheus Society and the TX Karla Jurgemeyer, Saint James, Ostinato Club. Donations made at Elin Williams, Bloomington, IN MN any time are very welcome and al- ways greatly appreciated!

10 M L A Newsletter • No. 168 Committee Reports

BCC discussed what RDA train- Bibliographic Control ing opportunities to pursue for MLA Authorities Committee 2013, and which content would be Subcommittee delivered best in person versus other Kathy Glennan, chair means. We will work with various Damian Iseminger, chair groups (MOUG, NMP, Education The Bibliographic Control Com - Com mittee) on a possible training The chair reviewed the activities mittee (BCC) held two business preconference or webinar. We will of the subcommittee during the past meetings and sponsored three pro- also work with the Public Services year. The major accomplishment was grams in Dallas, including “What It Committee and others on an RDA the creation of the Web resource Is! Music Genre/Form and Medium program proposal geared toward Thematic Indexes Used in the Library of Performance Terms in the Future public services. of Congress/NACO Authority File. of Music Subject Access,” “BCC Town Beth Iseminger and Hermine The page went live on May 19, 2011. Hall (current topics in cataloging),” Vermeij reported on the latest develop- Revisions to the resource in August and “RDA and Linked Data: Moving ments with genre/form and medi um of included semantic encoding of the Beyond the Rules.” All of the pro- performance. As we approach final- resource using RDFa in XHTML. gram sessions were well attended. izing the terms in each category, the Members of Authorities worked with For details on these programs, please groups will investigate how to au- members of Descriptive on revisions see the separate reports published thorize terms on the lists, add addi- to RDA chapter 6 which clarified the elsewhere in this newsletter. tional terms as needed, and work distinction between recording of data The BCC business meetings in- toward migration from existing head- and construction of authorized ac- cluded subcommittee and task force ings to the new vocabularies. They cess points. A draft proposal was updates, a revision to the BCC Pro- will seek technical advice from indi- submitted to BCC; however, work cedures Manual, and an update to the viduals who have worked on large was ultimately suspended due to BCC charge. For details on the sub- MARC database changes in the past. several mitigating factors. These in- committee meetings, see their sepa- BCC will start tracking the work cluded revisions to RDA chapter 6 rate reports following in this issue. coming out of the Program for submitted by the Canadian Com- The committee spent time on Cooperative Cataloging regarding mittee on Cataloging (CCC) and the RDA-related issues, hearing reports proposed changes, policies and best formation of the RDA Music Re - from the RDA Music Revisions Facili- practices for RDA implementation in visions Joint Task Force. Work will tation Task Force and the RDA Music 2013. The committee will prepare of- probably resume on the proposal Implementation Task Force, both ficial responses representing the mu- this spring. Damian Iseminger, Casey formed during 2011. In the next year, sic community as needed. Mullin, and Ray Schmidt were ap- various BCC subcommittees will be At the close of this meeting, pointed by BCC to be members of drafting RDA change proposals and Mark Scharff completed his four-year the newly formed RDA Music Imple- reviewing the Types of Compositions term as chair of the Descriptive Cata- mentation Task Force, with Mullin for Use in Music Uniform Titles docu- loging Subcommittee, and Michael also serving as its chair. ment to see how to make it compati- Colby completed his service as the The subcommittee reviewed the ble with RDA. first SACO Music Funnel Coordinator. JSC-approved CCC proposals for re- BCC thanked them for their out- visions of music portions of RDA. standing service. We welcomed These included: a reworking of the Tracey Snyder as the incoming chair definition of vocal score; eliminating of Descriptive and Nancy Lorimer as the option to use groups of instru- the new SACO Funnel Coordinator. ments when recording the medium Finally, I concluded my four years of of performance for individual instru- service as BCC chair at this meeting. ments; making explicit that accompa- I am grateful for the opportunity to nying ensembles should use the serve and thank everyone who sup- name of the type of ensemble fol- ported and contributed to BCC’s ac- lowed by the word “ensemble” (e.g. tivities over the past four years. I string ensemble, wind ensemble, Morris Levy and Tara Wood pause know BCC will be in good hands etc.); and clarifying the instruction as for Gerry, taken by Gerry Szymanski with my successor, Beth Iseminger. continued on page 12

M L A Newsletter • No. 168 11 Committee Reports

continued from previous page reworking the MLA proposal to clar- Joint Steering Committee, to supply to when an accompanying instru- ify the status of publisher-issued con- definitions for terms in the RDA ment, other than a keyboard stringed tainers as preferred sources of infor- Vocabularies that are music-related. instrument, should be supplied when mation, and to give preference to a Most will fall to the Authorities Sub - the title is Songs, Lieder, etc. collective title as the identifier for a committee, but one, “Layout of tac- The subcommittee addressed resource as a whole. A fuller ac- tile musical notation,” is clearly a possible revisions to the resource counting of the CC:DA meeting can Descriptive task. Thematic Indexes Used in the Library be found on the BCC Web site under ALA’s representative to NISO of Congress/NACO Authority File. “ALA Reports.” had asked for CC:DA comment on They agreed that a form for suggest- SDC considered proposed ISO Standard 15707, defining an ing new thematic indexes should be changes to its charge to reflect name International Standard Musical Work created. It will mirror the structure of changes of ALA organizations and Code (ISWC). SDC decided to inform entries on the Web page and also new terminology associated with the ALA response. The standard is contain an additional field for docu- RDA. The revision process will go on up for renewal, and the options for mentation of abbreviation use. If a after the Dallas meeting. comments were to retain, to cancel, person submitting an index for inclu- SDC will monitor the work of a or to update. Discussion in the meet- sion wants to be able to use the in- CC:DA task force looking at making ing and by email led to a recommen- dex number in an authorized access data elements in chapter three of dation that the standard be revised to point, a checkbox will be available RDA more machine-actionable, par- clarify how its terminology related to to indicate the proposal should be ticularly by teasing apart data that RDA/FRBR concepts and to explain forwarded to LC. represents more than one attribute some anomalies. The subcommittee enthusiasti- (e.g. “1 score” combines an enumer- The RDA Music Revisions Facili- cally discussed creating an MLA 2013 ative and physical-format subele- tation Task Force has asked SDC to preconference for training on RDA ments). One of the group’s early dis- propose a revision to RDA 2.11.1.3, music authorities, in partnership with coveries was that some statements which limits the recording of copy- the NACO-Music Project, MOUG, for printed music add a third sub- right dates to the latest one found in and the MLA Education Committee. element, that of intellectual modifica- the resource. Patty Falk volunteered tion (e.g. “1 vocal score,” “1 conduc- to work on this proposal, to be tor’s score.”). What this might mean joined by other members of the sub- Descriptive Cataloging is still up in the air. committee not present or not yet Subcommittee MLA has been asked by John appointed. Mark Scharff, chair, with thanks Attig, the ALA representative to the to Sarah Hess Cohen Scharff summarized pertinent ac- tivities and discussions at the 2012 Midwinter meeting of ALA’s Com - mittee on Cataloging: Description and Access (CC:DA). One such was the fate of the MLA-submitted pro- posal to broaden the scope of RDA 7.24 (Artistic/Technical Credits) to allow recording of such credits for sound recordings. The Joint Steering Committee approved the proposal, but delayed implementation until some problems regarding making it applicable to all resources could be worked out. OLAC will take the lead with this. A task force on Sources of Information in RDA, chaired by From left: Joe Boonin, Steve Smolian, Knut Dorn, Gary Thal, and Michael Ochs, Scharff, reported on its progress in taken by Gerry Szymanski

12 M L A Newsletter • No. 168 Committee Reports

should include the author of the broader mediums like “all instrumen- Authorities/Descriptive song texts followed by the collective tal music.” Either a system needs Subcommittees Joint title “Lyrics” and the term “Selec- complex algorithms to do this, or tions.” However, when the variant there should be a genre term to rep- Meeting access point for this incomplete resent the broader term. compilation is made according to The ALA-SAC Subcommittee on The two subcommittees met 6.27.4.2, only the terms “Libretto,” Genre/Form Implementation is briefly to discuss music portions of Librettos,” “Text,” or “Texts” may be working on facets related to genre, RDA chapter 6 that may need revi- used. This is an inconsistency that including geography, ethnicity, lan- sion. The first problematic rule (RDA needs to be addressed. In addition, guage, chronology, category of per- 6.28.1.5) concerns constructing ac- the terms text, libretto, and lyrics are sons, and audience. The effective- cess points for musical works that not defined in RDA. Defining these ness of separating facets starts to are adaptations. The issue is the ex- terms could help clarify the issue. break down when they are frag- ception in this rule which states that Work on these related issues will be- mented into separate MARC fields. access points for adaptations com- gin when the new members of the Rather than focusing on MARC, we monly known by title should consist Authorities and Descriptive Subcom- need to focus on the vocabulary it- of the title only. The need for this mittees are appointed by the MLA self. We must look at the vocabulary exception will be explored by Sarah president. needs and make the system meet Cohen, Ray Schmidt, Thomas Pease, RDA proposals resulting from those. and members to be named later. this work will hopefully be ready for Regarding the music genre hier- They will also work on rule 6.28.3.3, BCC approval in April, so that they archies, there are many redundant which states that the authorized ac- will be ready for submission to terms between the broader cate- cess point for a work with an added the ALA Committee on Cataloging: gories, especially folk and world mu- accompaniment should be the au- Descrip tion and Access (CC:DA) in sic. We need to agree on definitions thorized access point for the original May for consideration at ALA Annual. for these top terms. Combining the work. This practice seems to discount hierarchies into one will illuminate the contributions of the composer of overlaps between categories and the added accompaniment and is show us which top terms are really problematic in that it does not indi- Genre/Form Task Force necessary. cate that the original work has been Beth Iseminger, chair Are the top terms “Instrumental altered in some meaningful way. music” and “Vocal music” just terms Another issue concerns author- With the new genre and medium indicating medium, or are they also ized and variant access points for li- vocabularies, the possibilities are appropriate as genre terms? Instead brettos, when the librettist and the great for describing resources with of “Instrumental music” as a broader composer are the same person and single works. In our world of sound term for genres like symphonies or the titles of the libretto and opera are recordings that contain multiple sonatas, the top term could be “Art identical. If RDA 6.27.4.2 is applied works for different genres and medi- music” or the node label “[Forms].” in this situation, the variant access ums, post-coordination will be prob- Will users assume if they see “Instru- point for the libretto will be virtually lematic unless we have work mental music” in the genre thesaurus identical to the authorized access records. For the genre project to be that they can find “Piano music” point for the libretto. This instruction effective at all, it has to push us to- there as well? This is a case where needs to be revised so as to avoid ward work records. Genre, medium, user education will be important. this specific situation. Damian and other facets should be in work The task force will work with the Iseminger, Patty Falk, and members records and personal name records. SACO-Music Funnel to create genre to be named later will collaborate on In a linked data environment, the in- authority records. The hierarchies this proposal. formation would be pulled from provide some content for new au- The final issue concerns the use those records for search results. thority records, in terms of broader/ of the terms lyrics and texts in au- Systems need to make use of hi- narrower/related terms, cross refer- thorized access points in RDA. In erarchical design in their search ences, and scope notes, which are 6.27.4.2 it is implied in an example mechanisms. It should be simple to particularly important. We may want that the access point for an incom- search for specific mediums. Work - to add some data like chronology, plete compilation of song texts arounds may be needed to find continued on page 14

M L A Newsletter • No. 168 13 Committee Reports

continued from page 13 opment of music genre/form and other words, having both the 13 and geography, and nationality to records medium of performance vocabular- 10 digit versions coded the same as we create them. There is some ies. In the new environment, genre/ way. The proposal would seek to concern about losing the 053 class form terms will be recorded in the have all ISMNs coded in the 024 2_. number data when moving to genre 655, but medium of performance The group supported putting a pro- records. terms will need to be accommodated posal forward for this change. This part of the project will be a elsewhere in the MARC format. The phased approach: create the genre proposal presented two coding op- authority records, review the old tions: field 382 and a new 6xx field. Metadata Subcommittee subject records, and convert head- The 382 option was chosen. Jenn Riley, chair ings in bib records to match the new The other MARBI paper was vocabulary. The new records can be Discussion Paper 2012-DP01, which The Metadata Subcommittee created before they are used, since it sought to make title information meeting opened with a discussion of is LC’s distribution of them that au- buried in the free text of an authority work that we should do in the up- thorizes headings for use, not their record’s 670 field machine- coming year to prepare for a major creation. actionable. MARBI saw this effort membership change following the The group’s next step is seeking as worthwhile, and the paper’s pre- MLA 2013 conference. The subcom- technical advice from those having senter will revise the DP and bring mittee was created in 2009, and experience working with large data- it back in the future as a Proposal. some members were given initial 4- base projects like this, including The other highlight from MARBI year terms, which is typical of an OCLC and authority vendors. at Midwinter was a discussion of MLA committee, while others were MARBI’s future in light of the Biblio - given 2-year terms. The individuals graphic Framework Transition Initia - with 2-year terms rotated off in 2011, MARC Formats tive. The discussion included the and in 2013, four members plus the role of MARBI vis-à-vis the Initiative’s chair will complete their terms. Some Subcommittee development, future development variability has been introduced with Bruce Evans, chair of MARC, and the nature and role of the addition of a single new member MARBI itself. in 2010, and we must continue to In his MARBI report, Evans fo- The LC representative to the sub- work to stagger terms more effec- cused on two MLA-sponsored pa- committee, Steve Yusko, reported on tively. Some specific strategies we pers. The first was Proposal No. a discussion paper to make field 250 might use to accomplish this would 2011–09, sponsored by MLA, which repeatable. It will be made available be to take one or more new mem- dealt with field 383 (Numeric Desig- on the MARC Standards page. bers this year even though no mem- nation of Musical Work). The pro- The subcommittee discussed bers are rotating off, and consider posal advocated for creation of: RDA-related MARBI proposal ideas appointing a member completing a 1) a code to identify the source of a presented by Paradis. term in 2013 to one more year. thematic index number; 2) a code RDA 2.15.1.7 states “If the re- Ideally, subcommittee members to identify the resource Thematic source bears more than one identi- would have some hands-on experi- Indexes Used in the Library of fier of the same type, record a brief ence with non-MARC metadata, Congress/NACO Authority File, an qualification after the identifier.” This some digitization or digital library authoritative compilation of citations would affect the 028 field. Also, RDA experience, and/or working knowl- for thematic indexes, recently cre- Chapter 7 addresses Format of edge of EAD or archival practice. As ated by the Authorities Subcom- Notated Music (vocal score, parts, with any MLA committee, members mittee; and 3) a way to clarify when etc.) A MARBI proposal would ad- must be willing and able to con- different numbers are used for the dress making this information more tribute. The subcommittee would same work by different publishers or machine-actionable and more useful benefit from members that represent indexers. Evans presented this pro- to library users. both technical services and digital li- posal at ALA Annual 2011 and it Finally, the group discussed the brary departments. We hope the up- passed. 13 digit ISMN. 13-digit ISMNs are coming release of initial content for The second MLA-sponsored pro- currently coded differently than 10 the music metadata clearinghouse posal was Proposal No. 2012–01, digit ISMNs. It would be desirous for will be good publicity for new sub- which was necessitated by the devel- ISMNs to function like ISBNs, in committee members.

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Most of the subcommittee’s others. We discussed the difficult The task force will divide up meeting was spent discussing our problem of keeping an online re- monitoring RDA work being done by work on the clearinghouse. The sub- source such as the clearinghouse up specific persons and groups. These committee had broken into sub- to date. The copyright Web site has a include the PCC, NMP, the RDA Mu- groups to collect and generate con- funded editor that spends significant sic Revisions Facilitations Joint Task tent for a few initial sections of the time on the site, but this doesn’t Force, the JSC, current RDA imple- clearinghouse, and these subgroups seem feasible for the music metadata menters who catalog music, and reported on their progress and asked clearinghouse. The subcommittee OLAC. The task force also will be so- the full group for advice in areas decided to proceed in stages, with liciting feedback from interested par- where help was needed. For meta- basic content going live at first, only ties at key points in its work. Lastly, data standards and their application committee members editing it for the one member of the task force will re- to music, we selected a small subset first year, and then after that consid- view recent literature regarding mu- of standards to start with (simple ering how best to open up to other sic cataloging, RDA, FRBR, etc., and Dublin Core, Qualified Dublin Core, contributors. compile summaries on the wiki. This EAD, and MODS), and tabled others should help guide the task force’s for future work. A decent amount of determination of best practices and workflow documentation has been RDA Music will ideally prevent duplication of collected already, and this subgroup effort. will only have to collect a few more Implementation Task The task force devoted its re- examples to have enough content for Force maining meeting time to two RDA is- an initial clearinghouse release. For sues specific to music. The first con- training opportunities, we will focus Casey Mullin, chair cerns principal performers and on identifying and linking to ongoing performers-as-creators of resources, training initiatives, rather than spe- Since formally charged in Fall such as albums. Performing groups cific one-off classes. For articulating 2011, task force members have been can fit the definition at 19.2.1.1.1 (d) what types of work different stan- using a wiki to populate a matrix of of “corporate bodies considered to dards are the best match for, we RDA rules which are germane to mu- be creators.” The group needs to should ensure a music-specific bent sic resources and to identify and dis- come up with an interpretation of and leave more general analysis to cuss issues which require best prac- this clause and its applicability, in tices recommendations. The next addition to the similar rule in 6.28.1.5 task is compiling a prose document (d). There is currently no relator with MARC-specific best practices. term in RDA for performer-as-creator, Calendar The group will begin drafting the so one might need to be proposed. document in sections, as consensus Identifying compilations as performer- is reached in the RDA rule matrix. as-creator results in access points May 4–5 The deadline for commenting on which are helpful for user identifica- MLA Pacific Northwest Chapters 1–3 is April 1, after which tion. It also meets RDA’s core re- Chapter Meeting drafting the prose document will quirement to identify the “first or Reed College, Portland begin. Deliberation on authorities- predominant” work embodied in a specific issues (primarily Chapters 6, resource. Performer main entry does May 16–19 9 and 11) will happen during sum- not exist in RDA for Western art ARSC Annual Meeting mer 2012. music, which is a major departure in Rochester, NY The task force also discussed from AACR2. Principal performers crafting full MARC record examples, should be identified as such, espe- May 30–June 1 workflows, and mappings for inclu- cially in display, but they cannot be Deadline to submit nominations sion in the RDA Toolkit. The former designated in the MARC 1XX block, for MLA Citation Award and Board will be done as part of compiling the as that block is reserved for creators members (see Announcements) prose document; the latter will be of the entire resource. In such cases, deferred until later. Nancy Lorimer the name of the principal performer June 21–26 already created basic mappings for often appears in the title area, which ALA Annual in Anaheim music and will mount them to the aids in identification and selection. wiki. continued on page 16

M L A Newsletter • No. 168 15 Committee Reports

continued from page 15 Two issues from Chapter 3: quence within medium of perfor- The second specific issue con- 3.6: Base Material — 3.7: mance statements (ALA/MLA) cerns terminology used to refer to Applied Material [for sound record- 6.15.1: Basic Instructions on Re- specific sound recording carriers. ings] (LC) cording Medium of Performance (LC) Rather than using “compact disc” in 3.9: Production Method [for 6.15.1.6 Individual Instruments RDA description, the suggested ver- sound recordings] (LC) (LC) biage is “CD audio” with other codes 6.27.4.2: Variant Access Point Eleven issues from Chapter 6: used to generate text or icons in Representing One or More Librettos 6.2: Title of the Work [as it per- displays. or Other Texts for Musical Works tains to ethnic music] (LC) (ALA/MLA) 6.14: Title of a Musical Work [6 6.28.1.5: Adaptations of Musical issues] Works (ALA/MLA) RDA Revisions Joint (1) Internationalize the approach 6.28.3.2.1: Arrangements of to musical works in RDA so as to re- Taskforce “Classical,” Etc. Music (LC) duce, if not eliminate, Western bias. Steve Yusko and Rob Freeborn, (ALSO BEING COVERED BY: 6.2. One issue from Chapter 7: co-chairs above) 7.20.1.3: Recording the Format of (2) Clarify the situations of music Notated Music (LC) The seven-member task force, whose medium of performance, representing three different JSC con- form, text, etc., is intended to change One issue from the Glossary: stituencies (LC, MLA/ALA, CAML/ with each performance. (BEING GLOSSARY: Condensed Score CCC), was charged in October 2011 COVERED BY 6.15, etc. below) (LC) to identify known RDA music issues, (3) Clarify the approach to adap- prioritize them, and assign them to tations and arrangements and when one of the three constituencies for modifications to a musical work re- proposals to resolve the issue. They sults in a new work. (BEING COV- Subject Access have identified 48 separate issues ERED BY 6.28.1.5 below) Subcommittee and ranked them as either high or (4) Confirm the status of “suites” medium priority. During this morn- in FRBR: parts of works as now in Hermine Vermeij, chair ing’s meeting, they examined a list of RDA or expressions? (BEING COV- Gerry Ostrove stated that an offi- 22 high priority music issues. The list ERED BY 6.14.2.7.2 below) cial public statement will be crafted also included music catalogers’ high- (5) 6.15.1.6: Remove alternative to announce LC’s undertaking of the priority concerns as well as three is- medium terms from list (BEING medium of performance thesaurus. sues from Mark Scharff’s 2010 list. COVERED BY 6.15.1.6 below) The list of medium terms released During the meeting, 19 issues/ (6) Replace term “concerto- with the statement will include many actions were examined (below) and like works” with “concertos and terms still under discussion. Gerry constituents and methodologies were concerto-like works (low priority, then led a Q&A about the medium assigned to Task Force members. not assigned) The Task Force will use the BCC project, which included discussion of wiki to track its work. Proposals will 6.14.2.5: Preferred Title Con - the inconsistent ways groups of in- be ready for the Joint Steering Com - sisting Solely of the Name of One struments are represented (i.e. “[in- mittee’s November 2012 meeting. Type of Composition (LC) strument] choir” and “[instrument] 6.14–6.16, 6.27–6.28: Recording ensemble”). The subcommittee will Four issues from Chapter 2: Information About a Musical Work discuss this issue online and respond 2.1.2, 2.1.2.2, 2.2.2.1: Source of vs. Constructing an Access Point for to LC. Collective Title for Sound and Video a Musical Work (ALA/MLA) The subcommittee then re- Recordings (ALA/MLA) 6.14.2.7.2: Two or More Parts [of viewed discussion papers from the 2.3.2.11.1: Devised Titles for a musical work] (LC) LC genre/form group. The first paper Music (LC) 6.14.2.8, 6.16.1.3, 6.28.1.11: dealt with speakers, dancers, and 2.5.2.3: Recording Designations Numbering Compilations of Musical other similar performers, and which of Edition (LC) Works (CCC) of these performers should be in- 2.11.1.3: Recording Copyright 6.15: Medium of Performance: cluded in the medium thesaurus. The Dates (ALA/MLA) Large instrumental ensembles; se- group agreed on the necessity of

16 M L A Newsletter • No. 168 Committee Reports communicating the forces needed to ment for Music” and “Medium of ing as chair in 2013. There are two perform the music, including dancers Performance Terms for Music.” The slots remaining to be filled within the and operators of electronic equip- group also discussed order of terms, subcommittee. ment. Including this type of per- especially if the 382 field is used pri- Holling Smith-Borne (former former could be different if one is marily for indexing. A predictable or- Education Committee member and a assigning terms at the work versus der would be useful, but avoiding founder of the Education Outreach expression level. For example, a strict rules is more desirable. Another Program) and John Wagstaff will be sound recording of a piece involving option would be for catalogers to participating in a panel discussion a dancer may not include evidence take the order from the source in about training programs for music li- of the dancer’s part. For electronic hand. brary staff at IAML’s annual meeting music, the issue is whether to ac- this July in Montreal. Also on the count for the performer, who might panel will be representatives from be integral to the performance (do- the Bavarian State Library in Munich, ing advanced manipulation of digital Education Committee Germany, and the Northern College sound) or simply provide technical Submitted by Lisa Shiota and of Music in Manchester, United support (operating playback machin- Abby Cross Kingdom. ery). In the latter case, recording the medium as “electronic sound” would Education Outreach Program Directory of Library School suffice. There was also discussion Subcommittee The EOP will officially Offerings in Music Librarianship about whether terms beyond “elec- become a subcommittee of the Click here to view the newly up- tronics” may be useful, especially in Education Committee at the close of dated edition of the library school di- the case of studio recordings that this year’s conference. There will be rectory. This is the first update since cannot be reproduced live. “Pro - seven members serving on the EOP 2004. If any library schools would cessed sound” could be a possible subcommittee. David King will serve like to include their information to new term. as chair for one more year, and Mac the directory, they should contact The second paper proposed a Nelson expressed an interest in serv- Lisa Shiota directly. possible new scenario for vocal terms, including using semi-composite terms like “chorus SATB.” Establishing voice types in chorus terms may be problematic, since there are so many possible combinations. While stan- dard combinations like “chorus SATB” would be useful, setting a precedent for pre-coordinated strings would be worrying. The MARC field 382 includes a $v for “note”; this could be a better place to record voice types along with chorus terms. Currently, the medium list also con- tains seemingly duplicate terms like “men’s voices” and “men’s chorus.” Probably one (voices) should be a cross reference to the other (chorus). The final paper presented a con- ceptual basis for the medium of per- formance thesaurus. The group discussed the title of the document as well as the the- saurus. The subcommittee prefers the titles “Functional Requirements for a Medium of Performance State- MLA band members rehearse, taken by Gerry Szymanski

M L A Newsletter • No. 168 17 MLA News

Renée McBride, Jackson. This research is part of a ined the Mahalia Jackson papers at Publicity & Outreach Officer number of endeavors, including a the Chicago Historical Society and forthcoming article by Dr. Burford, related materials at other locations, “Mahalia Jackson and the Jazz including the Institute for Jazz Awards Tradition,” and a larger project on Studies at Rutgers University, Dr. the circulation of black gospel Burford will use funding from his 2012 Music Library Association singing in U.S. popular culture from award to examine primary source Research Awards Announced the 1950s to the mid-1960s. The lat- materials held at the Historic New At its recent Annual Meeting in ter project is the subject of his book Orleans Collection and the Amistad Dallas, TX, the Music Library Associ- in progress, tentatively titled Re- Research Center at Tulane University. a tion (MLA) announced the recipi- ceiving the Spirit: Black Gospel Music The Walter Gerboth Award is ents of its research awards. and American Society and focusing for members of MLA who are in the The Carol June Bradley Award on the processes that contributed to first five years of their professional supports studies that deal with the the mainstreaming of black gospel library careers to assist research- history of music libraries or special singing during this period as gospel in-progress in music or music librari- collections. The 2012 award goes to performance moved beyond black anship. Dr. Bonnie E. (Beth) award-winning journalist, filmmaker, church communities into pop- Fleming, Music and Theater Liaison author, and civil rights activist Jim cultural settings. Despite her interna- Assistant Professor of Library Science Carrier in support of his documen- tional fame and status in American at Oklahoma City University, re- tary film The Librarian and the music, there is little critical scholar- ceived this year’s award to further Banjo. Award funding will enable ship on Jackson. Dr. Burford writes: her research toward the completion Mr. Carrier to make research trips to “My study of the reception of gospel of a biography of visionary arts pa- Boston, where he will interview and of Jackson is an attempt to un- tron Betty Freeman. Freeman was banjo scholars at the Banjo Collec - derstand how the reciprocal relation- the single most important sponsor of tor’s Gathering, and to the Dena J. ships between black religious music contemporary serious music in the Epstein papers at Columbia College and the shifting political terrain, new latter half of the 20th century. in Chicago. Carrier’s film will docu- economic and generational outlooks, Between 1961 and 2003, she issued ment Epstein’s seminal contribution emerging media, and fundamental 431 grants enabling composers to to the history of the banjo, telling reshaping of U.S. popular music can survive and continue composing, “the story of a white music librarian, further our understanding of the and commissioned works from 81 toiling for 25 years . . . reading mi- postwar American musical and social composers, among them John Cage, crofiche on her kitchen wall” as she landscape.” Having previously exam- Lou Harrison, Philip Glass, Steve “uncovered the lost history of black music in America.” Epstein’s pioneer- ing work corrected racial, social, and musical history, and contributed heavily to the vibrant black string band revival currently underway. The film will also remind viewers of the value of traditional library arts in the Google Age. The Librarian and the Banjo will be of interest to the general public, as well as the music library and scholarly communities. The Dena Epstein Award sup- ports research in archives or libraries internationally on any aspect of American music. Dr. Mark Burford, Assistant Professor of Music at Reed College in Portland, OR, received this year’s award in support of his re- Vincent Pelote performs at MLA Banquet Cocktail Hour. Taken by search on the gospel singer Mahalia Gerry Szymanski

18 M L A Newsletter • No. 168 MLA News

Reich, and Harry Partch. Dr. dices, and more than 200 plates de- to a relatively small number of music Fleming’s biography will seek to picting the title pages of first edi- collectors. highlight the influential results of tions. The catalog proper is as com- The Eva Judd O’Meara Award Freeman’s musical and artistic tastes. prehensive as possible, describing for the best review published in 4,800 copies of works with and with- Notes: 2012 Music Library Association out opus numbers, published in the Pieter Mannaerts. Review of Publications Awards Announced composer’s lifetime and after his Charles M. Atkinson. The Critical The Music Library Association death. Unlike other Chopin invento- Nexus: Tone-system, Mode, and (MLA) announced its annual publica- ries, the book attaches special signifi- Notation in Early Medieval Music. tions awards at the 2012 Annual cance to changes within the music Notes 66:3 (March 2010), 549–551. Meeting in Dallas, TX. Publications text which, along with other informa- Pieter Mannaerts’ review of are considered during the year fol- tion elaborated here for the first Charles Atkinson’s The Critical lowing their imprint date. time, enables readers to trace a given Nexus: Tone-system, Mode, and The Vincent H. Duckles Award edition's evolution by identifying Notation in Early Medieval Music for the best book-length bibliogra- successive modifications. These qual- presents an engaging and readable phy or other research tool in music: ities, along with its excellent organi- evaluation of a book that covers a Christophe Grabowski and John zation and scholarly apparatus, make complex and multi-faceted subject. Rink. Annotated Catalogue of this catalog a model of musicological From its opening quotation of Guido Chopin’s First Editions. Cambridge: bibliography and contribute much to of Arezzo’s Prologus in antiphonar- Cambridge University Press, 2010. our knowledge of the creative his- ium, Mannaerts’ analysis captures the Christophe Grabowski and John tory of these early editions. reader’s interest and clearly summa- Rink’s Annotated Catalogue of The Richard S. Hill Award for rizes the book at hand. Even in this Chopin’s First Editions represents a the best article on music librarian- brief review we begin to see the dif- ten-year effort on the part of the au- ship or article of a music- ficulties medieval theorists faced in thors to produce an inventory of bibliographic nature: reconciling ancient Greek harmonic Chopin first editions held in libraries Kate van Orden and Alfredo theory with the practices of contem- and private collections. The unusual Vitolo. “Padre Martini, Gaetano porary liturgical chant. Mannaerts’ complexities surrounding these Gaspari and the ‘Pagliarini Col- subject knowledge allows him to sources arose because Chopin typi- lection’: A Renaissance Music Library highlight important elements of the cally published his works in three Rediscovered,” Early Music History text and explain to non-specialists different editions—French, German, 29 (2010): 241–324. why they are important, handling and English—to avoid loss of rev- Kate van Orden and Alfredo this in such an approachable way enue through piracy. Not only did Vitolo trace the history of the that he is sure to bring new readers significant discrepancies occur as the Pagliarini collection of late Renais- to Atkinson’s book. editions were prepared for release, sance prints from its formation but further variants emerged in the c.1580 to its purchase by Padre Coral IAML Travel Grant revised impressions that followed. Martini from the Pagliarini book- Recipient Announced The 993-page Annotated Catalogue sellers of Rome, who had in turn se- The Lenore F. Coral IAML Travel facilitates identification of the surviv- cured the collection as discards from Grant is awarded to help support at- ing impressions, providing altogether the convent of San Francesco a Ripa tendance at an annual IAML meeting. new insights into the composer's mu- in Rome. The authors give extraordi- This year’s recipient, Kirstin Dougan, sic and how it made its way into the nary care and attention to detail in was announced at the recent Annual world. It opens with a fine historical describing the collection and in con- Meeting of the Music Library Associa- overview of the legal contexts, physi- structing several indices including a tion (MLA) in Dallas, TX. Dougan cal characteristics, printing methods, complete index of the collection and has had two proposals accepted for and publishers of these editions, an index of the unica. The authors the 2012 IAML conference in Mon- highlighting the differences in the contextualize for the reader the is- treal, “Assessing Music Reference practices of the various countries sues related to the publication, col- Services in an Age of Vanishing where the works were issued. The lection, and attrition of these prints, Reference Desks” and “Faculty and catalog is further enhanced by a and relate cogent points about the Librarian Perceptions of YouTube as thorough introduction to the descrip- unica of lesser composers and the a Tool for Music Scholarship.” Her tive method used within, five appen- debt that early music research owes continued on page 20

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continued from page 19 and teaching a wide variety of music studies to pursue a career in audiovi- current position as Member-at-Large classes as a professor/lecturer. In sual archiving and music librarianship. on the MLA Board and the recent Spring 2012 she will teach under- Victoria Chu received her MLIS merger of IAML-US and MLA have graduate Women in Pop/Rock Music from the University of British led Dougan to “understand even and graduate Music Librarianship Columbia (UBC) in December 2011. more clearly how important it is to classes at UNCG. She has published She is currently working as E- collaborate with and learn from our articles on performance related in- Resources Licensing Specialist at colleagues around the world.” juries, presented papers to ICA UBC. As a student, she interned as a Dougan is Music and Performing ClarinetFest and the SEM Southeast/ cataloger for the Orchestral Scores Arts Librarian/Assistant Professor of Caribbean Chapter, and most re- Project at West Vancouver Memorial Library Administration at the Univer- cently, gave a presentation about Library and served as a student refer- sity of Illinois at Urbana-Champaign. “Fieldwork and the Music Librarian” ence and instruction librarian in She holds the B.M. in Viola Perfor- at the 2011 SEMLA Annual Meeting UBC’s Music Library. Victoria was a mance from Lawrence University, the in Chapel Hill, NC. Sonia hopes to 2009–2010 ALA Spectrum Scholar, M.M. in Viola Performance from Ball combine her areas of study as a mu- and worked as a student assistant State University, and the M.L.S. from sic librarian and/or music cataloger. in the Music Library of Whitman the University of Wisconsin-Madison. Additionally, she is the proud Mom College, where she received a BA in In addition to presenting regularly at of two Pembroke Welsh Corgis. Music and wrote her thesis, “The library conferences, Dougan has Sofia Becerra-Licha is a second- Intercultural Exchange of Music be- published numerous articles, most year student in the MSLS program at tween China and the West and the recently “Dissertations in the Elec - the University of North Carolina at Impact of Westernization on the tronic Age: Tapping into Emerging Chapel Hill (UNC-CH) and will grad- Development of Chinese Music.” In Musicology Research” in Music uate in May 2012 with a concentra- addition to music librarianship, she is Reference Services Quarterly 14/3 tion in Archives and Records Manage - interested in e-resources manage- (2011). ment. She currently works as a ment, digital collections, virtual refer- Carolina Academic Library Associate ence, and library service to disadvan- Five Receive Travel Grants to for UNC-CH’s Stone Center Library taged populations. Attend 2012 MLA Annual Meeting for Black Culture & History, and as a Stephanie Lewin-Lane is near- MLA awards the Kevin Freeman part time cataloger of sound record- ing completion of a coordinated Travel Grant to students, recent grad- ings for UNC-CH’s Southern Folklife MLIS/MM degree in Library and uates, or other colleagues who are Collection. She has also volunteered Information Science and Music new to the profession for support to as an archival processor in Duke History at the University of attend the MLA annual meetings. For University’s Rare Book, Manuscript, Wisconsin–Milwaukee (UWM), with the recent 2012 meeting in Dallas, and Special Collec tions Library, and graduation expected in May 2012. TX, the Freeman recipients were her student activities at UNC-CH in- She currently works as a Research & Sonia Archer-Capuzzo, Sofia Becerra- clude serving as a Peer Mentor, as Instructional Support Intern at the Licha, Victoria Chu, Stephanie Lewin- Vice President of the Student Chapter UWM Golda Meir Library, and previ- Lane, and Pamela Pagels. of the Society of American Archivists, ously served as an intern for the Sonia Archer-Capuzzo re- and as founding Co-Chair of the Aurora Medical Library of St. Luke’s ceived her MLIS in 2011 from the student-led Diversity Taskforce. Hospital, the UWM Music Library, University of North Carolina at Additionally, she is currently Chair of and the Marquette University Raynor Greens boro (UNCG), where she cur- MLA’s Music Library Student Group. Memorial Library. She also has exten- rently works part time as a music cat- Sofia holds the BA in Music & sive experience as a vocal teacher. aloger. Previously, she worked as a Spanish from Agnes Scott College Stephanie’s primary library interests student assistant in the UNCG Music and AM in Ethnomusicology from are marketing and public relations, Library. Sonia holds the DMA in Harvard University with a primary digital preservation, social network- clarinet performance and ethnomusi- research area of the Chilean nueva ing, and the use of faceted access in cology from UNCG and MM in clar- canción, and she completed course- searching for music by topic. Her inet performance from Texas Tech work requirements at Harvard for a areas of research are women in rock- University. Her work experience in- secondary PhD concentration in abilly music, popular music of the cludes freelance clarinet perfor - Romance Languages & Literature 1920s–40s, and music of Shake - mance, concert series management, (Spanish). She hopes to combine her speare’s plays. In her spare time,

20 M L A Newsletter • No. 168 MLA News

Stephanie manages and performs in office she enjoys fly fishing, travel, Classification Quarterly, as well as the 1920s–40s vocal trio Bootless and Shakespeare reading parties. reviews in Fontes Artis Musicae, Betties, creates vintage-inspired ac- Notes, Library Journal, and the Kurt cessories, is a costumer/seamstress, Weill Newsletter. His service includes and attends various steampunk and Positions serving as the Music SACO Funnel sci-fi conventions with her husband. Coor di nator (2011–present), Trea - Pamela Pagels graduated in The Music Library Association surer of the IAML-US Branch (2008– December 2010 with the dual MA in (MLA) announces the election of 2011), Recording Secretary for the Musicology/MLS with specialization five Board of Directors members. MLA Board of Directors (2001–2006), in Music Librarianship from Indiana Elected as Vice-President/President and as a Program for Cooperative University (IU). She also holds the Elect is Michael Colby (University of Cataloging Trainer (2004–present). Master of Performance in double California, Davis), as Recording Pamela Bristah is Music Li- bass from Northwestern University. Secretary Pamela Bristah (Wellesley brarian at Wellesley College. Her pre- Pamela is currently employed by the College), and as Members-at-Large vious position was Head Librarian IU Jacobs School of Music Dept. of Paula Hickner (University of Kentucky), at Manhattan School of Music. She Jazz Studies as their Jazz Library Steve Landstreet (Free Library of holds the M.L.S from Columbia Uni - Project Coordinator, and previously Philadelphia), and Mark Scharff versity and B.M. from Westminster worked as a digitizer for the Varia - (Washington University in St. Louis). Choir College. Pamela’s publications tions Digital Music Library Program, Michael Colby is Music Bibli - include serving as scores editor for A as a metadata intern for the IU ographer and Assistant Head of Cata- Basic Music Library, 3rd ed. Digital Library Program, and as a loging and Metadata Services at the (American Library Association, 1997), sound recording cataloging intern for University of California, Davis. Pre- providing bibliographies for the New IU’s William and Gayle Cook Music viously he served as Music Cataloger Grove Dictionary of American Music Library. She also currently works as and Head Cataloger at San Francisco (Grove's Dictionaries of Music, 1986), an instructor in the Independent Public Library, and as Music Cata- and providing abstracts and citations Study Program of IU’s School of Con - loger at Bowling Green State Univer - for RILM Abstracts. Her MLA service tinuing Studies, and has extensive sity. He holds the M.A. in Music includes serving on MLA's Board of experience in music performance, History from San Francisco State Uni- Directors as Recording Secretary university instruction, and academic versity, M.L.I.S. from the University (2010–present) and Fiscal Officer research. Pamela’s interests in librari- of California, Berkeley, and B.Mus. (2004–2006), and co-coordinating the anship include digitization, access, from the University of Portland. Small Academic Libraries Roundtable and preservation of music and film Michael’s publications include arti- (2002–2004). She has also served on special collections. Away from the cles in Notes and Cataloging and the Output Measures and Electronic Statistics Task Forces of the Boston Library Consortium (2002–2003). Paula Hickner is Music Li- brarian at the University of Kentucky. She previously served as Music Cata- loger at the University of Kentucky, Music Cataloger at Hartt School of Music, and Music Cataloger at Indiana University. She holds the M.M. in Musi cology and M.L.S. from Indiana University, and B.M.E. from the Uni ver sity of Central Arkansas. Paula’s publications include “Prices of Music Monographs and Scores as Reflected in Notes” from 2005–2010 in Notes, and her research interest is the country singing school in the Andy Leach plays lap steel guitar during MLA band rehearsal. Taken by Gerry Mid-South from 1865–1920. Her MLA Szymanski continued on page 22

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continued from page 21 committee (1996–2001), serving as sic libraries in Texas and Arizona be- service includes serving as Assistant MLA’s liaison from the BCC to the fore becoming Head of the Arthur Con ven tion Manager/Convention American Library Association’s (ALA) Friedheim Library at the Peabody Manager (2006–2010) and on the Committee on Cataloging: Descrip - Institute of the Johns Hopkins Uni - Editorial Board of Notes (1992–1997), tion and Access (2006–present), and versity, from which he is retired. His and she served as Chair-Elect/Chair/ serving as an outreach trainer for cat- MLA activities include chairing the Past-Chair of the MLA Midwest aloging sound recordings. He has Texas, Mountain-Plains, and Atlantic Chapter from 2009–2012. also served as Coordinator of the Chapters of MLA and serving as Book Steve Landstreet is Head of the NACO Music Project (2010–present), Review Editor of Notes: Quarterly Music Department of the Free Library Secretary of ALA’s Authority Control Journal of the Music Library Associa - of Philadelphia and Acting Head of Interest Group (2009–present), Chair tion. Follet has published numerous the Fleisher Collection. His previous of the MLA Midwest Chapter’s book and sound recording reviews in positions were Music Librarian and Cataloging Committee (2007–2008), various publications. Assistant Head at the Free Library of and Chair of MOUG (2004–2006). Philadelphia, and Head of the Audio Co-Editors of Music Library Collection at Paley Library of Temple Music Library Association Association’s Basic Manual Series University. He holds the M.L.S. from Announces New Assistant Appointed Drexel University and B.A. in English Administrative Officer The Music Library Association Literature from Kalamazoo College. The Music Library Association (MLA) is pleased to announce the Steve’s publications include “Look (MLA) announces the appointment appointment of Dr. Deborah That Up in Your Funk and of Paul Cary (Baldwin-Wallace Campana and Dr. Peter Munstedt as Wagnall’s!: Music Reference Using College) as MLA’s Assistant Adminis - co-editors of the MLA Basic Manual Alternative Sources” in Music trative Officer. Paul has been the Series, a comprehensive series of Reference Services Quarterly (2004), Director of Jones Music Library at manuals designed to assist the librar- and his MLA service includes mem- Baldwin-Wallace College since 2001. ian in dealing with various aspects of bership on and chairing the Public His responsibilities there include the organization, administration, and Library Committee, and serving as management, budgeting, collection use of a music library. Chair of the MLA Atlantic Chapter development, and some public ser- Dr. Campana has been the Con- (2004–2006). vices. Prior to moving to Baldwin- servatory Librarian at the Oberlin Con- Mark Scharff is Music Cataloger Wallace, Paul was Public Services servatory Library for nearly 14 years. at Gaylord Music Library of Washing- Librarian at The Cleveland Institute Prior to Oberlin, she was Music Public ton University in St. Louis. He previ- of Music for ten years. Paul has Services Librarian at Northwestern ously served as a music cataloger at served MLA as chair of the Instruc - University. Campana earned a Ph.D. Indiana University and The Univer- tion Sub committee and the Reference in music theory from North western sity of Iowa. He holds the M.S.L.I.S. and Public Services Committee, and University, an A.M. in Library Science from the University of Illinois at as the editor of Digital Media for from the University of Chicago, and a Urbana-Champaign and B.A. in Notes. He was a Member-at-Large of B.M. from Ohio University. She cur- Music from Luther College, with the MLA Board of Directors from 2008 rently serves on MLA’s Resource graduate studies in musicology at to 2010, serving as Fiscal Officer/ Sharing and Collection Development The University of Iowa. Mark’s publi- Assistant Fiscal Officer during that Committee. cations include “Authorized Genre, time. Paul is currently on the Notes Dr. Munstedt has been the Music Forms, and Facets in RDA” in Tech - Royalties Taskforce and the Librarian at the Massachusetts Institute nical Services Quarterly (April 2011), Preservation Committee. of Technology since 1992. Previously a review of Richard Smiraglia’s he was the Music Librarian at the Uni- Describing Music Materials, 3rd ed. Music Library Association versity of Missouri–Kansas City. in Notes (Dec. 1998), and “Ignace Appoints New Publicity & Munstedt holds a Ph.D. in music his- Joseph Pleyel: The Life and the Outreach Officer tory and M.L.S from the University of Work” in Books at Iowa (April 1991). The Music Library Association Kentucky, M.A. in music history from His MLA service includes chairing (MLA) is pleased to announce the the University of New Hampshire, the Bibliographic Control Committee appointment of Robert (Bob) Follet and B.A. from Syracuse University. (BCC) Descriptive Subcommittee as its new Publicity & Outreach He currently serves as a member of (2008–present) and Authorities Sub - Officer. Follet worked in several mu- MLA’s Development Committee.

22 M L A Newsletter • No. 168 Announcements: MLA and Beyond

Steven Nordstrom, Brigham Young University Music and Dance Librarian; [email protected] Amanda Pilmer, Fairfax County Public Schools Fine Arts Librarian; [email protected] Susannah Cleveland, chair, Bowling Green State University Head, Music Library and Sound Recordings Archives; [email protected]

Moug Announces 2012 Distinguished Service Award Recipient The Executive Board of the Music OCLC Users Group (MOUG) is It’s as close to primary season as must be personal members of the honored to name Phyllis Jones as it gets for MLA: the 2012 MLA association. the tenth recipient of MOUG’s Dis - Nominating Committee welcomes Please send your recommenda- tinguished Service Award. This award nominations for the MLA Citation tions, by Friday, June 1, to one of the was established to recognize and and three Members-at-Large for the Nominating Committee members honor those who have made signifi- Board of Directors! listed below. Please include the insti- cant professional contributions to mu- The MLA Citation, the associa- tutional affiliation for each proposed sic users of OCLC. The MOUG Execu - tion’s tribute for lifetime achieve- candidate, as well as a very brief jus- tive Board selects recipients based on ment, is awarded in recognition of tification for your recommendation. nominations received from the mem- contributions to the profession over Also, please let us know if you have bership. The award was announced a career. MLA membership need not discussed your nomination with the on February 15, 2012 during the be a pre-requisite to the receiving of individual and obtained her/his ap- MOUG Business Meeting in Dallas. a citation, but the recipient should proval in advance. Self-nominations Phyllis Jones joined the NACO- have contributed to the national af- are also welcome. Music Project in 1994, gaining inde- fairs of the association and to the fur- Nominations should be received pendent status under the guidance of thering of the association’s aims, by Friday, June 1, 2012 to be guaran- Mark Scharff. Mark notes that Phyllis even if not via MLA directly. teed full consideration. Thank you was his first NMP reviewee and that Three new Members-at-Large for participating in this important he has been “pleased that we con- will be elected to the Board of process. The continued vitality and tinue this relationship to this day, Directors for a two-year term from growth of MLA is dependent on the though as often as not, I’m asking 2013 to 2015. Board members repre- outstanding contributions of its mem- her assistance with a cataloging is- sent the membership as they carry bers, and your nominations are criti- sue.” Indeed, her eagle eye is one of out the association’s work. The three cal to recruiting the leadership that several characteristics that were re- incoming members will be selected the Association needs. peatedly mentioned in statements on by the president to serve as Assistant her behalf. This eagle eye has mani- Parliamentarian, Assistant Planning Neil Hughes, University of Georgia fested itself not only in her improve- and Reports Officer, or Assistant Head of Music Cataloging; ments of existing bibliographic and Fiscal Officer. Nominations should [email protected] authority records but also, and even reflect the entire range and nature of more laudably, in collaborations re- the work of the Association’s mem- Anna Kijas, University of Connecticut sulting in some of the music cata- bers. Incumbents may not succeed Head, Music & Dramatic Arts loger’s most useful tools. Mickey themselves. Candidates for office Librarian; [email protected] continued on page 24

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continued from page 23 loger’s cataloger.’ Honoring her in Campus Box 68 Koth notes her collaboration in this way is long overdue.” University of Northern Colorado keeping the online manual Types of Greeley, CO 80639-0100 Compositions for Use in Music Uni- Moug Announces 2012 Ralph [email protected] form Titles and the NACO-Music Papakhian Travel Grant Recipient Project Handbook both updated, as The Executive Board of the MLA Midwest Chapter Announces well as the invaluable suggestions Music OCLC Users Group (MOUG) New Logo she made while reading the drafts of is pleased to name Sonia Archer- DeKalb, IL, January 6, 2012 – Mickey’s 2008 book Uniform Titles Capuzzo as this year’s recipient of The Midwest Chapter of MLA con- for Music. Phyllis is a contributor to the Ralph Papakhian Travel Grant. ducted a logo contest during the fall Authority Tools for Audiovisual and This award was established in 2011 of 2011. Several designs were sub- Music Catalogers: An Annotated List to support attendance at the annual mitted, and the Logo Contest Com - of Useful Resources, and author of MOUG meeting and, in recognition mittee of the Midwest Chapter is Every Monday Morning: A Dis - of Ralph Papakhian’s mentoring role pleased to announce the winning cography of American Labor Songs in music librarianship, is especially logo, a creation of Renee Smith, a in the Conservatory Library at intended to support newer members graphic design student at North- Oberlin College. It should go without of the profession in both public and eastern Illinois University. saying that she is herself a highly re- technical services. Ms. Smith adds, “While design- garded NACO-Music Project reviewer Sonia Archer-Capuzzo is Library ing my logo submission, my main fo- of long standing. Technician and Cataloger in the cus was to clearly indicate music, In this context, Phyllis Jones’s Jackson Library at the University of MLA, and the nine states involved in productivity as a creator of biblio- North Carolina at Greensboro the Midwest Chapter of the Music graphic and authority records is all (UNCG), where she also earned a Library Association. It was also im- the more astonishing. Mickey Koth DMA in clarinet performance and eth- portant to me that the logo be classy, reports that since the inception of nomusicology (2008) and the MLIS clean and clearly legible. I am truly the NACO-Music Project, Oberlin has (2011). Previously she worked as a grateful for this opportunity and to contributed 16,321 new and 8,697 student assistant and supervisor in the be a part of the Midwest Chapter changed authority records, the lion’s UNCG Music Library. Among the nu- of the Music Library Association.” share of which is Phyllis Jones’s merous awards she has received are a Ms. Smith can be reached at work. Her cataloging is not only SEMLA travel grant (2011), first prize [email protected]. exemplary but exceeds AACR2 re- in the UNCG Concerto Competition The new logo will be a brand quirements in thoroughness and use- (2007), and grants to fund her disser- that will help librarians, library fulness. For example, Oberlin biblio- tation research (2006, 2007). She is an school students, library staff mem- graphic records for sound recordings adjunct lecturer in the UNCG School bers, and friends of music libraries tend to have complete analytics even of Music. Her research interests, as identify our organization in the for single-composer collections, and documented by an already impressive Midwest region. they are backed up by careful au- list of conference presentations and thority work. publications, include performance- Many in the cataloging commu- related injuries in clarinetists, field- nity know Phyllis Jones well after a work in librarianship, and music as a fashion, thanks to her thoughtful, means to promote communication lively, and constructive presence on and trust between Israelis and listservs such as MLA-L and NMP-L – Palestinians, this last being the sub- but most of us know her only virtu- ject of her dissertation. ally. As Chuck Herrold notes in his For more information about nomination letter: “Phyllis is not one MOUG, please visit http://www who enjoys attending meetings and .musicoclcusers.org. is not well known personally to many MOUG members. I do know her— Press contact: she is thoughtful, articulate, quiet, Stephen Luttmann modest, and genuine. To use an over- MOUG Past Chair worked (but accurate) phrase: ‘a cata- Howard M. Skinner Music Library

24 M L A Newsletter • No. 168 Members’ Publications

Please send citations for items published or pre- “The Etude or Exercises for the Flute, Op. 2, by Karl miered in the past calendar year to the column editor, Theodor Metzger.” Flute Focus (22 December 2011). Mac Nelson, via e-mail or USPS mail at the address be- http://www.flutefocus.com/Students-Corner/metzger- low. Please follow the citation style employed below. etude-exercises-op2.html You must be a current MLA member to submit citations. “The Vingt-quatregrands Caprices pour une Flute of Mac Nelson Philip Seydler.” Flute Focus (27 December 2011). Cello Music Cataloger http://www.flutefocus.com/Students-Corner/caprices- Jackson Library philip-seydler.html University of North Carolina, Greensboro P.O. box 26170 “Conversation with C. Bryan Rulon.” Sonograma 13 Greensboro, NC 27402-6170 (8 January 2012). [email protected] http://www.sonograma.org/2012/01/conversation-with- Books c-bryan-rulon/ Moore, Tom, translator (Durham, North Carolina) Ferrari, Giacomo Gotfredo, Pleasing and Interesting Hennion, Antoine, “Soli Deo Gloria: Was Bach a Anecdotes in the Life of Giacomo Gotifredo Ferrari, trans- Composer?” lated by Stephen Thomson Moore (Hudson, NY: Music Translated by Stephen Thomson Moore, IPhone/iPad Word Media, 2012). app. http://itunes.apple.com/us/app/custos-hennion- Articles bach/id494333948?mt=8&ign-mpt=uo%3D4 Cuervo, Adriana (University of Illinois at Urbana- Champagne) and Eric Harbeson (University of Colorado “The Six Thèmes Favoris, op. 71, and Caprices, op. 80 of at Boulder) A.B. Fürstenau.” Flute Focus (28 January 2012). “Not Just Sheet Music: Describing Music Materials in http://www.flutefocus.com/Students-Corner/furstenau- Archives and Special Collections.” Archival Issues 33, op71-themes.html no. 1 (January 2011): 41–55. “The Recueild’ Airs Variées Arrangées pour une Flute par Dougan, Kirstin (University of Illinois at Urbana- les Meilleurs Auteurs.” Flute Focus (8 February 2012). Champagne) http://www.flutefocus.com/Students-Corner/recueil- “Dissertations in the Electronic Age: Tapping into airs.html Emerging Musicology Research.” Music Reference Services Quarterly 14, no. 3 (Jul.–Sep. 2011): 109–130. “The Flute Sonatas of Albert Jacob Steinfeld.” Flute Focus (17 February 2012). Moore, Tom (Durham, North Carolina) http://www.flutefocus.com/Students-Corner/flute-sonatas- “The Popular National Airs by M. Metzler.” Flute Focus albert-jacob-steinfeld.html. (15 October 2011). http://www.flutefocus.com/Students-Corner/metzler- “The Délassemens du Flûtiste (Solos, Airs variés, popular-national-airs.html Rondeaux, Romances, Valses, Boléros, etc.) pour Flûte “The Fifth Book of Airs of Cambini.” Flute Focus seule, op. 47 of Eugène Walckiers.” Flute Focus (6 March (24 October 2011). 2012). http://www.flutefocus.com/Students-Corner/fifth-book- http://www.flutefocus.com/Students-Corner/delassemens- airs-cambini.html eugene-walckiers.html “The Fifty Grand Studies, Op. 126, by Peter Joseph von Lindpaintner.” Flute Focus (26 November 2011). http://www.flutefocus.com/Students-Corner/fifty-studies- von-lindpaintner.html

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