MMLLAA NEWSLETTER

Snapshots from the New York Meeting

Coverage begins on page three

See photo captions on page 7.

No. 124 March–April 2001 ISSN 0580-289-X President’s Report MUSIC LIBRARY ASSOCIATION BOARD OF DIRECTORS James P. Cassaro, MLA President schedule, filled with sessions both Officers University of Pittsburgh provocative and informative. Our JAMES P. CASSARO, President opening session, held in the sumptu- University of Pittsburgh “One…singular sensation…” ous Bartos Forum of The New York Not one, but many sensations Public Library, provided the stimulus PAULA MATTHEWS, Past President delighted us at our recent annual for the rest of the conference. For me, Princeton University meeting at New York’s Grand Hyatt Betty Corwin’s and Madeleine Nichols’ LAURA GAYLE GREEN, Hotel, February 21-25, 2001. Under the presentations, along with their accom- Executive Secretary / Treasurer superb direction of our Local Arrange- panying video clips, underscored why University of Missouri — Kansas City ments co-chairs, Jane Gottlieb and we do what we do, and why we are John Shepherd, this conference pro- so passionate about it. Our second Members-at-Large 2000-2002 vided an unending kaleidoscope of plenary session on various aspects of ALLIE GOUDY activities, intellectual stimulation, and music printing, skillfully chaired by Western Illinois University music. Convention Managers Don David Hunter, struck the appropriate LESLIE TROUTMAN Roberts and Gordon Rowley, with the scholarly tone. Of course, I know you University of Illinois assistance of Lenny Bertrand and the are all going to learn the “Petrucci PHILIP VANDERMEER staff of the Grand Hyatt, again proved Hoochie Coochie” (another of Don University of Maryland that are meetings are well-oiled Krummel’s wonderfully witty concoc- machines. Many thanks also go to our tions) in time for next year’s meeting hard-working and in Las Vegas. Our Members-at-Large 2001-2003 generous local other sessions, NEIL HUGHES arrangements both business and University of Georgia committee, whose I am continually open, too numer- ELISABETH REBMAN dedication to the amazed at the amount ous to mention Colorado College success of this individually, MICHAEL ROGAN meeting is unpar- of work that takes demonstrate the Tufts University alleled. In particu- breadth of our lar, heartfelt place at our meetings, interests and the thanks go out to and with the dedication of our Maureen Buja for members. I am Design by WGraphics, Baltimore. taking on registra- professionalism of continually amazed tion during a diffi- at the amount of MLA NEWSLETTER cult time for the our members. work that takes Linda Hartig, Editor Association and to place at our meet- Rigbie Turner for ings, and with the The Newsletter is published four times a year: September-October, November-December, providing the elegant space of the professionalism of our members who March-April, and May-June, by the Music Pierpont Morgan Library for our local annually present their work/research Library Association, c/o A-R Editions, Inc.; arrangements reception. Every time to us. 8551 Research Way, Suite 180; Middleton, WI 53562, and is issued to its members free of you use the recently published second This meeting also provided an charge. edition of The New Grove Dictionary opportunity for outreach to our sister The purpose of the Newsletter is to keep of Music and Musicians, savoring the and affiliate organizations. We were the membership of the Association abreast of crackling sound of those information- honored to welcome to our meeting events, ideas, and trends related to music librarianship. All communications and articles drenched pages, please give thanks to Jessie Ann Owens, President of the are welcome. Address correspondence to: our friends at Grove’s Dictionaries, American Musicological Society, and Inc., whose generosity subsidized the William Gordon, Executive Director of Linda Hartig Technical Services Librarian cost of this reception. Indeed, the the American Library Association. Carroll College Association would be hard-pressed to Their attendance is a visible sign that 100 N. East Avenue move forward in any manner if it were our outreach efforts under the aegis of Waukesha, WI 53186 not for the support of our corporate our Plan 2001 are working. We will [email protected] patrons and members. The symbiotic work toward strengthening our ties The deadline for submitting copy to the relationship between us, built over with these and other like organizations editor for issue number 125 (May-June many years, sustains us all, and makes in the coming year. On the topic of 2001) is 5 May 2001. our meetings the comfortable experi- Plan 2001, let me extend my gratitude Submissions are preferred via e-mail, but paper copy (double spaced) via USPS ence we hold so dear. and thanks to the Implementation accompanied by 3.5” disk containing text Program chair Michael Rogan sup- Task Force (David Farneth, chair, Jane files in Microsoft Word is acceptable. plied us with our usual rigorous continued on page four

2 M L A Newsletter • No. 124 Cover Story

Plenary Session 1: Documenting the Present for the Future

Therese Zoske Dickman, Southern Illinois University, Edwardsville

usan T. (Suki) Sommer (Chief, S Music Division) served as modera- tor for the opening plenary session held Thursday, February 22, 2001, at the Bartos Forum, Humanities and Social Sciences Library of the New York Public Library. She introduced the two featured speakers from the New York Public Library (NYPL): Betty L. Corwin, (former Director, Billy Rose Theatre Collection, Theatre on Film and Tape Archive), and Madeleine Nichols (Curator, Jerome Robbins Dance Division). The world-renowned Welcoming speakers (l-r): William Gordon, Executive Director of ALA; Paul Broadway producer and director Hal LeClerc, President of NYPL; Jacqueline Davis, Executive Director of the NYPL Prince, who was invited to speak for the Performing Arts; Joseph Polisi, President of the Julliard School. during the session, sent greetings from Los Angeles, California, where he had The Archive is part of the Billy works to locate treasures from the accepted an offer to produce three Rose Theatre Collection, which past. Productions are selected on the one-act plays. includes performance programs, play- basis of quality and historical impor- Betty L. Corwin was the first guest bills, and set, costume and lighting tance, ethnic and minority concerns, speaker. Ms. Corwin began her tenure designs. Notable examples mentioned and the representation of the work of at the NYPL more than 30 years ago were rare production clips of the important American playwrights. and recently retired. The panelist intro- famed musical theatre collaborators Sometimes “flops” are also docu- duced her successor, Patrick Hoffman, Rodgers and Hart, Tony Award mented, provided that the productions who will continue to docu- ceremony films, and the home have met established selection criteria. ment and preserve the- movies of George Gershwin Between the 25-member staff cited, all atre performances. As and Richard Rodgers. the New York City theatre productions one who “loves the The recording of live continued on page four theatre,” Ms. Corwin theatre performances was had had the inspira- met initially with union tion to create an resistance. Ms. Corwin Contents: archive of live theatre stated that it took 2 years performances. of negotiations with ten E-Mail Digest...... 8 Through her efforts, the unions to allow TOFT to Transitions ...... 9 Theatre on Film and film live performances. Members’ Publications ...... 10 Tape (TOFT) Archive was Today the New York Public Chapter Reports...... 11 established in 1969. It is dedi- Library remains the only institution Ask MLA...... 13 cated to preserving live performances in the United States allowed to do so. of Broadway, Off-Broadway and Thanks to Betty and her staff’s efforts, Roundtable Reports...... 14 regional theatre productions. TOFT theatre performances from the 1970s, Committee Reports...... 16 contains more than 4400 titles, includ- ‘80s, ‘90s have been videotaped. Last Music Library News...... 20-27 ing about 2500 live performances, 1700 year 68 productions were recorded, 17 Calendar...... 21 theatre-related television programs, and of which were musicals. 250 dialogues and interviews with In addition to videotaping live the- Please see page 23 for the list of photogra- notable theatre personalities. atre performances, the TOFT staff also phers who contributed to this issue.

M L A Newsletter • No. 124 3 President’s Report Cover Story

continued from page two worked with Bonna in many capacities continued from page three Gottlieb, Leslie Troutman, Diane Parr on the Board, I highly commend her are seen, reviews are gathered from Walker, and Dan Zager) who guided dedication and ceaseless efforts, and regional theatres and throughout the the Association through its goals and also her well thought out comments country, and reports are received initiatives. Their work, now ended, and insights. We owe her a debt of from out-of-town scouts. will have a far-reaching effect on us gratitude for keeping the Association According to Ms. Corwin, last year all, and will help guide the Association going during difficult times. She will materials in TOFT were viewed by into the 21st century. The concert at be missed! Congratulations to our more than 4700 researchers from 45 the CUNY Graduate Center, which newly elected members of the Board, states and 28 countries. The Archive is officially concluded Plan 2001, was Neil Hughes, Elisabeth Rebman, and intended for use by students, theatre appropriately dedicated to American Michael Rogan. I look forward professionals, and researchers. Copies Music. The program featured to working with them in of videotaped productions cannot be the music and performances the coming years. And made because of union restrictions. by some of our leading also thanks to our new Nine viewing stations, however, facili- musicians and, not Treasurer/Executive tate on-site patron use of materials least, supporters of our Secretary, Laura within the Archive. libraries. In particular, Gayle Green, whose The TOFT Archive has been Chester Biscardi’s In expertise will be important in the development of new Time’s Unfolding, the invaluable as we theatrical works. For instance, Jerome composition of which make the transition Robbins reviewed films in the Archive was donated and dedi- to our new manage- when planning his Jerome Robbins’ cated to the Association, ment service. The Broadway production. Stephen Sond- is a tangible example of member of the Board heim has also consulted TOFT’s tapes that support. whom we cannot thank of his productions, Sunday In the enough is Paula Matthews. Park With George, Passion, and Into “Darling I love you, but give me The relative quiet of her upcoming the Woods, to further develop the Park Avenue…” year as Past President will stand in musicals. Of course there are many more to stark relief to the upheaval and turmoil Ms. Corwin’s session concluded be thanked for their efforts at this of her term as President. Her undying with video excerpts from various pro- meeting. In particular, Laura Dankner dedication to the Association and her ductions. Included was Shakespeare’s and the Development Committee pro- tireless work on its behalf these past Hamlet as performed by Richard vided various fundraising opportuni- two years are without measure. I am Burton (1964), Laurence Olivier ties, and our generous membership hard-pressed to find words to comple- (1948), John Gielgud (1965), Kevin came up to the bar (literally and figu- ment so heroic an effort. We owe to Kline (1990), and others. Scenes were ratively!) with their donations. Our her the continuation of our Associa- also shown from The Merchant of search committees worked hard to rec- tion, and to her we dedicate its future Venice with Dustin Hoffman (1990), ommend the best candidates for open successes. Sweeney Todd (1984), Gypsy with positions within our Administrative As I begin my term as President of Tyne Daly (1990), Cabaret with Joel Structure (it is indeed uplifting to see the Association, a sense of excitement Grey (1988), The Taming of the Shrew the number of candidates for all of overwhelms me. I feel it deeply and I with Meryl Streep, and You Can’t these positions, a sure indication of hope you do as well. With our new Take It With You (1983). the vitality of our Association, and the management service, A-R Editions Inc., Madeleine Nichols, curator of the want of our members to be a part of in place, new blood coursing through Jerome Robbins Dance Division of the it). Hardy thanks also to the outgoing our administrative structure, and all the NYPL, was the second and final members of the Board, Leslie Bennett, new ideas and projects that are surfac- speaker. Ms. Nichols, who is also an Jim Farrington and Brad Short. They ing, we are securely positioned to attorney, spoke as video clips from served tirelessly throughout a difficult enter the new century as music library the division were quietly shown. period in our history. I know I can professionals. I am honored to be a Ms. Nichols stated that of the vari- continue to count on their wise coun- part of it and hope that you are too. ety of materials within the Dance cil these next few years in a more Please do not hesitate to contact me as Division, about half are moving image informal way than at regular Board you look to be more involved in the records. In 1965, an oral history pro- meetings. I hope they know how important work of the Association. gram was begun. Material not found valued they are by our members! At There’s more than enough work to go in published works, particularly word- the close of the meeting, Bonna around! of-mouth accounts, are sought. The Boettcher finished her illustrious term Now, on to those appointment oral histories are integrated into the as our Executive Secretary. Having letters… continued on the next page

4 M L A Newsletter • No. 124 Plenary Session 2 Four Perspectives on the Quincentenary of Music Printing: Composer, Performer, Publisher, Historian

Richard Jones, effect of Odhecaton A, to look back at page printed, the type reset, the page University of Notre Dame the art and industry of music printing. overprinted, and again, and again. It is Each speaker spoke for a short time only because of his willingness to David Hunter, moderator; Chet about the nature of music printing undertake such an extensive work that Biscardi (composer, Sarah Lawrence from his own point of view. the repertoire of chansons and madri- University); Jacob Lateiner Krummel considered the matter gals was so well circulated. (pianist/scholar/collector); James from the point of view of a librarian The history of music printing, Zychamowicz (A-R Editions, Inc.); Don and bibliographer. Ignoring “matters of however, is a cycle of innovation lead- Krummel. taste,” he pointed out that the inven- ing to a period of “tiredness,” leading tion of music printing had made to new innovation. By the 17th cen- David Hunter opened the session libraries richer than ever before. tury, the music printing industry was by pointing out that it was probably Petrucci’s vision was wonderful to be “tired.” The amount of work involved not Petrucci who first printed music, imagined. He had to deal with the in resetting type over and over, and and it was probably not in 1501 that appearance of the printed page, the the cost and amount of work involved music was first printed. Nonetheless, creation and setting of musical type, as in correctly overprinting page after 2001 was a reasonable moment, in well as the nature of the music. For page, had led some to question the view of the general perception of the each page, type had to be set, the continued on page six Cover Story

continued from the previous page their usual rate for such a venture. cussed Nureyev beginning formal collection and cataloged. Each year 800 • Step 4: Invite Someone To Be dance instruction at age 17. The exam- to 1,000 videotapes or films are cata- Recorded. Ask permission and dis- ples vividly illustrated the value of doc- loged and 50 to 100 performances are cuss how the material will be used. umenting performances of such a videotaped. Jerome Robbins gave a • Step 5: Have a Successful Taping notable artist, especially while in his portion of royalties from the Fiddler On (Do It!): Hang on to your dream at prime. the Roof to the division for ongoing this stage. The plenary session concluded documentation of dance productions. • Step 6: Follow Up With the Artist(s): with a video gem from the TOFT The speaker then outlined eight The artist should receive a copy as Archive. Shown was the finale from important steps to documenting the should the institution. the A Chorus Line celebration held in present for the future in our own • Step 7: Let Others Know What Has 1983. That was the year in which A libraries. These steps provide a means Been Recorded and Catalog it. Chorus Line became the longest run- of transmitting culture between age • Step 8: Teach Others How To Do ning show on Broadway. The event groups: the Work. This will help ensure con- was held at the Shubert Theatre and tinuation of the work. included more than 300 actors who • Step 1: Dream: about what should be had performed in companies of the documented, and don’t limit your- Ms. Nichols concluded her presen- production throughout the world. self. Pay attention to musicians’ tation with a ten-minute videotape of Michael Bennett and others associated rights. excerpts compiled from the Rudolf with the show have since died, many • Step 2: Commit: resources, time and Nureyev Collection. It included solos from AIDS. Knowing this added to the funds. and duets of Nureyev performed in the emotional impact of seeing the stage • Step 3: Make a List of What Should late 1960s; a scene from Swan Lake, Act fill with the hundreds of costumed Be Done: both artistically and intel- 2, in 1965; and another while practicing performers as they sang the final lectually. at the barre with Erik Bruhn. Also “One, singular sensation” chorus. Get the “best of the best” to do the shown was part of an interview with Then the performers bowed, row by work (hire professionals). See a test Clive Barnes in the early 1970s; and a row, to the roaring applause of the in advance. Remember that often Dick Cavett Show excerpt televised in audience. professionals will charge less than November 1973, in which the two dis-

M L A Newsletter • No. 124 5 Plenary Session 2

continued from page five better indicating his/her vision as only three weeks had passed! usefulness and value of the work. clearly as possible. This is obviously Zychowicz pointed out that music Then around 1700, the art of engraving more important in music than it is in printing has always been in transition, plates “refreshed” the industry, and fiction or other text works. but none so fast and immediate as the by1800 the industry was re-established Music printing is a business, how- present one. Digital printing and as a thriving business. By 1900, the ever, and, as such, it must make online availability give each publisher industrial tiredness was refreshed again money. What should be sought by (and the industry as a whole) many by the development of the sound both sides (printer and user) is a better decisions to make. Each will influence recording. The widespread availability balance between making money and the future of the publisher and of the of music through recordings and musical integrity. Teachers, and their industry. For instance, the current situ- broadcasting created a greater audi- students if they have been well taught, ation is causing a new examination ence for music, and thus the useful- are always seeking the “best editions.” and appreciation of the concept of ness of interest in printed music The printing industry has made it pos- intellectual property. expanded. sible to see “original” editions, but As printers consider what to do, The effects of music printing are Urtext has become a meaningless several factors must be understood. varied beyond the simple fact of the word. Publishers must balance the Cost often influences the decision: availability of various repertories. For price of editions, the quality of the new technologies are very expensive instance, the availability of printed paper, and the nature of the editorial and a bad decision can be financially music in a “formal presentation” makes crippling. Publishers are concerned possible the sciences of music study, with the means to acquire and develop examination and criticism, and formal a bigger audience, not with an artifact music performance. The use of paper Among all the (a score): accessibility has been had a direct result of the lengthening challenges posed defined the aim even more than in the of works; could 19th-century sym- past. Does a company attempt to keep phonies have been composed were it by new methods of up with each new trend? Which new not for the ability of providing formal, “printing,” one of trends will be blind alleys? Does the printed, and relatively inexpensive the most difficult new mean abandoning the old? How publications? Music printing redefined can one evaluate the value of a tech- the positions of composers, perform- will be the “reconceptu- nology that is not documented? ers, audiences, critics; it created the alization” of the The legacy of the Petruccian con- “soundtrade” business; it raised the musical page. cept of music printing is the printed questions of “good music” versus page of music—the ability to visualize “what is popular.” Petrucci, in effect, music. New electronic techniques are created the entertainment media. extensions of this tradition. How will Lateiner pointed out that the work with the possible sale (“We libraries make available new forms of teacher and performer were absolutely cannot expect a Günther Henle to music “printing,” and what will be the dependent on the music publishing come along every decade”). Why nature of copyright? Among all the industry: neither could exist profes- should “garbage” be reprinted? There challenges posed by new methods of sionally without the availability of are many examples of good and bad “printing,” new types of expenses and printed editions. Performers and teach- from almost all publishers. The 20th new means of distributing and profit- ers have a love-hate relationship with century has seen the development of ing, one of the most difficult will be music publishing: either you have a editions by performers and scholars; the “reconceptualization” of the musi- good edition and therefore love these have been helpful and mislead- cal page. printed music, or you do not (and ing, and they have led to the develop- Biscardi described his own history therefore, the condition of hate). ment of “performing editions.” All of of the preparation of the musical What is printed music? Some would this makes it possible for the musicians score. For him, it began with paper say that, in printed notes, “music lives to choose to be “ignorant or provin- and a pencil. Finding a source of but is asleep.” Others see the printed cial” or to use the best editions and music manuscript paper was a chal- score as a means of maintaining contact thus reflect the best of the composer’s lenge in itself. Early in his career of with greatness. Teachers and perform- intent. self-publication, this pencil manuscript ers view printed music as a set of Finally, one might wish that the led to the mimeograph machine, but instructions from the composer to the current industry would be as “efficient” many times the stencils were torn and performer. The development of the as earlier ones: amazingly, from the had to be recreated. Added to this, music printing art can be seen, from time that Brahms sent his first manu- over time the printing disappears. this point of view, as the development scripts to Breitkopf & Härtel until they Then the ozalid process was devel- of a means of assisting the composer in were made available to the public, continued on the next page

6 M L A Newsletter • No. 124 Plenary Session 2

continued from the previous page oped. This required special pens and India ink, and, of course, a safety razor to correct mistakes (too enthusiastic and “erasure” could cause holes and the need to start all over again). The masters had to be taken to blueprint printers to reproduce. Photocopies of scores, needing special inking like ozalid masters, were often cut up to create parts or to make performance easier. Finally, having established a relationship with a publisher, he returned to the pencil to create manu- scripts that publishers used to engrave publications. The problems of self-pro- duction have been offset by the requirements of the publisher. The computer has made the process of Plenary II speakers (l-r): David Hunter (moderator), Chester Discardi, conveying the intent to the publisher Jacob Lateiner, Don Krummel and James Zychowicz. easier, but it (the computer) often affects the nature of what is written plars, the dissemination, and the cost, commercial scale for the first time. and how that is conveyed. but it was in fact a continuation of a Many differences between styles, etc. The manuscript is the “signature of previous tradition. can be lost through a homogenous the composer.” Does software allow Krummel suggested that the line printing style. Biscardi responded that the personality of the composer to between music printing and music recognition of this factor is the respon- emerge? The “score is the composer’s publishing is difficult to define: it is sibility of the publishers to the com- canvas,” and the computer can be of similar to the difference between the posers. Most, he believes, feel that great assistance in the creation of composer and the performer. Layout responsibility and attempt to fulfill graphic scores. Music notational soft- on the page is crucial and can often their responsibility, but many fail. ware and the possibilities of immediate result in performance differ- Composers must keep publishers audio realization are very ences. Biscardi responded informed of the nature of their work. valuable and allow Inter- that composers have prob- Krummel responded that some pub- net publishing and at- lems with computer lishers “should feel very guilty.” home downloading. software in this regard. The session was opened for ques- Both Finale and It is critical but often tions and discussion from the floor. Sibelius have many difficult for the com- good points. The poser to override the biggest problem computer with regard Cover Photos: caused by composi- to page layout. Main: Garden at the Louis Arm- tion at the computer is Lateiner expanded that strong House. the fact that young performers also find the composers often fail to “look” of the music very Upper Right: Dean Epstein (left) learn how instruments important. “Space in the with Ruth Inman, one of the work. This can sometimes be manuscript had meaning”; that Epstein Award recipients. good, but is usually not. The comput- is often not conveyed in the printed Upper Middle: Freeman Award ers create a “homogenous” music nota- version. In chamber music, of course, winners (l-r): Clayton Crenshaw, tion for performers to read, but they page turns are crucial. Melanie Zeck and James Alberts. also can become a nonmusical part of Zychowicz spoke about the publi- the compositional process. cation of manuscript facsimiles—for Lower Middle: David Hursh The four panelists began a discus- both historical and contemporary receiving the Gerboth Award sion among themselves. Lateiner works. These have the advantage of from President Paula Matthews. pointed out that we often forget that avoiding the effect of editors and show Lower Right: The Two Presidents: there was music transmission before the “original” intent through the origi- Paula Matthews (MLA, left) and printing. The music printing “revolu- nal notation. Modern printing tech- Jessie Anne Owens (AMS). tion” affected the quantity of exem- niques have made this possible on a

M L A Newsletter • No. 124 7 Email Digest

Stephen Mantz, Davidson College online.” Users have different expecta- of the New Grove, adding that is “a fan- tions for an online product. tastic resource, created by real people hat was the title of the popular Many voiced reservations about ... with real feelings.” Deane Root (Uni- Wsong of the 1930s/40s set to a the binding of the print edition, noting versity of Pittsburgh) observed that the theme from Rachmaninov’s Piano Con- that the pages were “puckered” and response to the second edition of the certo No. 2 ? This question by Robert “wavy,” and crackled when opened. New Grove seems far more outspokenly Delvin (Illinois Wesleyan University) Lisa Nachtigal (Grove’s Dictionaries) critical than that of the first, even was just one of the many posed to the reassured readers that the puckering though that edition experienced similar membership of MLA-L during the last was due to the sewing process used in problems when it first appeared. In the four months (Nov.-Feb.). Discussion of binding the books, and that most of it past, those problems were communi- the newly published New Grove Dictio- would go away as the book relaxes cated to the publisher, and “only inci- nary of Music and Musicians domi- and acclimates to its environment. dentally by phone or letter to our nated the list at times, but there were Alice Carli (Sibley Music Library) noted colleagues and informally at annual many other topics of interest as well. that the printing and binding are “as meetings.” Today, we speak to col- Audio reserves, cataloging sheet music, good as a work that size will tolerate, leagues on the Internet first. pieces honoring Dr. Martin Luther outside of a huge cost increase.” Some Katherine Furlong (Gettysburg King, and sources of world music librarians observed other problems College) queried MLA-L and LIBREF reviews are only a few of the topics with this initial printing, such as miss- as to what libraries were going to do discussed. with their copies of the first edition The popular song of the 1930s/40s of the New Grove. Receiving over 130 on a theme by Rachmaninov? “Full responses, she found that the majority Moon and Empty Arms.” The response to the (53) were moving it to the stacks (44 • • • 2nd edition of the New circulating, 9 non-circulating). Twenty- Being an essential reference work, five were retaining it in reference, it should be no surprise that the Grove seems far more while most of the others were either appearance of the second edition of critical than that of the transferring it to another location the New Grove sparked a lengthy and first, even though that or donating it to another school or varied discussion on MLA-L. It was charity. almost a communal experience as edition experienced • • • librarians, seeing the electronic and similar problems when Electronic reserves are becoming print versions of the encyclopedia for it first appeared. increasingly common in libraries. the first time, shared their excitement, Eunice Schroeder (University of Califor- comments and concerns. Representa- nia, Santa Barbara) wondered which tives from the New Grove were also “on ARL libraries had implemented (or hand” electronically, providing infor- ing pages and mislabeled volumes. were about to implement) streaming mation and answering questions voiced Comments about the content of audio. She reported that the number of on the list. the New Grove were also common. libraries was seventeen, with all but Librarians were quick to report Many noted that some bibliographies, one of them using RealAudio; the one problems they encountered. Among worklists and articles are not current, exception was using QuickTime. those reported for the online version or are in fact reprints from the 1980 In a separate discussion, Deborah were difficulties with connecting or val- edition. Printing errors were discov- Griffith Davis (University of Chicago) idation, diacritics not displaying prop- ered, and some questioned whether requested information on how many erly, and problems with Netscape the coverage of American composers institutions have password protection “crashing” when viewing the product. and performers is adequate. Some for their streaming audio reserves. Of Last minute changes made to the print librarians called for the publishers to the fifteen respondents, twelve were edition had not made it into the online, supply corrected volumes, or at least utilizing passwords, sometimes in con- nor had all the pictures and links yet an errata volume. Although corrections junction with other limitations such as been loaded. Brian Cockburn (James can be made to the online version IP address. Of the remaining three, two Madison University) voiced the frustra- rather easily, Patrick Lawless (Banff limited access to campus IP addresses, tions of many when he commented Centre) reminded us that not all and one to a LAN in the music library. that he was “starting to feel like an libraries may subscribe to it. • • • early beta tester.” Bob Kosovsky (New Some librarians commented on the Several cataloging questions were York Public Library) and others noted MLA-L discussion itself. Neil Hughes posted for discussion. When cataloging that the online New Grove was not yet (University of Georgia) revealed that he sheet music, what field in the MARC a true electronic resource, but rather “a was “fascinated by the near-vitriolic record is used for the first line of the book that happens to be accessible response to various negative aspects” continued on the next page

8 M L A Newsletter • No. 124 Email Digest

continued from the previous page Ringwood (University of South Car- Music Research) recommended lyrics? Ruth Horie (University of Hawaii olina) asked if the ISMN was indexed Anthony McDonald’s “The Catalog of at Manoa) learned that it is field 246. in OCLC. The answer: yes, it is Music Written in Honor of Martin Sarah Shaw (Brown University) added indexed as a standard number. The Luther King, Jr.” (1999) as a source for that the “yet-to-be published guidelines details can be found in OCLC Techni- questions such as these, although it for sheet music cataloging ... strongly cal Bulletin 235, Rev. includes only printed music, not recommends the addition of first lines • • • discographies. notes and added entries.” In another In January, music librarians are • • • discussion, Stephen Wynn (Truman often asked for titles of music honoring Elizabeth J. Cox (Grinnell College) State University) found that a set of Dr. Martin Luther King. In response to asked MLA-L for suggested resources songs is not necessarily a song cycle. J. Michael Foster’s (University of for reviews of world music recordings. Rather, it is a type of set, “like the Delaware) request for recordings, The periodicals suggested included square is a type of rectangle.” Unfortu- many titles were suggested. Among Songlines, Ethnomusicology, The Beat, nately, he added, the definition of a them were David Baker’s “Through this Folk Roots and Dirty Linen. song cycle is not as tidy as that of a Vale of Tears,” Oskar Morawetz’ • • • square. “Memorial to Martin Luther King,” John For the complete discussion on An increasing number of scores Coltrane’s “Reverend King” and Duke MLA-L, please consult the MLA-L are appearing with ISMNs (Interna- Ellington’s “Three Black Kings.” archives at http://listserv.indiana.edu/ tional Standard Music Numbers). Alan Suzanne Flandreau (Center for Black archives/mla-l.html.

Transitions

Lynn Calhoun, Music/Multimedia David Hursh, Head Music Librar- they encompass the whole of it. After Librarian, Arkansas Tech University, ian, East Carolina University, Green- wartime service, he joined the staff of Russellville, AR ville, NC the Music Division at the Library of Vic Cardell, resigning as Music Arsi Ioannidou, Head of Techni- Congress, where he devoted his entire and Dance Librarian, University of cal Services, Mannes College of Music, career. He became preeminent as the Kansas, will be relocating to the San New York City master reference specialist, the one Diego area Robert Lepartito, Technical Ser- who could make sense out of disorga- Tim Cherubini, Head of the vices Librarian, Rowan University, nized collections and find things in Information Resources Division, Emory Glasboro, NJ them, the strategist for answering University, Atlanta, GA John Loud, Project Cataloger for unanswerable questions, the counsel Dennis T. Clark, Director of the the Rubin Collection of Indian Classical for perplexed researchers. He personi- Anne Potter Wilson Music Library, Music, Harvard University fied what music librarians and Ameri- Vanderbilt University, Nashville, TN Gary W. Markham, Head of can music scholars aspire to. Susannah Cleveland, Music Music Cataloging, The Florida State • • • Sound Recordings and Digital University, Tallahassee Our friend and colleague, Calvin Resources Librarian, University of Tina Murdock, Music Librarian, Elliker, died suddenly January 14, North Texas, Denton Dallas Public Library, Dallas, TX 2001, of a massive heart attack. Calvin David Farneth, Institutional Nancy Nuzzo, Director, Music will long be remembered for his sharp Archivist, J. Paul Getty Trust (Los Library, University at Buffalo, The State mind, his quick sense of humor, and Angeles) University of New York for his exacting commitment to scholar- Candace Feldt, Score cataloger Ericka Patillo, Coordinator of the ship. He was a dedicated librarian, an for the Packard Humanities Institute Music Library, University of Houston accomplished musician, and a valued Music Collection and the John M. and Judy Tsou, Acting Head, Arts and colleague. In addition to his duties as Ruth N. Ward collection of opera vocal Architecture Libraries group, University Head of the University of Michigan scores, Harvard University, Cambridge, of Washington, Seattle Music Library, he also served as a Pro- MA • • • fessor at the School of Music, teaching Joseph Hafner, Manager of Data- With the death of Bill Lichten- courses in music bibliography, printing base Management, Indianapolis-Marion wanger on December 16, 2000, Amer- and publishing, and classical guitar. His County Public Library ican music has lost one of its most involvement with the Music Library Peter Hirsch, Cataloger for the venerable and most knowledgeable Association was extensive, and Dance Division of the New York authorities, in specialties that range included chairing the Bibliography Public Library Performing Arts Library across the spectrum of our field as Roundtable.

M L A Newsletter • No. 124 9 Members’ Publications

lease send citations for items published or premiered in Century and the New Millennium: A Collection of Essays P the past calendar year to the column editor, Sarah Presented in Honor of the College Music Society. Edited by Dorsey, via e-mail or snail mail at the address below. The James R. Heintze and Michael Saffle. New York: Pendragon deadline for submissions for issue 125 is May 1, 2001. Please Press, 2000. follow the citation style employed below. Ostrove, Geraldine (Library of Congress). Sarah Dorsey “Recent Publications in Music.” Fontes Artis Musicae 46, Music Librarian No. 3-4 (July-Dec. 1999): 286-342. School of Music UNCG P.O. Box 26167 Rahkonen, Carl J. (Indiana University of Pennsylvania). Greensboro, NC 27402-6167 “World and Ethnic Music.” In Creative Strategies for [email protected] Library Instruction in the Arts, Literature, and Music. Active Learning Series No. 5. Edited by Marilyn P. Whitmore. Pitts- burgh, PA: Library Instruction Publications, 2001. BOOKS “Gusli,” “Kantele,” and “Ussachevsky, Vladimir.” In Heintze, James R. (American University). New Grove Dictionary of Music and Musicians. 2nd Edition. Reflections on American Music: The Twentieth Century Edited by Stanley Sadie; executive editor John Tyrrell. and the New Millennium: A Collection of Essays Presented London: Macmillan, 2001. in Honor of the College Music Society. Edited by James R. “An Overview of European American Musics,” “Eston- Heintze and Michael Saffle. New York: Pendragon Press, ian Music,” and “French Music.” In The Garland Encyclope- 2000. [xvii, 428 p. ISBN 1576470709] dia of World Music, Volume 3: United States and Canada. New York: Garland, 2001.

ARTICLES AND CHAPTERS Stroh, Patricia Elliott (Beethoven Center, San Jose State University). Boye, Gary R. (Appalachian State University). “Evolution of an Edition: The Case of Beethoven’s “Francesco Asioli,” “Giovanni Bottazzari,” “Antoine Opus 2. Part 1: Punches, Proofs, and Printings: The Seven Carré,” “Francesco Coriandoli,” “Fabrizio Costanzo,” “Gio- States of Artaria’s First Edition.” Notes 57, No. 2 (December vanni Paolo Foscarini,” “Giovanni Battista Granata,” 2000): 289-329. “Tomasso Marchetti,” “Pietro Millioni,” “Domenico Pelle- grini,” “Stefano Pesori,” “Giovanni Battista Sfondrino,” Moore, Tom (Princeton University). “Francesco Valdambrini” (original articles); “Giovanni Bat- “Martin Haselbock Discusses Fux’s ‘Il Fonte Della tista Abatessa,” “Angiolo Michele Bartolotti,” “Giovanni Salute.’” Fanfare 24, No. 4 (2001): 61-63. Ambrosio Colonna,” “Lodovico Monte,” “Agostino Trom- betti” (revised articles). In New Grove Dictionary of Music and Musicians. 2nd Edition. Edited by Stanley Sadie; exec- utive editor John Tyrrell. London: Macmillan, 2001.

Clarence, Judy (California State University / Hayward). “Opera” and “Women Composers.” In Creative Strate- gies for Library Instruction in the Arts, Literature, and Music. Active Learning Series No. 5. Edited by Marilyn P. Whitmore. Pittsburgh, PA: Library Instruction Publications, 2001.

Deak, Vera Lampert (Brandeis University). “Lasso’s Fleas: A Hungarian Connection for a European Topos.” Studia Musicologica 41, No. 1-3 (2000): 57-75. “Bartok at the Piano: Lessons from the Composer’s Sound Recordings.” In The Cambridge Companion to Bartok. Edited by Amanda Bayley. New York: Cambridge University Press, 2001.

Gottlieb, Jane (Juilliard School). Paula Matthews (left), with Chet Biscardi and Suki “Music Librarianship: 70 Years Back and 70 Years For- Sommer. ward.” In Reflections on American Music: The Twentieth

10 M L A Newsletter • No. 124 Chapter Reports

of Music, Cornell University) read by Chorus, directed by Scott Tucker, per- New York Neil Zaslaw (Herbert Gussman Profes- formed Cornell alumnus Vineet State/Ontario sor of Music at Cornell). He Shende’s To Musique, for women’s announced that October 20, 2000, had voices, on a text by Robert Herrick. Linda Blair, assisted by Gerry been officially declared Lenore Coral Next, in “Building a Library: Reflec- Szymanski and G. Dale Vargason, Day at Cornell, in honor of her extra- tions on Process and Product,” Lenore Eastman School of Music ordinary service to the fields of musi- Coral traced the history of the Cornell cology and music librarianship, and for Music Library from the arrival of its On October 20-21, 2000, the New service beyond the call of duty in her first music librarian, Harold Samuel in York State/Ontario Chapter met at Cor- many roles at Cornell University. The 1957, to the present opening of the nell University, Ithaca, NY, to celebrate proclamation also announced the newly refurbished and expanded a very special occasion—the opening endowment of a new fund established Sidney Cox Library of Music and of the newly renovated and expanded in her honor, the Lenore Coral Special Dance in 2000. She concluded with the Sidney Cox Library of Music and Acquisitions Fund. Following this pre- following advice for others embarking Dance, located in Lincoln Hall. After sentation, Mr. Zaslaw reflected on “The on a building project: “There is no opening remarks by David Corson Music Scholar and the Library,” in detail too small, and it’s not possible to (Associate Librarian for CUL Humani- which he related how the Cornell think of it too early.” ties and Social Sciences) and Mark Music Library has been invaluable to Next, with “The Composer and the Scatterday (Chair of the Department of his own research in the works of Music Library,” Roberto Sierra (Profes- Music), the first of two pieces commis- Mozart, as well as his work on the sor, Dept. of Music) spoke of the sioned for the occasion was presented. New Grove Dictionary. After a short changing role of the music library Brian Robison’s Unending Search for coffee break, John Roberts (University during the three stages of a com- wind octet was given a fine perfor- of California, Berkeley) gave a paper poser’s career: the early years of study, mance by a group of Cornell student entitled “Dopo notte : Expanding the middle years of professional devel- musicians. Mr. Robison is Assistant Resources for Opera Scholarship.” Mr. opment, and the years after the com- Director of the US-RILM Office and a Roberts pointed out many problems poser’s death, when the library Lecturer in Music at Cornell. facing opera scholarship today, sug- becomes the most important and last- The opening session of the meet- gested ways of solving these problems, ing repository for his work. ing, “Reflections on the Music and displayed several projects where Two Cornell professors from the Research Library in the 21st Century,” progress has been made. humanities contributed to the theme of featured several noted speakers. Jessie After the completion of the day’s the next session, “The Literary Scholar Ann Owens (Brandeis University), presentations, attendees were treated and the Music Library.” Arthur Groos Vice-President/President-elect of the to tours of the new facilities. The (Dept. of German Studies), a co- American Musicological Society, expanded library, 50 percent larger founder of the Cambridge Opera Jour- described the music librarian of the than before, features compact shelving nal, noted that opera is more than just 21st century as first an educator, but for LPs, CDs and special collections, as music, and he detailed a variety of also as a visionary who knows what to well as state-of-the art audiovisual and sources needed for research, such as collect and how to make it available. computer instruction centers. After libretti, production manuals, and even IAML president Pamela Thompson many years of closed stacks, the entire travel books, which can provide insight (Royal College of Music) noted that the print collection of the library is accessi- into how one culture views another. H. reincarnation of the 20th century music ble once again. At the conclusion of Scott McMillin (Dept. of English, Cor- library into the 21st century music the tours, attendees enjoyed a recep- nell) described how the music library library would require a balance of tra- tion and witnessed the unveiling of a had anticipated his needs in compiling ditional elements and new directions. new sculpture, Spanish Ball, by artist the materials necessary for a course on Finally, Jim Cassaro, Vice President/ Todd McGrain. Then, a number of American musical theater, including President-Elect of MLA and former chapter members and guests traveled numerous musical films and videos of Assistant Music Librarian at Cornell, to the Heights Café and Grill to enjoy productions new and old. noted that the New York State/Ontario still more good food and good com- The event drew to a close with the Chapter has been a leader in library pany. Later that evening, a fortepiano Chapter business meeting. A high construction and renovation for the concert was presented in Barnes Hall, point of the past year’s activities for past two decades, with the completion featuring Geoffrey Grover playing the the Chapter was the travel grant com- of projects at SUNY Buffalo, Eastman music of Johann Nepomuk Hummel petition. Matching a grant from the School of Music, and now at Cornell. and others. MLA Board, the Chapter was able to A highlight of the morning was a On Saturday morning, the second provide travel funding to four first-time proclamation honoring Lenore Coral of the two commissioned pieces was attendees and student members. Recip- (Music Librarian and Adjunct Professor performed. The Cornell University continued on page twelve

M L A Newsletter • No. 124 11 Chapter Reports

continued from page eleven instruments. Throughout the Museum ients of the grant were librarians Katy were 450 vintage instruments, as well Texas Farrell (SUNY Geneseo) and Carol as listening stations where we could Bruce Evans, Southern Methodist Vidale (Syracuse University) and SUNY hear tunes that have shaped and con- University Buffalo L.I.S. students Julia Graepel tinue to shape our collective musical and Tammy Ravas. experience. Audio delivery via streaming for TMLA held its annual meeting course reserves was the topic of dis- October 6-7, 2000, at Southwest Texas cussion during the afternoon. Dave State University in San Marcos. Many Southern California Kesner and Peter Mueller from UC San informative presentations were made. Nanette Schneir, Diego’s (UCSD) Music Library began Gary Hartman of Southwest Texas Santa Monica Public Library by describing and playing examples State gave a presentation on The Insti- from the school’s Digital Audio tute for the History of Texas Music. Reserves Project (DARP). DARP pro- Sha Towers and Beth Tice gave a pre- NAMM, International Music vides UCSD students and faculty with sentation on Baylor University’s “Amer- Products Association (http:// digital music course reserves via the ican Melting Pot” digitization project. www.namm.com/), was the setting for web nearly twenty-four hours a day, Others included a presentation on our fall meeting held on November 17, seven days a week. Students can listen issues concerning online libraries by 2000. Located near the ocean in Carls- to high-quality music reserves from Donna Arnold, “Irish State Music from bad, CA, NAMM was a lovely setting computers with access to the campus 1716 to 1742” given by David Hunter, for a terrific day. The time and energy network. Music can be encoded from “Women and Texas music before that Kristina Shanton (CSU Long CD’s, audiocassettes, and records. 1945” given by Kevin Mooney, and a Beach) devoted to organizing the Workstations need to have a sound presentation dealing with music educa- meeting were much in evidence. In her card, speakers or headphones, and tion and cataloging issues given by absence, Eunice Schroeder (UC Santa Liquid Audio, which provides near CD Jean Harden. Barbara) led the day with aplomb. quality sound. Digital sound files are At our business meeting we dis- Dan Del Fiorentino, Director of mounted for UCSD course reserve sup- cussed our continuing desire to con- NAMM’s Library/Resource Center and port only. DARP files are passworded tribute to the Handbook of Texas Museum of Making Music and accessible only to students and Music. Gary Hartman, who earlier gave (http://www.namm.com/museum/inde faculty of specific courses, and are us the presentation on The Institute x.html), explained that NAMM, a pri- available only during the time a spe- for the History of Texas Music, vate non-profit company, has been cific course is taught. The University sent around a sign up sheet for those representing the business interests of has embraced DARP, and students interested in contributing or referring music publishing companies since love it. During 1999-2000 there were articles. 1901. Developing and maintaining the half a million hits on DARP sites! Donna has successfully found one-year old Museum is a major Stephen Davison spoke about the someone to help train those interested responsibility for Dan. The Museum digital reserve program used to assist in conducting interviews for the TMLA reflects the history of the company and students at UCLA. Real Audio 5 oral history project. Donna will now the history of music manufacturing and encodes music (from CD’s only) that is act as the contact person for this pro- retailing. To this end, Dan is trying to on reserve for classes. With the use of ject. acquire as many music archives that Cold Fusion and Access, images can Donna informed us that, after reach back to 1901 as possible. Out- be linked to Real Audio for display much work towards securing a consor- reach is another of NAMM’s objectives, during playback, thereby enabling stu- tia agreement to provide online access and Dan related how he has been dents to listen and, for example, read a to the New Grove, it appears such a involved in programs for children, libretto simultaneously. deal will not happen. musicians, and the public. NAMM also Eunice said that at UC Santa Bar- At the beginning of the meeting, supports special projects such as stud- bara there is one course, Music and we held our election for new officers. ies of music and the brain. Politics, which is part of a trial audio Beth Tice of Baylor is now the new Accompanied by Dan, our group project using Quicktime files encoded Vice-chair/Chair-elect, and Susannah then experienced music through the with Media Cleaner Pro. She said that Cleveland of the University of North years as we were led on a tour by one faculty are beginning to expect more, Texas is now the new Secretary/Trea- of the Museum’s forty volunteer and that high quality audio delivery is surer. Congratulations to both of them. docents. We explored exhibits that fea- a concern. Also, kudos to Donna Arnold for two tured music from turn-of-the-century years of exemplary service as TMLA Tin Pan Alley tunes to the 1970’s and Chair. Bruce Evans became TMLA 1980’s MTV, FM radio, and electronic Chair at the meeting’s conclusion.

12 M L A Newsletter • No. 124 Ask MLA

Beth Elene Tice, Baylor University now we are seeing the second masters ness to teach and mentor. degree listed as preferred instead of Ruthann began the discussion by The successful Music Librarian: required, and overall qualifications are asking the group how they would One size does not fit all softened as well. Paul believes that counsel a student who was interested It was a cold, bright Saturday after- some future outcomes could include in music librarianship. This question noon in New York, and down in the the “dumbing” down of the profession. prompted a lengthy discussion on the Carnegie & Broadway meeting rooms, It is possible that supply and demand importance or non-importance of the a small but determined group gained should see base salaries raise the mini- MLS/MLIS degree. One audience access to see Ask MLA: (the musical!). mum staring salary to 40,000. Another member commented that of all the This year’s “run” was entitled “The suc- trend noticed in Paul’s survey relates to traits listed by the speakers and the cessful Music Librarian: one size does types of jobs available. Where are the Education Committee, the library not fit all.” jobs? Approximately 5 years ago 70- degree or second master’s degree was Ruthann McTyre (Univ. of Iowa), 80% of jobs were related to cataloging. not mentioned. Several audience mem- session coordinator, introduced the Now primarily they are reference or bers commented that they learned speakers: Geraldine Laudati (University interdisciplinary positions. Paul has these skills on their first job, not at of Wisconsin, Madison), Jean Morrow noticed more IT specific jobs and com- library school, and that library school (New England Conservatory) and Paul mercial jobs with music specialization. only taught theory. Could a paraprofes- Orkiszewksi (Rice University). Each Jean commented that we should influ- sional hold these skills, and what are speaker was asked to address skills ence the administration to hold out for the differences in “professional” skills? they felt important for music librarian- higher salaries for these new positions. Would a musicology degree be better? ship. Geraldine Laudati discussed how Responses supported what many Jean Morrow began by listing the library schools were keeping up people believe: the MLS provides the some of the traditional qualifications with these new trends. While some of basis for professionalism. The library including knowledge of music (music the library and information schools degree is an academic degree, not a history, tools, terms), a broad educa- have dropped the word “library,” and professional degree. It is intended to tion (knowledge of related disciplines there is concern about the lack of core teach you how to think critically, not to such as dance, art, humanities, lan- competencies, many schools are work- instruct you on day-to-day tasks. The guages), general library skills (organize, ing with a more integrated curriculum. library degree also helps to command store, retrieve information) and other Schools that offered two tracks (IT and respect from faculty and the public. basic library skills such as purchasing librarianship) now offer combined However, in any profession there are and access to materials. While these courses that are more broadening than people who can do great work without skills are important, other skills are narrowing. Other trends in library the degree. becoming necessary in the wake of the schools include the prevalence of sub- Another discussion centered changing role of the library from a ject specialties. Joint degrees are made around the various kinds of jobs avail- warehouse to a gateway of resources. possible by increasing the number of able in the music library profession. These new skills include the ability to credits. Practica and internships are Looking for jobs? Don’t exclude jobs communicate, teach, explain, etc… numerous, as well as new specialties that may be more general than a spe- Library schools and supervisors are (folklorists, material culture). The cific music librarian position. Entry now challenged to create new ways to 1990’s curriculum changed to include level positions can help you gain incorporate these talents into the edu- increasing skills in web site creation, diverse skills. Some audience members cation process. subject analysis, and user education preferred to work in a task specific Paul Orkiszewksi spoke of the services. Retooling one’s craft can position, and others loved working in a trends he has noticed as the MLA happen through one-time courses small library in which they do every- Placement Officer. He looked at the offered on hot topics and distance edu- thing. Advice? Pay attention when you last 3 years of job lists and compiled cation courses over the Internet. apply for jobs to see which situation listed salaries. Paul noted several trends “Cohort” arrangements (exchanges in you would enjoy more. Other ques- from this list. One trend is that it is a coursework between universities) tions related to professional develop- job seekers market right now. There could be used with music librarianship ment issues: Are your music skills are many more jobs available within courses to enhance the profession. acknowledged as research (performing, the last 2 years. Reasons for this could The Education Committee listed etc…)? Most members commented that be the rising cost of becoming a librar- several traits they consider important these skills get some kind of credit, ian (increased education and skills) for success: a willingness to listen, to because they are considered scholarly and the fact that the business / com- search, to communicate with patrons, activity. mercial worlds are out bidding the faculty and other librarians, to educate, Ruthann concluded the meeting by libraries. Because of this, many library to be available, to be a clear thinker, to thanking the speakers and audience for jobs are becoming harder to fill, so that be pragmatic and to possess a willing- a thoughtful discussion!

M L A Newsletter • No. 124 13 Roundtable Reports

the 2000 season, and a production in ment, MacDowell said, “I am a very Women in Music Nova Scotia is currently under consid- ordinary woman who had an opportu- eration. Although Paula has yet to nity and seized it.” Renée McBride, secure a recording contract, the Act II Robin described some of LC’s Univerisity of California, duet “I Want to Live” has been holdings that pertain to the MacDow- Los Angeles released on CRI’s Lesbian American ells and the Colony: Composers (CD 780 CRI), and won two The Women in Music Roundtable 1999 Gay & Lesbian American Music • several special collections, includ- (WMRT) has long been distinguished Awards. A vocal score has been pub- ing unpublished autobiographical by its innovative programming, and its lished and is available from: Once in a writings of Marian; session at MLA’s 70th Annual Meeting Blue Moon Music Pub. Co., PO Box • various Colony records, e.g., cor- in New York was no exception. WMRT 517, Brooklyn, NY 11217, (718) 369- respondence, minutes, legal and co-coordinators Alice Abraham 3475. More information about Paula financial documents, applications (WGBH Radio, Boston) and Judy and Patience & Sarah can be found at for admission, reports, and lists of Weidow (The University of Texas- www.patienceandsarah.com. donors (Robin noted that a great Austin) treated attendees to a varied Robin Rausch, a Music Specialist at many of the Colony’s benefactors and stimulating program featuring the Library of Congress (LC), shared were women); composer Paula M. Kimper, researcher her current research on Marian Mac- • silent film footage of the Colony; and MLA member Robin Rausch, and Dowell (1857-1956) and the MacDow- • audio recordings of interviews jazz vocalist and songwriter Titilayo ell Colony in her presentation “The with Marian; and, Ngwenya. House that Marian Built: The MacDow- • a 1954 image with sound of Paula M. Kimper lives in New ell Colony of Peterborough, New Marian, the only such image with York, where she is active as a com- Hampshire.” Robin’s interest in Mac- sound in LC’s collection. poser in the worlds of opera, theater, Dowell grew out of a project with the film, and dance. Paula’s presentation LC Publishing Office, a research guide Titilayo Ngwenya is a vocalist and focused on her three-act opera to be published in summer 2001, songwriter living and performing in Patience & Sarah : A Pioneering Love American Women: A Library of Con- New York. She emerged on the Story, with libretto by Wende Persons. gress Guide for the Study of Women’s Boston jazz scene in 1996 and built a The opera, commissioned by American History and Culture in the United strong following through a variety of Opera Projects, Inc., and premiered at States. Robin contributed the chapter New England performances, radio air- Lincoln Center Festival 98, is based on on LC’s Music Division and a bio- play, and television interviews. She Isabel Miller’s novel of the same name graphical essay about Marian Mac- was nominated for Best Jazz Vocalist and is the first U.S. opera to depict les- Dowell and the founding of the at the 1999 Boston Music Awards, and bian lovers. The story of Patience MacDowell Colony for creative artists. she gained national attention through White and Sarah Dowling, inspired by Robin outlined the biographical feature articles in Billboard Magazine, the real-life experiences of two early details of MacDowell’s life, following the Boston Sunday Globe, and the 19th-century women, is set in 1816 in her development as a pianist through New Yorker, as well as an interview Connecticut. Conceived as an intimate her life with Edward MacDowell, for with Robert Siegel on National Public chamber work, the work is scored for whom she gave up a professional Radio’s All Things Considered. Titi- a 14-piece chamber orchestra. career, to her life after her husband’s layo’s debut CD, Beware the Short Paula described the opera’s back- death. Following Edward’s death in Hair Girl, is a collection of spiritually ground, then played a video of 1908, Marian devoted the remaining 48 arresting compositions and newly excerpts from the Lincoln Center Festi- years of her life to creating the Mac- arranged jazz standards, and features val 98 production, with the lead roles Dowell Colony, and she returned to guest clarinetist Don Byron. sung by Lori Phillips (Patience) and the piano, becoming the premier inter- Titilayo’s captivating presentation Elaine Valby (Sarah), and supporting preter of Edward’s music. Robin chronicled her move from Boston to roles performed by LeRoy Lehr described the various phases in the New York through song and spoken (Sarah’s father), Barton Green (Parson development of the Colony, noting word. She related her transition from a Peel), and John Bellemer (Sarah’s that women have figured heavily conservative Mozambiquan/Nigerian brother Edmund White). The excerpts among visiting artists from the upbringing to her current life in the depicted various aspects of Patience Colony’s earliest days. MacDowell “slick big city,” where she deals with and Sarah’s lives and relationship, and guided the Colony through the the challenges of coping with many revealed Paula’s lyrical compositional Depression, two world wars, and a different types of people and the issue style. In addition to its 1998 world pre- devastating hurricane, so that it still of self-image—how she wants to pre- mier, Patience & Sarah was performed today offers the gift of time to young, sent herself. Titilayo’s journey to New in Denver, Maine, and Chicago during often unknown artists. Of this achieve- continued on the next page

14 M L A Newsletter • No. 124 Roundtable Reports

continued from the previous page current) issues. Suggestions for topics subjects. She listed “seven effective York was influenced by her experi- and/or presentations are welcome; habits of highly stressed librarians,” ence at WGBH Radio in Boston, where please contact the coordinator at the including making use of the expertise she co-wrote with program host Ellen above address or at grace- of faculty and students, and involving Kushner several scripts for the nation- [email protected]. Also, we are them with the library. This can take ally distributed public radio program seeking “applicants” to be the next the form of filling out a brief profile Sound & Spirit. One script, “Women coordinator; please notify Grace if you for each faculty with their areas of Without Virtue,” dealt with the African- are interested. research and specialization, and after American female spiritual legacy and vetting vendor order slips, sending featured such women as Maya them to faculty for their initials. Her Angelou, Sojourner Truth, Abbey Lin- handout, “(Hopefully) Helpful Hints coln, and Harriet Tubman. These Small Academic from Butler University’s Music & Fine women helped Titilayo make the deci- Libraries Arts Library,” listed further strategies. sion to pursue her dream in New Please contact the SALRT co-coor- York. Among the songs Titilayo incor- Pamela Bristah, Wellesley College dinators, Carolyn Johnson, Connecticut porated into her story were Sarah College, 860/449-2710, cajoh@con- Vaughan’s “Easy Living” and her own The Small Academic Libraries ncoll.edu or Betty Woerner, Reed Col- “Beware the Short Hair Girl” and Roundtable met on Saturday, Feb. 24, lege, 503/777-7352, bwoerner@ “Street Holler.” Titilayo closed her pre- 2001, with a program entitled “The reed.edu with program suggestions for sentation by expressing the hope that Music Librarian’s Juggling Act: Success- next year’s meeting in Las Vegas. she had provided “insight into one ful Strategies for Developing Positive ordinary woman’s experience.” More Relationships Among Diverse Campus information about Titilayo and her Constituencies.” The moderator was music is available at: titilayo.com. Ruth Harris (College of William and Archives and Mary). Claudia Bissett is the first profes- Conservatory sional librarian to work in the Univer- Libraries Technical Services sity of Rhode Island’s music resource Richard Vallone, room, which is administered by the Grace A. Fitzgerald, New England Conservatory University of Iowa music department. She is also respon- sible for other subject areas, as well as for supervising the music department’s The 2001 meeting featured a com- The Technical Services Roundtable overall facilities and equipment. Her bined session of the Archives and the met on Thursday afternoon. In lieu of strategies include keeping her sense of Conservatory Libraries Roundtables. a formal presentation, the coordinator humor, being open and accessible to John Bewley is the coordinator for the led a discussion based on questions her constituencies, professionalism, archives group, and Richard Vallone relating to technical services in terms and good communications. for the conservatories. Four diverse of organization, workflow, etc. Among Laurel Whisler is librarian of a speakers addressed the 140 attendees. the topics discussed were OPACs, music library founded and funded by David Day gave a brief explana- reorganization, innovations, special the music department of Furman Uni- tion of his IAML project: Working projects, and other factors which help versity, thus somewhat outside the Group on the Registration of Music or hinder the processing of music usual library support structure of the Archives. If you have any information materials. It was not surprising that the school. Her strategies include doing to be included, please contact him at: most lively part of the session focused the job well, being prepared for a [email protected]. on those situations that were viewed “vision-gap” between departmental Our next speaker was Laura as hindering our work. and library goals, and cultivating Prichard, who maintains an archives A summary of the discussion will strong relationships with music faculty, page at UC Berkeley. This remarkable be posted on MLA-L shortly. For those students, and her library colleagues. site (www.lib.berkeley.edu/MUSI/ who do not have access to MLA-L, a She distributed a handout with back- bibarchives.html) contains links to paper copy may be requested from the ground and detailed strategies, titled numerous archives and their text and coordinator (Grace Fitzgerald, CPS, the same as the program. scanned visual collections. A few University of Iowa Libraries, Iowa City, The music library at Butler Univer- examples are the California Sheet IA 52242). sity was integrated into the main Music collection, the Center for The Technical Services Roundtable library six years ago. Music Librarian Beethoven Studies, and the Pacific seeks to provide a forum to address Sheridan Stormes is also responsible Region National Archives. Other links and discuss current (or even not-so- for theater, communications, and other continued on page sixteen

M L A Newsletter • No. 124 15 Committee Reports

music librarian, including how impor- First, the committee will continue to Outreach tant “music librarianship” courses were pursue a mentoring service and has Subcommittee for getting a music library position, some specific ideas for initiating that. online programs in librarianship, and We also sense that other committees in Allie Goudy, the necessity of a second masters for MLA are already engaged in activities Western Illinois University securing a position. which could be regarded as outreach, During its business meeting, the so we will be soliciting information The Outreach Subcommittee met Outreach Subcommittee continued to about these activities and serve as a twice at the MLA Annual Meeting in define its mission within MLA. We clearinghouse for making it available. New York City. An Open Forum to reviewed outreach activities under- Instead of an Open Forum, the Out- which library support professionals taken by MLA Chapters and also reach Subcommittee is considering were especially invited was attended agreed that the Outreach Subcommit- offering a program session at the by six people in addition to committee tee and the Membership Committee annual meeting in Austin, and would members. Those attending were inter- should communicate regularly. We work with the Education and Member- ested in discussing the educational focused on several projects to be ship Committees in developing and qualifications needed to become a undertaken during the upcoming year. publicizing the session. After the annual meeting in NYC, Kristina Shanton will become Chair of the committee, and Carol Tatian will Roundtable Reports be leaving the committee, because she is retiring from Brown University. continued from page fifteen scribed. Which is authoritative? Ribgie include LC’s American Memory Project, left us with the warning to be wary of and Online Archival Tools, which a ‘single source’. Sometimes a manu- include conservation and preservation script is, in fact, not correct. Automation manuals. On this page is also a link to The final speaker, Gino UCB’s SunSITE Digital Collections, one Francesconi, entertained us with his Subcommittee of which is its Digital Scriptorium. The rise from usher and guest artist gopher Jean Harden, collection includes full citations, physi- to becoming the archivist of Carnegie University of North Texas cal descriptions, and searchable cate- Hall. While organizing his journals and gories, and Laura showed beautiful oral histories of the artists, he noticed examples of its manuscripts. that programs were missing. Until he The Automation Subcommittee, Rigbie Turner, of the Pierpont began in 1986, his institution had no chaired by Jean Harden, was responsi- Morgan Library, demonstrated what a archives nor any security for momen- ble for two sessions (a business meet- manuscript does or does not tell us, tos and official documents. He then ing and the Automation Forum) and and whether or not it is the definitive was hired to organize the repository. eight system users’ groups meetings source. He used a few examples of He began by placing an advertisement during the MLA conference in New manuscripts from his own collection. in AARP’s magazine, Modern Maturity, York City. Mozart’s Piano Concerto, K.537, does and was flooded with people willing At its business meeting, the Sub- not contain a part written for the left to donate programs and anything else committee worked on updating its hand because he performed this music in connection with the Hall. At this charge and began initial explorations himself. This line was not added until point, he discovered exactly how of its next major project: developing three years after his death, and by many important documents and arti- sample online-catalog displays that put another person. In his manuscript for facts had been taken from Carnegie into practice the Subcommittee’s rec- another piano concerto, K. 467, he did Hall throughout the years. Gino now ommendations published on the MLA not add tempo markings. However, in advertises in antique magazines, goes website in the document Automation his own catalog, he included the to auctions, estate sales, and curio Requirements for Music Materials. We tempi. In these cases, can we surely shops, and bids daily on items on E- expect that this endeavor will suggest know what Mozart desired? Rigbie also Bay. The post-facto collection of these revisions to be incorporated into the tendered the question: Are manu- lost items has required a tremendous next version of the document. scripts worthless once music has been amount of work, energy, and finances. As was hoped, the Automation published? To support this, think of If you have any suggestions for Forum was aimed particularly toward Schubert manuscripts and corrected future sessions, please contact John or the members of the Theater Library editions later published by Bärenreiter. Richard for their corresponding Association and the ACRL Arts – Dance Also, Mahler made changes in the groups. Librarians Committee, who were the manuscripts that Alma later tran- continued on the next page

16 M L A Newsletter • No. 124 Committee Reports

continued from the previous page on Friday, February 23 with over 100 the Dublin Core elements and quali- guests of MLA. Two librarians from the conferees in attendance. Following a fiers set to represent such relationships. Billy Rose Theatre Collection of the call for applications from those inter- The Music Thesaurus Project New York Public Library for the Per- ested in subcommittee membership, Form/Genre Terminology Working forming Arts demonstrated AREV the meeting proceeded with a report Group, chaired by Harriette Hemmasi (Advanced Revelation), an online from Susan Vita (Library of Congress) (Indiana University), is again making system used by staff of their library to on the Bicentennial Conference on progress toward completing their help control and provide access to Bibliographic Control for the New Mil- charge, which is to identify, research, special collections. The speakers in lennium. Vita described the format of and categorize form/genre terms for this most informative session were the conference, which included several inclusion in the Music Thesaurus. They Mary Ellen Rogan, Senior Archivist, discussion paper presentations, result- expect to complete their work within and Karen Nickeson, Assistant Curator ing responses, focus group sessions, the next year, at which point the next of the Billy Rose Theatre Collection. and post-conference commentary via phase of the project will be started by During the meeting, the Subcom- an online discussion list. Particularly the MTP Advisory Task Force, chaired mittee began the process of gathering highlighted was the work of the by Mark McKnight (University of North up-to-date information for the list of eleven topical discussion groups. LC Texas). system users’ groups on the MLA web- intends to publish a compilation of the The four BCC liaisons attended site. At this writing, the information is proceedings later this year. Further ALA meetings in Chicago and Wash- still coming in. Once we have received information about the conference may ington, providing the music cataloging responses from all of the users’ be found at lcweb.loc.gov/catdir/bib- community’s perspective on various groups, we will post the updated list. control/conference.html. issues to a broader audience. Written Several members have left the The next presentation was a report reports of these meetings, including Subcommittee during the past year. from Brad Eden (University of Nevada those of ACIG, MRC, CC:DA, MARBI, Possible new members have been at Las Vegas), chair of the International and SAC, are available on the BCC identified to the President of MLA, Music Metadata Projects Working website at www.musiclibraryassoc.org/ who will send out letters of appoint- Group. Despite the fact that this group BCC/bcc.html, along with annual ment soon. was only appointed in late-November, reports from the Library of Congress The Automation Forum in Las they have made great headway in com- and OCLC representatives. Vegas may be a joint session with the pleting their charge, which is to identify Finally, BCC personnel changes Technical Services Roundtable on the music metadata projects, monitor their include Mark Scharff (Washington Uni- ways various online systems handle development, and recommend ways in versity, St. Louis), who finishes his authority control. Negotiations are which music librarians could be better five-year term as Chair of the Authori- underway to arrange this event. informed about and involved in the ties Subcommittee, to be replaced by Eight system users’ groups met on development of such projects. Over Terry Simpkins (Middlebury College), Saturday. Attendance at these ranged forty projects have been identified and and Dennis Davies-Wilson (University widely, from dozens at several meet- examined so far. The group plans to of New Mexico, Los Alamos), who fin- ings to 4 at the Dynix meeting. There complete their work by June 2001 and ishes a stellar term as Recording Secre- was no NOTIS meeting this year, but a provide a final report with recommen- tary and Webmaster, to be replaced by new group was added: ExLibris/Aleph. dations at the Las Vegas meeting. Beth Elene Tice (Baylor University). The Subcommittee requests that any The open meeting ended with Mickey Koth (Yale University) steps in MLA member who is aware of a com- Sherry Vellucci (St. John’s University) as MCB Editor and ex officio member mercially available online system in reporting on the work of the Dublin of BCC, replacing Phil Schreur (for- use in music libraries but not yet rep- Core “Relations” Element “Type” Quali- merly of Stanford University) and resented by a users’ group at MLA con- fier Working Group, which she chairs. Nancy Lorimer (Stanford University), tact the Subcommittee. We are always Although the group has gotten off to a who served as interim editor. happy to add new groups. slow start, having met only once, they expect to benefit greatly from the output of the International Projects group. They are charged with identify- Authorities Bibliographic ing bibliographic relationships among Subcommittee Control Committee digital music materials (i.e., equiva- lence, whole/part, derivative, accompa- Mark Scharff, Chair Matthew Wise, Chair nying, sequential, descriptive, and shared characteristics), comparing During the past year, the Subcom- The open meeting of the Biblio- these relationships to those of analog mittee focused on discussing terms to graphic Control Committee was held materials, and evaluating the ability of continued on page eighteen

M L A Newsletter • No. 124 17 Committee Reports

continued from page seventeen Subcommittee member, announced separate fields (511 vs. 508) depending be included in the Types of Composi- the imminent appearance of an online on the narrator’s presence “on screen.” tion document. We also offered com- annotated bibliography of resources MARBI decided to consolidate all nar- ments on the draft report of the PCC for creating authority records for head- rators into field 511 and the MARC 21 SCS Cross-Reference Task Group, ings in audiovisual cataloging, being documentation will be adjusted including thoughts on the Subcommit- compiled by the OLAC CAPC. He accordingly. The second, Discussion tee’s role in developing MLA recom- invited input from those present. Mark Paper 2001-DP02, will come back as a mendations for aspects of the subject Scharff, on behalf of Mickey Koth, proposal during the ALA Annual meet- requiring input from music catalogers. solicited volunteers to assist her with ing in San Francisco. The revised pro- During our business meeting in compiling a list of Web resources for posal is likely to include the New York, we welcomed David Som- authority work and the development suggestion that all 041 subfields merfield as the new Library of Con- of 670 citation practices for the same; become repeatable and that each gress liaison, replacing Joe Bartl, who interested parties are invited to contact three-letter language code be explicitly has been an invaluable member of the her at [email protected]. The subfielded (e.g., $e eng $e fre $e ger). Subcommittee. Subcommittee members remainder of the meeting was an open A straw poll at the open meeting indi- volunteered to work with the Subcom- forum. Edie Tibbits began by asking cated that about half of those voting mittee on Descriptive Cataloging on the attendees to consider how online would reconsider their decision to Cross-Reference Task Group recom- systems use or don’t use authority encode field 041 if this change took mendations. The group brainstormed records for their various functions — place; the others would keep using possible solutions to the problems that simple cross-reference, search redirec- this field. undifferentiated personal-name author- tion, agents of headings maintenance, During the open question and ity records cause when they become aid to catalogers. A wide-ranging dis- answer forum, various cataloging unique, in response to a discussion at cussion ensued with a healthy mix of issues were raised including: the ACIG meeting at ALA Midwinter in opinions, questions, and opportunities Washington, D.C. Mickey Koth, custo- for learning. • What is the utility of the 007 field? dian of the Types of Composition doc- Members leaving the Subcommit- (Jay Weitz indicated that OCLC ument, reported that changes for the tee after the New York meeting are uses various values there for pro- past year totaled eight pages. Some Rebecca Dean and Mark Scharff. The cessing purposes, and the Library terms await assessment. The Subcom- new Chair of the Subcommittee is of Congress representatives noted mittee decided to undertake a project Terry Simpkins, and two new mem- that this field is very important to to check the citations that justify the bers will be appointed by the MLA the preservation community.) designation of a term as distinctive or President. • Is the 2nd indicator in field 028 a generic, and to take a straw poll to see not-so-useful holdover from the whether MLA members favored split- card environment? ting the document up into alphabeti- • Why are some multiple-surname cally-distinguished pages. Future Subcommittee on headings in local catalogs still directions for the group could include tagged with a 1st indicator value a survey of online systems to deter- MARC Formats of “2”? (While OCLC has run a mine how well they do authority con- program to convert all of those trol, and work with the Automation Kathy Glennan, Chair values to “1”, local systems may Committee on a joint session on writ- still have unconverted legacy ing RFP’s (requests for proposals) for The Subcommittee on MARC For- data.) authority-control products and services. mats held a joint open meeting with • Is there a better way to have all The open meeting included a brief the Subcommittee on Descriptive Cata- local systems link the 1XX and 240 version of the report from the ACIG loging during the New York City con- fields? Should we revisit a MARBI meeting mentioned above, highlighting ference. This report addresses the discussion paper to eliminate field the undifferentiated personal-name MARC-related aspects of that joint 240 in favor of 1XX $t? problem, the authorization for distribu- meeting. tion of records containing the MARC Kathy Glennan summarized the For more information about the character for the musical sharp past two MARBI meetings held during Subcommittee, its activities and the (though not its use by LC or by OCLC the ALA conferences and highlighted semi-annual MARBI reports, please participants), and the revised date of two discussion papers of interest to visit our website available at May 2001 for the appearance of full music catalogers. The first of these, http://www.musiclibraryassoc.org/BCC authority records in the LC ILS Discussion Paper 2001-DP01, /MARC/MARC.html We welcome com- (amended on the spot by David Som- addressed whether or not narrators ments on MARC format-related issues merfield to July). Robert Freeborn, should continue to be encoded in two at any time.

18 M L A Newsletter • No. 124 Committee Reports

manuals or one) is being considered real issue of perceptions of unequal Subcommittee on again, and that the Committee strongly treatment or consideration of searches Descriptive prefers the original concept of separate involving internal and external candi- manuals for each format. Other issues dates. In the second part of the pro- Cataloging the Committee is considering include a gram, two relatively new librarians, Nancy Lorimer, Chair separate section in the manual to Katy Farrell (SUNY Geneseo) and Bob address the cataloging of music manu- Tangney (Seattle Public Library) were scripts and the problems of title page invited to speak about working in an The Subcommittee on Descriptive transcription. The Committee is now environment where they have respon- Cataloging held a joint open meeting testing an “alpha” version of the guide- sibilities for subject areas beyond with the Subcommittee on MARC For- lines and intends to have a “beta” ver- music. Katy spoke about her success mats on Friday morning, February 23, sion ready by the beginning of June to in incorporating subject and faculty during the annual MLA meeting in be tested by interested catalogers from liaison responsibility for the perform- New York. This report addresses only outside the Committee. ing arts into a position that was adver- the Descriptive Cataloging sections of An open question period followed tised as a general reference and the meeting and the open question the presentations of the two Subcom- instruction position. Bob spoke about period that followed. mittees. his successes in serving as the primary During member introductions, it classical music specialist in a general was noted that D.J. Hoek was absent reference environment. Both librarians due to the imminent arrival of his first encouraged prospective job seekers to child, and that Lew Bowling had Personnel consider applying for generalist posi- resigned from the Subcommittee. Joe tions where there might be an oppor- Bartl was enthusiastically welcomed as Subcommittee’s tunity to use their music expertise in a the new LC representative, replacing Interview Workshop variety of ways. The discussion that Phil DeSellem. Audience members followed these presentations touched interested in joining either of the two Laura K. Probst, on several issues, including the trend subcommittees were encouraged to Pennsylvania State University for music librarians to take on broader submit written expressions of interest subject responsibilities such as film by noon on Saturday, February 24. This year’s workshop, Thursday, studies, the professional development Nancy Lorimer reported on the Feb. 22, 2001, moderated by Paula opportunities that these librarians CC:DA annual meeting at the recent Elliot (Washington State University), pursue, and the difficulties that librari- ALA Midwinter conference in Washing- featured a panel discussion on “Inside ans might face in seeking to move ton, D.C. Her complete report may be or Out? The Question of Internal Can- from a generalist position to a special- found on the BCC website at didates” and two presentations by new ist position, or from a public library http://www.musiclibraryassoc.org/ librarians on “Broadening Our Hori- into an academic library. BCC/BCC-Historical/BCC01/ zons: Multidisciplinary Librarianship BCC01SDC1.html and will be published Jobs in the Arts.” Approximately 50 in an upcoming issue of the Music Cat- people attended the session. The dis- aloging Bulletin. Nancy highlighted two cussion on internal candidates was led Subcommittee on issues that will be of interest to music by panelists Mary Wallace Davidson catalogers: 1) the CC:DA support for (Indiana University), Suki Sommer Subject Access changing rule 21.30J1 (Title cross refer- (New York Public Library), Linda Blair Michael Colby, Chair ences) to make the exceptions (Eastman School of Music), and Ned optional; and, 2) the new optional rule Quist (Peabody Conservatory of in the draft version of chapter 9, allow- Music). The lively discussion between The open meeting of the Subject ing for the use of conventional termi- the panelists and the audience covered Access Subcommittee was held on nology in the physical description of several issues: the need for internal February 24, 2001, at the annual MLA an item (rule 9.5B1). The new chapter candidates to take the interview meeting in New York City. Over 75 9 terminology will be investigated by process seriously by being fully pre- people were in attendance. Geraldine the Subcommittee for its impact on pared, not assuming that their skills Ostrove offered a presentation entitled chapter 6 (Sound recordings). and talents are well-known by the “Music Cataloging and Form/Genre Nancy also gave an update on the interviewers; the need for the institu- Implementation at the Library of Con- work of the MLA/RBMS Joint Commit- tion to consider whether it wants to gress.” The Library of Congress began tee on Early Printed Music. She noted bring fresh ideas, “new blood,” into to plan for the implementation of that the question of what format these the position or whether it might prefer form/genre access within the Library guidelines would take (whether 5 promotion from within; and the very continued on page twenty-one

M L A Newsletter • No. 124 19 Music Library News

MLA Citation Awarded in New York

Alan Karass, Publicity Officer ments Chair, Notes music periodicals subjects, in particular ethnomusicol- and reference books editor, and as a ogy. Without her hard work RILM At its annual meeting in New member of several committees. Steve wouldn’t be as useful a tool as it is.” York, NY, The Music Library Associa- has been an inspiration to all, an Her service to MLA and the profession tion awarded its Citation to Carol June invaluable member of the profes- has been extensive; she served as MLA Bradley, Stephen M. Fry and Melva L. sion, and a treasure to his col- Recording Secretary, MLA representa- Peterson. These individuals leagues and the Association.” tive to MLA/MPA and as a member of have contributed consid- Melva L. Peterson spent the Council of National Library and erably to the profes- numerous years at the Information Associations and IAML- sion during their New York Public Library US/MLA joint committees. Her quar- careers. and the City College of terly book review column appeared in Carol June New York. In choosing Pan Pipes, the magazine of Sigma Bradley is Librarian Ms. Peterson nominators Alpha Iota, from 1957 to 1977. Emeritus at SUNY- stated: “She worked tire- The Music Library Association Buffalo. In selecting lessly on behalf of RILM Citation is awarded in recognition of Dr. Bradley, nomina- at a time when RILM significant contributions to, or support tors commented: “Her needed a tremendous of, the profession of music librarian- service to MLA and the amount of help. She was will- ship over an extended period of time. music library profession at ing to take on the most mundane Recipients of the Citation become hon- large is indispensable. She has been tasks and carry them to completion orary lifetime members of the Associa- the foremost historian of music librari- and to advocate for under-represented tion. anship. Dr. Bradley’s most significant contribution to our profession has been her work documenting the devel- Publication Awards Announced opment of significant music collec- tions, and tracing the early history and in New York development of our profession through her biographical work on Alan Karass, MLA Publicity Officer dozens of American music librarians.” The New York State-Ontario Chapter At is 70th Annual Meeting, held in New York, NY, the Music Library Asso- formally recognized her contributions ciation announced the following publication awards: to the profession on the occasion of The Vincent H. Duckles Award for the best book-length bibliography or her retirement at their Fall 1999 annual research tool in music published in 1999 was given to David Fallows and meeting in Buffalo. James B. Sinclair. Fallows’ book, A Catalogue of Polyphonic Songs, 1415-1480, Stephen M. Fry recently retired was published by Oxford University Press. In selecting Mr. Fallows’ book, the from the UCLA Music Library after Publications Award Committee commented: “David Fallows has opened his twenty-five years of service. In award- workshop to outsiders, allowing us to benefit from his thoughtful scrutiny, ing Mr. Fry the Citation, the Nominat- over the course of fourteen years, of some 2,000 songs in at least seven lan- ing Committee stated: “Stephen Fry has guages and preserved in nearly 200 manuscript and printed sources. The Cata- actively contributed and supported the logue’s importance does not lie in its comprehensiveness, however, to which, Association and the profession in a in any case it makes no claim; rather it lies in the acuity of its author’s judge- myriad of roles over his career in such ment’s regarding genre, concordance, attribution, and style. The sort of vade a way as to have endeared himself in mecum that earns gratitude with every use, what could easily have become the hearts of many, energized all unwieldy is instead elegant and practical.” whom he touched, and enabled the Sinclair’s book, A Descriptive Catalogue of the Music of Charles Ives, was organization to accomplish many won- published by Yale University Press. In choosing this title, the committee noted: derful things over the last 30 years. A “It would be difficult to imagine a better Ives resource than James Sinclair’s well-known presence at MLA meet- Descriptive Catalogue. Rising to the occasion, it is, simply, more than an identi- ings, he has tackled a variety of chal- fying thematic reference, more than a documentation of sources, more even lenging, complex tasks, for example, than its own title claims. The medium has been tailored to the oeuvre. Internal serving twice as Member-at-Large, continued on page twenty-two twice as Program Chair, Local Arrange-

20 M L A Newsletter • No. 124 Music Library News

Call for Papers International Musicological Colloquium, Brno 2001

Socialist Realism and Music: and socialist realism, the institutional the Institute of Musicology of the AntiModernisms and Avant- background of socialist realism in Masaryk University Brno (http:// Gardes musical life. www.phil.muni.cz/music/) under the Both interdisciplinary approaches heading Kolokvium. October 1-3, 2001 (especially literary criticism, history of Paper abstracts or questions may art and social sciences) and papers in be directed to: The Institute of Musicology at the various branches of musicology (his- Masaryk University Brno (Czech tory, sociology, aesthetics, semiotics, Institute of Musicology Republic) will host the annual musico- analysis etc.) are welcome. Compara- Masaryk University Brno logical colloquium, that will examine tive approaches to this topic are espe- Arne Novaka 1 the rather dubious term socialist real- cially welcome. CZ 660 88 Brno ism in its relationship to music. On this All prospective participants should Phone and fax: +420 5 41121434 occasion, a rather broad scope of submit — by 30 May 2001 — a 300- E-mail: [email protected] topics should be addressed: the origins word abstract, a brief curriculum vitae, of socialist realism in the context of art and their postal and e-mail addresses. Prof. PhDr. Jiri Fukac, CSc. and literature, the doctrine of socialist The presentation of a paper Chair of the Board of the Colloquium realism in the aesthetics of music and should not exceed 30 minutes. Papers its developments in various countries, are accepted in English, German, and PhDr. Petr Macek, Ph.D. the mechanisms by which the doctrine French. There are no interpreting facil- Secretary of the Colloquium was transmitted, and its native sources ities available in the conference rooms. and ingredients, socialist realism and The active participants will be PhDr. Mikulas Bek, Ph.D. the left avant-garde, socialist realism offered accommodation in an interna- Head of the Institute of Musicology and various anti-modernisms in 20th tional hotel free of charge. Masaryk University Brno century music (Third Reich era, Holly- More information will be available wood aesthetics etc.), musical style progressively on the web page of

Committee Calendar Reports 5 May 2001 Copy due for issue no. 125 to MLA Newsletter Editor continued from page nineteen of Congress Subject Headings system 14-20 June, 2001 in 1995. With particular reference to American Library Association Annual Conference music headings, the presentation reviewed conceptual and systems San Francisco, CA issues that have to be addressed along the way, where LC currently stands, 23-27 September, 2001 and some of the tasks yet to be done Association for Recorded Sound Collections (ARSC)/ and the problems yet to be resolved. International Association of Sound and Audiovisiual Archives As committee member Russell Hodges rotated off, his significant con- (IASA) joint conference tributions to the work of the commit- The British Library National Sound Archive tee is recognized. London, England

M L A Newsletter • No. 124 21 Music Library News

research will cover Copland’s music research on the Aaron Copland Collec- Epstein Award from El Salón México to the Third tion at the Library of Congress. Her Symphony, including Lincoln Portrait, work in this collection includes 3 pro- Presented in the Violin Sonata, Rodeo, and jects: the completion of a compilation Appalachian Spring. Defined by more of essays in honor of Copland; New York than chronological proximity, these research on “Apache” dance from works share a compositional aesthetic Grohg; and a study of the impact of and musical style; an ingratiating, folk- Concerts Koussevitsky on Copland. Alan Karass, loric sound that has become Copland’s The collection of essays represents MLA Publicity Officer aural signature. This simplified musical groundbreaking research on nine idiom expressed a new aesthetic of major compositions by Copland, span- At the annual meeting of the accessibility to his compositional phi- ning fifty years. Each essay postulates Music Library Association, held in New losophy of progressive modernism, a unique view of Copland’s work as it York, NY, the 2001 Dena Epstein itself connected to a liberal political pertains to events affecting the com- Award for Archival and Library ideology ascendant in the decades of poser’s life. The collection, almost Research in American Music was Depression and War. complete, still needs a listing of related granted to Ruth A. Inman, Elizabeth Roberta Lindsey is Visiting Assis- documents for the Appendix. Bergman Crist and Roberta Lindsey. tant Professor at Indiana University, Copland removed the “Apache” The award endowment was estab- Indianapolis. Epstein Award funds will dance from Grohg and used it in lished through a generous gift from be used by Dr. Lindsey to conduct continued on the next page Morton and Dena Epstein to the Music Library Association in 1995. Dena Epstein personally presented the Publication Awards awards to the recipients attending the continued from page twenty meeting. references from work to work do more than record attributes of the material: Ruth A. Inman is Librarian at they contribute to the biography of the works and their author. More informa- Kennedy-King College in Chicago. She tion than has been collocated before now established borrowings and models, was granted the Epstein Award to while the significance of premiere performances and recordings has never study the records of the Martin and been made clearer.” Morris Music Company, a pioneering The Richard S. Hill Award for the best article on music librarianship or gospel music publishing business in article of a music-bibliographic nature published during 1999 was given to Chicago between 1940 and 1980. The Jeremy Smith for his article “From ‘Rights to Copy’ to ‘Bibliographic Ego’: A proposed project will entail study of new Look at the Early Edition of Byrd’s ‘Psalmes, Sonets & Songs’,” published Company records which are held at in Music & Letters, vol. 80, no. 4, pp. 511-530. the Archives Center of the National In nominating Mr. Smith for the Hill Award, the Publications Award Com- Museum of American History in Wash- mittee commented: “Through an exhaustive examination of bibliographical ington, D.C. Sallie Martin is considered and documentary evidence, Jeremy Smith convincingly determines that the the “Mother of Gospel Music” and edition with which it is concerned appeared in 1606 or 1607, and not 1599 as Kenneth Morris is described as the previously thought. More importantly, Smith’s investigation provides insight “Dean of Black Gospel Music Publish- into Byrd’s position as a leader in defining intellectual property rights of the ing.” The proposed project will result composer and “the evolving roles of printers, publishers and authors,” issues in a paper containing a biography of that remain timely today.” Sallie Martin and Kenneth Morris as The Eva Judd O’Meara Award for the best review published in the orga- composers, musicians, and business- nization’s journal, Notes, in 1999 was given to Philip Brett for his review of The people; a history of the Martin and Beggar’s Opera as realized by Benjamin Britten (London: Boosey & Hawkes, Morris Music Company; and a catalog 1997), and two other scores by Britten. The review appeared in Notes, vol. 55, of Martin and Morris publications. no. 3, pp. 735-739. The Publications Award Committee remarked: “Philip Brett Elizabeth Bergman Crist is Assis- places each of the works in the context of Britten’s life and in the context of tant Professor of Music at University of British music of the first half of the twentieth century, giving readers a better Texas-Austin. Dr. Crist was granted the understanding of how these works influenced the creation of the later operas. Epstein Award to support her research The author guides the reader through the issues of arranging a composition in on Aaron Copland’s music between a “creative” versus “authentic” manner and how that relates to changing views 1932 and 1946 for a book tentatively of early music. Further, the review challenges the idea of issuing, posthu- titled: “Progressivism and Populism: mously, unpublished and fragmentary works of a famous composer instead of Aaron Copland’s Music and Aesthetics the works of composers active today.” during Depression and War.” The

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Epstein Award continued from the previous page 2002 Epstein Award another work, Hear Ye! Hear Ye! The dance originated in Paris as an athletic Requirements partner dance between the “toughs” and their girls, and it later became an important dance in the United The Dena Epstein Award for Archival and Library Research in States in the 1930s. What is American Music was created through a generous gift from Morton the relationship of this and Dena Epstein to the Music Library Association in 1995. dance with the one in Requests are currently being accepted for one or more grants to Copland’s work? Why be awarded for the year 2002. The highest award in 2001 was was the dance in Hear $1,813. The decision of the Dena Epstein Award Committee Ye! Hear Ye! called by and the Board of Directors of the Music Library Association will this name? Research at be announced at the MLA annual meeting in Las Vegas, NV, in the Library of Con- February 2002. gress will provide clues A grant may be awarded to support research in archives or to further documenta- libraries (both nationally and internationally) on any aspect of tion. American music. There are no restrictions as to applicant’s age, The Library of Con- nationality, profession, or institutional affiliation. All proposals will gress Koussevitsky Collection be reviewed entirely on the basis of merit. contains documents about the Con- Applicants must submit four copies of the following documents: certs Koussevitsky, held in Paris during the 1920s. These concerts had a pro- 1. A brief research proposal (under 10 pages) that includes: found effect on Copland during his a. a description of the project stay in France. Koussevitsky promoted b. a detailed budget for the project, indicating: “new” music and living composers 1) the amount of funding requested (Capital purchases such as computer during his reign as conductor of the equipment and furniture are ineligible.) Boston Symphony Orchestra. Lindsey’s 2) justification for the funding goal is to translate the original pro- 3) additional sources of funding grams, explore the impact these con- c. a demonstration of how the applicant’s research will contribute to the certs had on other young composers, study and understanding of American music such as Copland, and illustrate how 2. A curriculum vitae of the applicant. they evolved into the programs per- 3. Three letters of support from librarians and/or scholars knowledgeable formed by the Boston Symphony about American music. Orchestra. Mail the required documentation to the chair of the Dena Epstein Award Committee at the address below. Please note that awards may be presented to an individual applicant or divided among multiple applicants. At its discretion the committee may choose not to award a grant during any particular year. An Thanks to our applicant who has not received an Epstein Award for the first year of applica- tion may resubmit a proposal in the two following years for any one project. photographers! An applicant may receive only one award for any one project. Submit applications to:

The editor wishes to issue Peter Munstedt profuse thanks to Deborah Massachusetts Institute of Technology Gillaspie, Amy Edmonds, and Lewis Music Library, 14E-109 Alan Karass for their photo- 77 Massachusetts Avenue graphic contributions to this Cambridge, MA 02139-4307 issue of the MLA Newsletter. Your [email protected] willingness to set up transmis- 617-253-5636 sion of these photos is truly appreciated. The deadline for receipt of applications is July 15, 2001. Applications received after that date will be considered for funding in 2003.

M L A Newsletter • No. 124 23 Music Library News

Jane Gottlieb Receives the MLA Special Achievement Award

Alan Karass, Publicity Officer music and librarianship; her most recent publication is Pianist, Scholar, The Music Library Association Connoisseur: Essays in Honor of Jacob awarded the MLA Special Achievement Lateiner, which she co-edited with Award to Jane Gottlieb at its 2001 Bruce Brubaker. She received a B.A. annual meeting. The award was made from the State University of New York in recognition of her exceptional work at Binghamton and an M.S.L.S. from for MLA, in particular for her role in Columbia University. Jane Gottlieb developing Plan 2001, the associa- tion’s five-year strategic plan. Ms. Got- tlieb has served MLA in numerous capacities: as President from 1995- Call for Papers 1997; as Co-Chair of the Local Arrange- ments Committee for the 2001 Annual Meeting; as Liaison to ALA; as Board Legacies: Five Hundred Years Member-at-Large; and, as a member of the Plan 2001 Implementation Task of Printed Music Force, Development Committee, Investments Subcommittee and the MLA/NASM Task Force. She also served as chair of the 1991 Program A conference presented in cele- since 1700; and The New Technol- Committee, Coordinator of the Women bration of the quincentenary of ogy. Proposals dealing with other and Music Roundtable and Chair of the Petrucci’s Harmonice musices subjects related to the overall theme Subcommittee on Bibliographic Stan- odhecaton A, the accomplish- of the conference will also be con- dards for Reference Works. ments of musicologist Helen sidered. In the statement announcing the Hewitt, and fifty years of the Questions may be addressed to award, the Board of Directors wrote: Ph.D. program in musicology at the conference coordinators, J. “For the eloquence and elegance with the University of North Texas Michael Cooper and Mark McKnight, which she speaks on behalf of and via fax (940/565-2002), snail mail about the Association, and how she Denton, Texas (see below), or e-mail creatively, craftily and confidently 24-27 October 2001 ([email protected] and worked out the implementation of [email protected]). Those Plan 2001, helped to oversee its suc- The University of North Texas interested in contributing should cessful completion, and thereby has invites proposals for papers to be submit an abstract of approximately recast the profile of our Association for presented at a conference dealing 500 words by 1 May 2001 to: the 21st century, the MLA Board of with the cultures of printed music, to Directors grants its Special Achieve- be held at the University in October Profs. J. Michael Cooper ment Award this year to Jane Got- 2001. The conference will open with and Mark McKnight tlieb.” a session titled “The Legacies of Coordinators, Petrucci/Hewitt Ms. Gottlieb is Associate Vice Pres- Helen Hewitt,” dedicated to the pio- Conference ident for Library and Information neering UNT musicologist whose The University of North Texas Resources at the Juilliard School. work continues to open gateways College of Music Before coming to Juilliard in 1986, she for musicologists both male and Denton, Texas, 76203-1367 served as Head Librarian at Mannes female a quarter-century after her College of Music, Reference Librarian death. Also included will be sessions Legacies is offered in conjunc- at the New York Public Library for the on the following themes: Notation, tion with the meeting of the South- Performing Arts and librarian at the Publication, and Performance; the west Chapter of the American American Music Center. She has pub- History of Music Publishing; Music Musicological Society. lished widely on various aspects of Textology to 1700; Music Textology

24 M L A Newsletter • No. 124 Music Library News

tion. He has an M.F.A, and is currently served in several arts management Freeman Travel A.B.D., in Music History at Brandeis positions, including Executive Director University. Mr. Alberts also earned a of the Marshall Regional Arts Coun- Grant Awarded B.A. and M.M. in Music in cil (Texas). String Bass Performance Melanie Zeck received Alan Karass, Publicity Officer from the University of her B.M. in Bassoon Per- Michigan. formance and B.A. in Clayton Cren- Music Theory from Indi- James Alberts, Clayton Crenshaw shaw is Head of Cir- ana State University, and Melanie Zeck were recipients of culation Services in Terre Haute, in May the Kevin Freeman Travel Grant the Hamon Arts 2000. She is currently Award to attend the Musical Library Library at Southern enrolled in a dual Association’s annual meeting in New Methodist University. MLIS/MM degree at North- York, NY, this year. This marks the He has an M.M. in Clar- western University and fifth year the Freeman Travel Grant inet Performance and Lit- Dominican University and has been awarded. erature from Baylor expects to complete the James Alberts currently holds a University and expects to complete an degrees in June 2002. From 1998 to music cataloging graduate assistantship M.S. in Library Science from the Uni- 2000 Melanie worked on a sound at the McKeldin Library at the Univer- versity of North Texas in August 2001. recording retrospective conversion sity of Maryland. In May 2001 he will Mr. Crenshaw earned a B.M.E. from project for Indiana State University. be completing his M.L.S. at that institu- Baylor University. From 1987-1999 he

The Kevin Freeman Award Application

Applications are now being accepted for the Kevin Freeman Travel Grant. The grant, established in 1994 to honor the memory of Kevin Freeman and awarded for the first time in 1997, supports travel and hotel expenses to attend the Music Library Association’s annual meeting. It covers the conference registration fee and a cash award up to $750 for travel and a room (at double-occupancy rate) at the convention hotel. The applicant must be a member of the Music Library Association and either be in the first three years of his/her pro- fessional career, a graduate library school student (by the time of the conference in February 2002) aspiring to become a music librarian, or a recent graduate (within one year of degree) of a graduate program in librarianship seeking a profes- sional position as a music librarian. The applicant must not have attended an MLA annual meeting prior to applying for the grant. Applicants must submit three copies of the following by July 15, 2001:

1. A letter of application with an explanation of the reasons for attending the MLA annual meeting, a justification of finan- cial need, and a budget (the room rate in Las Vegas is approximately $110 plus tax, single or double). 2. A current vita 3. Two letters of support

Mail application and supporting materials to:

Bradford Young, Chair Kevin Freeman Travel Grant Committee University of Pennsylvania Van Pelt Library 3420 Walnut St. Philadelphia, PA 19104-6206

For more information, contact the chair via email (jbyoung@ pobox.upenn.edu) or fax (215-898-0559). Recipients will be notified by October 15, 2001 and announced at the MLA annual meeting in Las Vegas, February 16- 21, 2002.

25 M L A Newsletter • No. 124 Music Library News MLA Announces Walter Gerboth Award Winner

Alan Karass, ial Library at Embry-Riddle University whether there has been significant MLA Publicity Officer and on the Cataloging Services Faculty change in this area since 1992-93, and in the Dowdy Library at Polk Commu- will examine institutional and person- At the annual meeting of the nity College. Mr. Hursh earned a B.M. nel profile data in relation to reference Music Library Association, held in New in Voice Performance from Houghton desk staffing to determine if there are York, NY, the 2001 Walter Gerboth College, an M.S.L.S. from Florida State any significant relationships in current Award was granted to David Hursh. University, and an M.M. in Voice practice. This, in turn, may lead to the The award is offered annually Performance from Con- establishment of staffing norms for to members of MLA who verse College. His project those libraries with reference desks, or are in the first five years is a census survey con- for library administrators considering of their professional cerning reference ser- reference desk service for their library careers, to vices in American libraries. A follow-up telephone survey assist research-in- academic music of music library administrators will col- progress in music or libraries. The survey lect opinion data on why they have music librarianship. builds on the results decided for or against establishing ref- The selection commit- of the 1992-93 Refer- erence desk service in their libraries. tee was comprised of ence Services and Upon its completion, an article inter- Margaret Ericson, Mar- Evaluation Question- preting the results of the survey will be jorie Hassen and Alan A. naire distributed by the submitted for publication in Notes. Green (chair). Music Library Associa- Walter Gerboth (1925-1984) Mr. Hursh is Head Music tion’s Reference and Per- founded the music library at Brooklyn Librarian and Assistant Professor in the formance Subcommittee. The findings College, and at the time of his sudden Joyner Library at East Carolina Univer- of the 1992-93 survey determined that death was assistant director of its Con- sity. He has also served as Music 36 percent of American decentralized servatory. He was a much-loved Librarian with Technology Specializa- academic music libraries have refer- former president of the Music Library tion in the Joyner Library, Technical ence desks separate from the circula- Association, and devoted mentor of Services Manager in the Hunt Memor- tion desk. This study will determine new members.

Walter Gerboth Award: Call for Applications

The Gerboth Award was established by the Music 3. Two letters of recommendation — one for the pro- Library Association in memory of its Past President and ject and one for yourself. Honorary Member Walter Gerboth. It is made to members 4. A curriculum vitae that also names additional refer- of MLA who are in the first five years of their professional ences. library careers, to assist research-in-progress in music or music librarianship. Eligible members are invited to apply If you have any questions about the award, particularly by June 15th for next year’s award. about whether you are qualified to apply for it, you are Please send the following information to the address encouraged to contact the Chair of the Gerboth Award below: Committee, at the address below, or via e-mail to meric- [email protected]. Your inquiries are welcome! Send applica- 1. A description of the project and a statement about tions to: its significance. 2. A detailed total budget, specifying the amount of Gerboth Award funding requested from MLA (to a maximum of $1,000) c/o Margaret Ericson and its purpose (capital purchases are not eligible.) Indi- Bixler Art & Music Library cate any other sources of funding you may have already Colby College secured. Waterville, ME 04901

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to Israel. The purpose of the visit was Dankner briefly discussed sabbaticals Leaves of to participate in a Schillinger sympo- and research leaves she has taken and sium at Ben Gurion University, orga- their outcomes. In 1988, she was seek- Renewal nized by a Schillinger fellow there ing a way to incorporate Louisiana who had previously visited Peabody. music into bibliographic instruction. Carolyn Dow, Quist drove throughout Israel during The outcome was to whet her appetite Lincoln City Libraries his week there, and he shared a for teaching and to focus on the music number of his experiences, including of Louisiana, culminating in her book, the Easter vigil service in Abu Ghosh Musical Gumbo: the Music of New “Leaves of Renewal: Sabbaticals at the Church of the Resurrection. The Orleans, coauthored with Grace Licht- and Other Breaks that Refresh our generosity of Frances Schillinger made enstein in 1993, and numerous presen- Careers” was the subject of a program this great adventure happen; her gen- tations. In 1995, Dankner focused her session held jointly by the Personnel erosity also brought up Peabody’s web research on Paul Robeson’s vocal style Subcommittee and the Large Research page, bought new library computers, and repertoire. Outcomes of this Libraries Roundtable. started a web page and discussion list research included a discography, vari- David Lasocki (Indiana University) dedicated to Joseph Schillinger, and ous research trips, workshops and began the session with a description of started a faculty development fund and papers, and involvement in IAML. his sabbatical, “Staying Put.” In 1997, a library endowment fund. The gift Overall, the results of sabbaticals and Lasocki planned to use his time to keeps on giving. research breaks have been the thrill of continue research and expand a por- The program was concluded with research, travel, networking, getting to tion of his dissertation into a book. Laura Dankner’s presentation, “Old meet people, and developing many However, other projects began to Man River: Variations on a Theme.” friendships. creep into his time – program notes, Groves articles, articles for another work, and even checking e-mail fre- quently left him with only a month to work on his sabbatical project. Even staying home, time ran out. The next speaker was Anita Breck- bill (University of Nebraska, Lincoln). With her presentation, “A Librarian in the Llyfrgell: a Nebraska Librarian in Wales,” she described her experiences as a temporary cataloger in Wales. In 1998, she joined an international team to upgrade bibliographic records to MARC format, add LC classification numbers, and match OCLC records or catalog originally. Using an acrostic built from the word “Wales,” Breckbill The Non-Chicken Singers and the MLA Big Band in New York City. talked about her work, accommoda- tions, the library, and other aspects of her life and that of her family during their 6 months in Wales. She ended with a song, the Welsh anthem sung by the audience. Ned Quist (Peabody Conservatory of Music) described his visit to Israel in “Joseph Schillinger in the Holy Land: The Story of a Gift that Keeps Giving.” After a brief discussion of how Peabody received the donation of a substantial number of the composer’s materials (as well as an endowment) from Schillinger’s widow, Quist described his Passover and Easter trip

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