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2-2003 MLA in Austin, Texas Lisa Rae Philpott The University of Western Ontario, [email protected]

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Citation of this paper: Philpott, Lisa Rae, "MLA in Austin, Texas" (2003). Western Libraries Publications. 69. https://ir.lib.uwo.ca/wlpub/69 MLA in Austin, Texas

Feb. 12-15,2003

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

Despite a dismal, blizzardy evening, and an Robert Freeman, Dean of the Faculty of excruciatingly early departure for the Detroit Fine Arts (UTX-Austin), formerly of the airport, I made all of my connections and Eastman School, offered his welcome, and arrived safely in Austin for the seventy-second spoke of being an "alien," having only spent Music Library Association annual conference. three years in Austin. Things are done on a The Renaissance Austin Hotel proved to be an grand scale in Texas, with an $85 million exceedingly pleasant venue, and the atrium museum to open in 2005; the Ransom Center courtyard floor-plan lent itself nicely to the will be reopening in the spring. The University evening's first delight: a brass choir of Texas has 53,000 students, and many performance by Front Fanfaronade in opportunities for interdisciplinary study: antiphonal "Gabrieli" style, from the various "Everything is possible here!" Austin is the balconies surrounding the courtyard. The hotel "Live Music Capital of the World" (Freeman permitted the performance with some figured he was "King of the 'dead' part!") with misgivings, but the response (fiom non-MLA a Center for American Music. This might guests) was extremely positive. The opening explain why the Times of London interviewed reception was enjoyable as always, with him to ask, if classical music is dying, why opportunities to meet friends and peruse the does the U. S. graduate 12,000 new classically- offerings of the many vendors. trained musicians every year? It's a question of narrowing the gap between composers and James Cassaro, MLA President, officially performers. welcomed us and offered his own personal Texas history. He hastened to assure us that, On a separate note, Laura Macy, editor of contrary to popular belief, he did not spring www.grovemusic. corn, announced that Oxford "fully formed fiom the head of Lenore Coral," University Press is the new owner of the but spent a year cataloguing music at the Grove family. Given Oxford's longstanding University of North Texas. His first day, he commitment to music, this augurs well for the catalogued an entire truck full ofscores, only to future of our reference publications. be told that he had done a week's worth of work! And, in true Texan style, Cassaro became known by a variety of monikers Plenary Session I including "Jimmy Phil" and "Jim Joe Billy Bob." He said it seemed fitting that his term as "You Can't Hear American Music without MLA President should end in Texas, where his Hearing Texas" David Hunter, moderator music library career had begun. Music writer and analyst Casey Monahan was approached in January 1990 to become It soon became apparent that "Music Means Director of the newly-created Texas Music Business!" Office (http://www. e;overnor.state. tx. us/music/). Monahan's writings have Monahan responded to questions, stating appeared in the Austin Statesman, Rolling that he makes no aesthetic judgements about Stone, and the New York Times, to name a few. music programs, whether they be Willie He also has experience working in libraries. Nelson or BBC Music documentaries. He has 14,000 clients a year, and does a great many He stated the essential difference between business consultations. He is involved with the Europe and North America, in terms of their Handbook of Texas Music, and was view of the arts, is that Europe sees the arts as responsible for the "Texas music license revenue-generating. We tend to have schools plate." He never risks public money on an of the arts, and these institutions and the artists event, but helps everyone, fiom rappers to are patronized. "How many of your schools classical musicians. have a 'music business' course which is taught to music majors?'Fewer than twenty-five David Neumeyer (Center for American percent, judging by the show of hands. Music, School of Music, UT-Austin, Students need to know the market, and learn http://cam.music.utexas.edu/) spoke of the how to deal with the business of music, rather three agendas of the CAM: to support the than expecting to be honoured (or anointed) by teaching of Texas music, to the document the the King! The Music & Entertainment Industry history of American music and to support Educators Association (MEIEA) exists to research into all styles of American music. inform and prepare students for careers in the TheUT-Austin's Center for American History, music and entertainment industries a separate institution, also holds sigdicant (http://musicbiz.lovno. edu/meiea/about meiea music materials. See: http://www.cah. .html). utexas.edu/ index.htrnl.

The Texas Music Office assists with making connections to the music industry and finding Kevin Mooney's (UT-Austin) dissertation jobs. Among its services, it sponsors interest topic was "Texas Centennial, 1936: Music and groups, industry events, and lectures. In short, Identity." His research into the Texas it helps students see themselves in the business Centennial of 1936 taught him the value of of music. telephone books. He had heard of an opera, The Lone Star, written for the centennial by In the 1970's, the Film Commission Otto Wick, formerly of New York, who had promoted and informed the public of the moved to San Antonio. Although Wick had business of b.By the mid- 1980's, the music died in 1957, Mooney took a chance and tried industry in Texas was asking, "Why just film?" the three Wicks in the San Antonio white The industry lobbied the legislature, pages. The third one was the son of Otto highhghting the educational impact of music Wick, and was in possession of all of his with a list of music businesses, revising the film father's manuscripts (now kept at the Center commission law to reflect "music" and enlisting for American History). Interestingly, th-ere the support of the Music Teachers Association. were a total of four operas written to commemorate the 1936 Centennial, but none incredibly eclectic. One evening, as a student, was performed. he played in the UT-Austin Jazz Orchestra, and left that gig to play two-steps and circles According to Mooney, there is an important at the Broken Spoke. Most musicians are distinction between'Texas music" and6'Texans drawn to the opportunity to perform multiple in music." Texas was settled by invaders fiom kinds of music. Glasse penned a tune which the north and south, and they brought their own became entitled the "Paper Bag Rag" because music. Both the Spanish conquest of 1521 and the perfect percussion accompaniment ended the subsequent Anglo invasion of 1821 up being brushes on a paper grocery sack. He prompted a cultural response of cowido, or told the assemblage, "Y'all are the noisiest border songs and narratives. The upwardly- librarians I've ever met!" mobile sector brought the influence of the string orchestra or wind band; in 1834, the Germans Glasse was asked whether club owners in brought their singing societies and band music Texas were charging groups for the to Texas. In 1900, the Dallas Symphony opportunity to play in their venues. No, not Orchestra was founded, led by a Miiller, who yet! (But in other cities several groups may be later anglicized his name to Miller. Scott Joplin booked into a venue, with club-goers being embodied both "Texas music" and "Music in polled at the door. If a group doesn't bring in Texas" with his "Great Crush Collision March," fifky to seventy-five people, the group owes written to commemorate the staged crash of money to the club owner.) As a university two locomotives in 1896. town, Austin has a certain hipness. One can live cheaply and have a great lifestyle. The Someone asked why Austin is called "The cost of living is rising in Austin, so Live Music Capital of the World." In response, surrounding towns like Barton Springs are David Hunter said he uncovered the fact that it becoming more attractive. is based on Texas census information, and Austin has the highest proportion of musicians and live-music venues in the U. S. Bibliography Roundtable

Attendees were treated to a performance by Reconstructing the Ricardo Viiies Piano Paul Glasse, a mandolin player. His styles Collection at the University of Colorado at include pop, bluegrass, swing, jazz, etc., and Boulder Laurie Sampsel (U Colorado, like most Austin musicians, he is not originally Boulder) fiom Texas. In the summer of 1977, he wanted to play electric mandolin in a swing band, and Upon finding a great deal of circulating he couldn't find one in Poughkeepsie, New piano music inscribed with a "Viiles" stamp in York! He is bemused by the fact he is the library, Sampsel became intrigued and continually asked if he plays the fiddle. At one began to research this collection. Ricardo gig alone, he was asked several times, "Are you Viiies (1 875-1943) was born in Spain, studied sure you don't play the fiddle?No, but he at the Paris Conservatoire, and made his debut performed the fiddle-tune "Liberty" for us, as at the Salle Pleyel in 1900, after which he well as Duke Ellington's "Don't Get Around toured Russia. He was a champion of Much Anymore." The Austin scene is contemporary piano music, and a fiend of Ravel, Debussy, Satie, Falla and Granados. Presentation copies, with dedication, are often The search became increasingly tantahiing: in mint condition as the premiere would have manuscript autographs bore dedications to been performed from manuscript. Viiies's Viiies, as did published scores. Many items markings (fingerings, marginalia, rewritten were found in the M20's and were formerly part difficult passages) are still readily identifiable of the pianist's personal library. These were in blue crayon, or in black or gray pencil. sent to Special Collections with full Some thirty-five scores are by Viiies's teacher retrospective cataloguing. Eventually, two Charles de Beriot. Many works carry boxes, marked "V5es Music Library" (and inscriptions by composers, those by South containing punch-cards!), were discovered in a American composers carry dates and activities storage area. While it will cost money to have (concert details?). Musicologist Elaine Brodie the cards read, there is information such as was researching Viiies at the time of her death. author, title, imprint, and a number from which Her widower has agreed to send Brodie's a prehmary bibliography was compiled over a research notes and Viiies's diary to Boulder. two-month period. (Of course, the Viiies stamp was very helpful in definitively Sampsel hopes to write an article about identlfjmg these works.) This list contains Vifies. She still wonders what has become of some 800 works. Viiies's vocal music, accompanying scores, and other manuscripts.

A Master's thesis from 1960 was helpful in establishing provenance. It seems that $200 Beethoven Treasure in America: a new was spent to purchase the collection in October inventory Patricia Stroh (Center for 1954. Storm Bull (brother of Ole Bull, cousin Beethoven Studies, San Jose State University) of Grieg), who was then chair of the piano department, instigated the purchase of the Stroh is compiling a guide to unique scores, which played an important part in Beethoven holdings that updates Sonneck researching his Index to Biographies of (1927) and Albrecht (1978), to be made Contemporary Composers. Sampsel available as a Web site or online database. interviewed the eighty-nine-year-old Bull, and Stroh's scope will be much broader and will learned the collection might have come from include cards, manuscripts, letters, household the dealer Pierre Berb. She has discovered accounts, signed receipts, copyists' additional Viiies holdings at the University of manuscripts with Beethoven's annotations, Delaware (35 manuscripts) and at the Hans Beethoven's music manuscripts (his own Moldenhauer Archive (28 manuscripts). works and those of other composers as copied by him), leaves of conversation books, Upon sending the scores for cataloguing, it contemporary letters to (or about) Beethoven, became apparent that 200 required original programs of concerts of Beethoven's music cataloguing. Checking the UC-Boulder Viiies given during his lifetime, original portraits or holdings against CatME, it seems that 100titles portrait-engravings done during Beethoven's are unique works and dozens of them are lifetime, strands of hair, etc. dedicated to Viiies. The 800 titles at UC- Boulder were published from 1880- 1930. The &culty in compiling such an discussed the SIRSI authority control package. inventory is that private collectors will often BYU, an RLIN member, underwent a rapid purchase and sequester a work. Given that migration to SIRSI in July 1998. SIRSI has a Beethoven music manuscripts auction at 'validation wizard" which looks for astronomical prices, one can understand the unauthorized links and permits browsing in the reluctance to have the ownership publicized. name authority file. But updates are messy Beethoven letters are cheaper but still highly and, because of "match points," BYU found prized, with a signature and portrait they had massive numbers of duplicates commanding $45,000. The Beethoven Center (60,000 of 90,000 authority records). These recently purchased a letter written shortly after had to be fixed manually. The updates appear the suicide of Beethoven's nephew at a cost of to occur immediately, but they are actually $20,000. completed on an overnight run. She liked the fact that special indexes can have authorities, The Beethoven Centre provides illustrations and pronounced the uniform titles and 700's as for filmmakers and references to manuscripts "great." One can search the authorized held at other institutions. Occasionally, headings. There is no "1001240's" searching, fragments can be matched to companion but those are to come in 2003. Ralph fiagments via image links, such as those held at Papakhian mentioned that there was a Stanford and the University of Chicago. difficulty between the 1001240 and the 700fs$t.

Mickey Koth (Yale) discussed Voyager's Stroh also mentioned the previously- authority control system. This exists in a unknown movement of a string quartet (18 17) separate table, and a "lxx" update does not by Beethoven, which belonged to a family in update all associated records. The "global the U.K. This has gone to the Martin Bodmer change file" must be updated manually by Foundation in Cologne, and has been published clicking. Yale gets authority records fiom by Sauer (2001). The Beethoven Center holds MARS (OCLC) and belongs to RLIN (and is a lock of Beethoven's hair, which has also a NACO library). They can import the undergone DNA analysis. She is aware that records, but they will not overlay properly due there are Beethoven bone fiagments (his body to non-recognition of a single lower-case "c" was exhumed twice) located in America. Stroh that was present, as in "CcY." The lower case would welcome Mher information on "c" items all required manual fixes. Beethoven material held in institutional Unfortunately, series will be validated as collections or in private hands, and will be author-title entries. Cross-references display following up on a new lead regarding a in the catalogue, and users can click on them miniature portrait owned by Peter Serkin. to be redirected. The need to click constantly the update of items is painful. One can search Integrated Library Systems Roundtable and uniform titles and find common errors. Global Technical Services Roundtable changes are entrusted only to the authorities' Grace Fitzgerald and Rashidah Hakeem, librarian. moderators Paul Cauthen (U Cincinnati) spoke of Janet Bradford (Brigham Young University) changes with INNOVATIVE. One can make changes within a bibliographic record and have course, the regular concerns are still valid: an automatic update; global updates line up, quality control, mapping guidelines for legacy and there is a preview pane which permits you data, etc. to see whether the change did what you expected. His institution does not use At present, there are a pair of OAI automatic authority control since there is a projects: the University of Michigan's OAIster glitch: there are flips of uniform titles. Near- (1.1 million records at 142 academic matches generate a report, but simple, exact institutions http:l/oaister.umdl. matches are automatically flipped, and an after- urnich.edu/o/oaister/) and the University of the-fact report is generated. Illinois at Urbana Champaign's Cultural Heritage Repository representing 39 Sheet Music Roundtable institutions including museums, libraries and cultural and historical societies Open Archives Initiative (OAI) Sheet Music Project: A Gateway to Sheet Music Collections on the Web Stephen Davison The OAI Sheet Music Project discussions (UCLA) began in 2001 with UCLA (harvester), Johns Hopkins and Indiana University (data Davison brought a demo of a cooperative providers) committing their resources. cataloguing project using Dublin Core as the Presently, the collections of these three metadata standard. Sheet music collections institutions plus the Library of Congress are have a broad audience: musicians, social and searchable via the project, and the collections cultural historians (art, design, illustration) and of Duke and Brown Universities will be added the general public. The additional appeal of in the future. You can search these resources mounting sheet music collections on the Web is at: http://diaital.librarv.ucla.edu/sheetmusic/ that the publications are of limited size, and A usability study is being bdedby the Mellon such a project can serve as a substitute for full Foundation. cataloguing, offering remote access and better discovery of materials via search engines. Davison's Powerpoint presentationmay be viewed on Internet Explorer at: http:// OAI Protocol for Metadata Harvesting unitproi.libra~.ucla.edu/music/ (OAI-PMH) defines the format for metadata exchange with the ability to obtain metadata ilom servers worldwide, store data in a Bibliographic Control Committee database, and respond to queries. And, like union catalogues, it can store holdings Music Thesaurus Project Jeny McBride information and exist as a cooperative venture (Middlebury COlleg e) between institutions, but can also provide value-added service. Essentially there are two McBride provided an update: the form and components to the OAI-PMH, and both must genre terms were compiled over a two-year be OIA-compliant: data-providers/repositories period with LCSH (1998) used as a source for and service-providerslharvesters. The data- terms, and expanded by the addition of exchange uses XGML, with date-stamping. Of ensemble and language terms. Subject headings were deconstructed: "Songs (High While MARC records can provide voice) with piano" (songs equals genre; musical descriptive metadata fi-om a complete instruments or medium of performance). There . bibliographic citation, the structural and is much duplication and few unique fondgenre relational connections are missing. Users also terms. Various MARC fields offered particular use "mood descriptors" to describe music, or bits ofinformation: 734, fondgenre terms; 550, want to know which movie titles are medium of performance terms; and 400, associated with a particular musical work. language terms. Orchestral music has provided How do we capture the requests for "sounds thorny problems in making fondgenrelmedium like.. ., feels like.. ., makes me think of.. .?"S, decisions. Is "Jewish music" a fondgenre? where MARC can provide searchable tables of How does one treat ethnicity? Keith Jenkins of contents, duration, pagination, URL, Simmons College was invited to participate due Variations2 can offer access to movements, to his construction of an XML-coded thesaurus acts, scenes, sections, track timings and of musical instruments. One of the attendees descriptions, and to individual pages and inquired, 'This thesaurus is to be used for leaves. what?'It proved to be the perfect segue to the next speaker. Variations2 will start with the MARC record, and treat the work as found within a The Indiana University Digital Music "container-centred" MARC record. (You can Library: Project and Metadata Mapping for have two works in one container.) Using the Variationst. Harriet Hemmasi (Indiana IFLA model, an object can be a work, an University) instantiation (digitized) and a media object, with an attribute set for each entity: Hemmasi stated the thesaurus would offer descriptive, structural, relational and end-user searching enhancement, and wouldnot administrative. (This document is published necessarily be required for indexing. on the IFLA site: http://www.ifla.org/.) Vocabulary control is needed to denote the Indiana University's Variations Project was document type, the notation, contributors' begun in the early 1990's and officially opened names, uniform title, subject headings, class in 1996. It is reserves-driven in the Music numbers, dates, language, geography, etc. Library, where scores and sound recordings This will facilitate a search within the work continue to be digitized. Two years ago, itself, such as the exposition or coda. In Hemmasi moved to Indiana to help create IUCAT, searching for "Beethoven metadata for Variations2. This phase will run symphonies" with-all formats mixed" retrieves from 2000-04, at a cost of $3 million (funding 394 items, the standard retrieval of all fiom NSF and NEH), and will integrate and available incarnations of these works. One can synchronize multiple formats (print and sound; search for Wagner's Ring Cycle or for Das some day, video will also be included). There Rheingold because the parts are connected to are twenty people engaged in this phase of the the whole work. Music libraries must create project. In addition, they are compiling a their own metadata. reference log (two years' worth of reference questions) in order to ensure that they find and identlfy all possible versions/formats. Women ofMusic Roundtable Alice Abraham Katherina Berg, Sixteenth-Century Music (WGBH, Boston), moderator Publisher Susan Jackson (Visiting scholar, UT- Austin) The Real Songcatchers: American Women Pioneers of Ethnomusicology Car1 Rahkonen Jackson's dissertation was on the (Indiana U of Pennsylvania) publishing h of Berg and Neuber and its archive. She was interested in women The film Songcatcher inspired Rahkonen to printers, booksellers, type-cutters and scribes search for the stories behind the real song and thus was interested in the h'shistory catchers, those nineteenth- and twentieth- and the biographies of its owners. She century women who pioneered the field of researched directories from 154 1- 1645 and ethnomusicology. According to a presentation learned that five percent of those active in the given at the Library of Congress, at least 6fty book trades were women; however, they were percent ofthe ethnographiccollections involved sole proprietors, not partners, of a firm. So, women as collectors, contributors or chief the percentage of women working in the book contact. Given the status of women in society trades would have been much higher, and, at that time, it was remarkable that so many had contrary to popular belief, they were not "free licence" to live with and observe the illiterate. aboriginal societies and therefore produce the immense body of work that they did. (Perhaps Several women had long careers in the much of their success was due to the fact they trades, including Kunegunde Wachter (widow were women, and were viewed as non- of Georg Wachter, she had previously been threatening?) At first, Rahkonen had only three married to Hans Hergot), but, after her death names: Alice Cunningham Fletcher (Great in 1547, Georg Wachter married Kunegunde Plains Indians), Frances Densmore (Sioux, near Hermann (so, there were two different women Red Wing, Minnesota, transcribed 2,500 songs) named Kunegunde Wachter); after his death, and Helen Roberts (transcribed 3,000 pieces); the second Kunegunde Wachter married he then spent five years on a quest for Natalie Valentin Neuber. Curtis (transcribed 200 songs, wrote seven monographs and sixty-nine articles), and is Elisabeth Ott was married to Hans Ott; he presently investigating the work of Laura died prior to the advertised publication of Boulton (she amassed three huge collections of Heinrich Isaac's Choralis constantinus, so it world music), Ruth Crawford and Sidney seems likely that his widow Elisabeth was Robertson Cowell (Appalachia, Ozarks, Great active in the business, even though Lakes and California folk music). These Formschneider was known to have been the women's stories are fascinating: Fletcher was a printer. Special Agent of the Office of Indian Affairs; and Curtis persuaded President Roosevelt not Catharina Gerlach (nke Schmidt ,widow of to suppress the language and music of the music printer Johann Berg, d. 1565) married Indian people. You can read Rahkonen's paper Dietrich Gerlach, and became the primary at: http://www.people.iuv. music publisher in Nuremberg (and one of edu/rahkonen/WP/real song catchers.htm Lasso's principal publishers). Catharina married three times, and a daughter (also Catharina) was also involved in music Nuremberg survived not only Napoleon, but publishing (and was also married three times). also the First and Second World Wars. They Unravelling the biographical threads, Jackson contain letters of patrician families (contracts, discovered that Catharina herselfpurchased the etc.) The resources again are simply properties that belonged to the firm (details of astounding. Women were educated in the all sixteenth-century real estate transactions home or at church schools (Luther advocated were recorded), which appeared also to have the education of women), as confirmed by a been her residence. A daughter, Veronika, was great many archival sources. Someone born in 1545, and upon the death of her first commented that Catharina's surviving of her husband, Bag, Catharina senior began to use a three husbands might have been due to the fact new colophon. When she married Gerlach, she that the husbands were printers, and therefore moved away fiom publishing anthologies of exposed to lead and other noxious chemicals, motets, and began publishing single-composer which may well have hastened their demise. prints, as was commonly done in Germany. Following Gerlach's death (1573, Catharina In Her Own Words: Documenting the operated independently, running the business by Musical Life of Mary Austin Holley herself for the fifteen years preceding her death Kevin Mooney (UT-Austin) in1 59 1. As fate would have it, Catharina's will was contested in 1592 by her daughter Mary Austin Holley(1784- 1846) was born Veronika, and the entire will was transcribed in New Haven, a cousin to Stephen F. Austin into the court register (a researcher's dream!), (after whom Austin was named). She was right down to the disposition of the firm's book "intelligent, charming and a published writer of stalls at the Frankfurt and Leipzig Book Fairs. unusual talents" (Letters of an Early American Eventually the firm was taken over by Paul Traveller, 1833) and an inveterate letter Kau-, a grandson from her first marriage, writer. Her "Brazo boat song" and "Texan and daughter Catharina is listed in directories Song of Liberty" helped assure her place in as a printer (d. 1605), with her husband listed Texas history. Prior to her marriage to as a bookseller. Horace Holley, a Calvinist minister, she wrote him an exceptional and passionate 1,800-word Obviously a great many women were letter on the power and value of music. Holley involved in the book trades, so there is the issue saved this letter, which he later had published of the power of women's voices in the in the Western Review (1821). Horace transmission of printed material, and the link abandoned Calvinism for Unitarianism, and with Protestantism. Vast amounts of literature had to leave his college post. In 1827, while were published, making it a treasure trove for en route to New Orleans (where he planned to research. Women were active in business, establish a school for boys), Horace perished published particular repertoires, and would of yellow fever and was buried at sea. Mary have been famous in their day and age. was left with their son and daughter, and took Rahkonen asked about printing guilds, but a position with the La Branche family of New Nuremberg had banned them in the fourteenth Orleans. Mary had a piano imported from century; as a Reformation city, it became a England, and taught lessons to her daughter printing centre, and women must have been and to the La Branche children. She was a educated. Miraculously, the archives of strong-willed woman who often travelled solo: the publication of her "Texan Song" credits her various barnyard noises) of aspects of the as "Mary Austin Holley," without reference to genre. One year later, Car1 Cons penned his her married status (rather unusual for the time). "Slanguage of Jazz" (Down Beat, 1935) in which he describedmusiciansas balloon lungs, staccato-spitter, and hot man ("swing"). Best of Chapters Instruments were grunt-horns or squeak- boxes. Derogatory terms included longhair, New York StateOntario Chapter salon man, paper man, schmaltz, lollypop, strictly union, and Joe below (as in below the What is Hip and Other Inquiries in Jazz pay scale). Vipers and muggles (shades of Slang Lexicography Rick McRae (SUNY Harry Potter!) were weed-hounds. By Buffalo) contrast, Russell B. Nye's "Musician's Word List" (American Speech, 1937) was elegant. What is hip? Way hip? Way cool? McRae had the audience tap their feet.. .adagio, adagio, Louis Armstrong's autobiography Swing and snap their fingers on two and four, while he That Music had an appendix which listed played his trombone (wearing dark glasses and thirty-one slang words or phrases. Like any a beret). other language, jazz slang evolves: a "clambake" originally denoted a jazz session, Jazz musicians' communication is visceral; then evolved to mean musical cacophony, and they accompany social dancers. A jam session from the 1950's a "clam" was a mis-played is essentially another form of communication, note. using a common musical language with courtesy, decorum and mutual respect: one So, what is hip, anyway? Hep? Quoting must be willing to listen. Jazz has underworld the band, Tower of Power, "What is hip? Tell connections; use of slang rejects the mainstream me tell me, if you think you know. ... Hipness and the speakers share an accepted vice. Slang is, what it is! Sometimes hipness is, what it is equated with immorality and cynicism. Jazz ain't." (See McRae's article in Notes 57:3 slang terms can be found in glossaries and slang (March 200 1): 574-584.) dictionaries fi-om 1934-70. But at least one writer (James Hart in an issue of American Speech, 1932), suggested that popular music deliberately chose vernacular phrases and words to appeal to a wider audience: Pacific Northwest Chapter "S' WonderW and "Wha'd Ja Do to Me." Portland Music Remembered, 1900-23 Gustav Klemm's "Jargon of Jazz" (Etude, Beverly B. Stafford August 1934) was a diatribe, describing jazz as http://www.multcolib. or~~ides/ormusic/ind a passing craze, with numerous colourfbl ex.html references to his passionate dislikes ("sax slap- tongue" equals burping of fi-ogs; "flare" equals Multnomah County Library's music sudden ripping of a piece of metallic cloth; collection numbers 43,000 scores (15,000 "trombone smear" equals easy for beginner; titles are piano music) and 4,300-4,500 scores circulate each month. It's an interesting Plenary Session II collection, having been bolstered by gas, with a wide range of older and newer music. Many Revolution In The Recording Industry scores are in the public domain. Patrons Tom Moore (College of New Jersey) regularly complain about the discards, so weeding is extremely ficult! Lany Kraman (Owner, Newport Classics)

Kraman is taking a hiatus from his Newport Classics business. His newest Stafford enrolled in "School for Scanning" venture, Music Play-by-Play, is occupying workshops and designed a project to link two more of his time; Kraman had a vendor's previously unlinked libraries: the Multnomah booth at the exhibit area. In 1985, he began County Library and the Oregon Historical Newport Classics with an investment of Society Library. The goals were to be $5,000. He basically said to his fiend, selective, to have a minimal cost in time off-the- Anthony Newman, "Play whatever you like, desk (volunteers did much of the work), and to and I'll record it." When CDs ktcame on have score-images that print on 8.5 inch X 11 the market, anything and everything sold. inch paper. The card catalogue of the Oregon Then, it cost $3.60 to replicate a CD; now it Historical Society was searched for references can be done on a PC in ten minutes for ten to music and musicians, and photos were cents. Kraman used to press 2,000 copies; selected fiom the late nineteenth-century to the now you're lucky if you sell 200. Part of the mid- 1930's. (Stafford hopes to include more problem is there are far too many recording photographs of school groups and home music- companies doing the same repertoire over and making.) Borrowers browsing the Multnomah over again. Kraman also described modern County Library music collection may miss the music as unattractive (where's the rhythm and fact that a particular work was by a local melody?), and likened composers of electronic Portland composer. Given the age of some of dance music to being "grandchildren of the works, it made sense to highlight some of Varbe." the music in a Web display. Some photos needed to be cropped, and look better on the Why not reissue some of the old vinyl Web site than they do in actual life. One records? Ninety percent of them lose money. particular image, 20 inches X 6 inches, of an RCA actually issued a CD entitled Making Out outdoor youth concert, had to be scanned in With Mozart with a parental advisory sticker twelve sections. Patrons take great pleasure in on it! While an independent company could in locating images of their relatives in the photos theory reissue the content of old vinyl on the site. The cost of the site, not including recordings on CD for a fee in the staff time, was a mere $500 for photographs neighbourhood of $2,000, there's no way the selected and reproduced from the Oregon big companies holding the rights will Historical Society's collections. acquiesce; their lawyers' fees would be more than that. Independents also have difficulties with the large record chains. (Who can afford to wait 365 days to be paid by Tower Records?) Kraman sees the future of recording companies in a subscription-based streamed digital), with 1,000 titles in print. market, payable monthly like one's cable bill. 2.5 million SA-CD players have been sold. He encouraged attendees to check-out his forthcoming "Music Play-by-Play" which he While not all computers will be able to promises will be revolutionary: "Car-talk meets play both formats, there are also hybrid CDs, Bartok!" which contain two formats for the price of one. These discs have multiple layers: the "red book" layer is on the surface; the Brenda Nelson-Strauss (Indiana U) DVDAISACD resides on a second, middle layer, which is semi-transparent. TELARC's Formerly of the Chicago Symphony SACD discs are all hybrid; not all companies Archives, Nelson-Strauss is a member of ARSC follow this same practise. But, with dual and is now based at Indiana University. She compatibility is built-in, this enables customers asked, "Where's the revolution? Wehave to delay their investment in new equipment moved from 76.2-rpm (78-rpm is the average since discs play slower at the edge and faster What's new? As of the first quarter of towards the centre) to 33.3 rpm: a move to a 2003, all major CDs are copy-protected with new playback system which offered high two tracks: one standard red-book track fidelity. We've now had CDs for twenty years, (playback) and one that keeps the material with a move to high-resolution discs with some hidden from your PC. (No doubt, this will cross-compatibility. The nice thing about this have implications for those who hope to new technology is that, unlike Betamax versus download for online reserves!) Multi-session VHS, all formats are compatible. The high- CDs use more disc space: this takes up eight resolution CDs do offer improved sound minutes worth of potential content time. quality, but in order to produced enhanced CD- reissues (the original CDs would have been Georgia Harper (Copyright Attorney, U locked-in at 16 bitsl44.1 KHz), one would need Texas) access to the original multi-track masters. Harper offered her "crash course" on There has been an enormous proliferation of copyright, outlining the basic principles and new formats: DVD-video, DVD-D (dolby), how they their purpose. The Teach Act, was DTS (digital theatre system), DVD-A (audio). passed into law in November 2002, is The latter, DVD-A, has been designed with six representative of the struggle for balance channels and flexibility (it can be Dolby or between music and the entertainment industry. DTS), will work in DVD-D players and will (This is listed at: http://www.copvright . ~ov/ have interactive links to an artist's Web site. leaislationl ~1107-273.htrnl# 13301 .) This format has just come onto the market and, at present, there are 200 titles available, twenty- The Constitution upholds the right for the five percent of which are WarnerlBMG. DVD- improvement of society through the attainment A disc will hold seven hours of audio. of knowledge, as timely access will enrich the public domain. Copyright protects new ways In 1999, the SA-CD (super audio CD) was of expressing ideas, once they're presented in released: a two-channel format, DSD (direct a tangible medium: your Powerpoint presentation is copyrighted fiom the instant you formerly staff-space. We now have an inferior hit the save button. product, a hectic info arcade. New buildings are elusive, and they always run out of space. U S. copyright law changed twenty-eight We acquire more than we lose. We are in years ago. It is now calculated as life of the transition to a new world with digital author plus seventy years. Works "made for information on remote servers. We need to hire" have a copyright term of ninety-five years look hard at what we're doing in terms of from publication or 120 years fiom creation, creating, editing and publishing. The library whichever is shorter; works created but not should be a place of quiet contemplation, a published have been give the same terms. place of reflection. We need to reconfigure Information sheets and FAQs are available at: our space. http://www.coplJrirrht. ~ov/ circslcirc 1 . htrnl#hlc What is wrong with streaming the listening Large Resource Libraries Roundtable reserves and cutting down the crowds at the reserve desk? With so much material online, Judy Marley (Southern Methodist U) machines are becoming multi-purpose, and libraries have responded by becoming, to a Marley described her experiences with a large degree, the computer labs of the collection of 10,000 uncatalogued LPs: a campus. We need to start deconstructing, and project was devised whereby student assistants accommodate wireless laptops and personal searched the catalogue: twenty percent were digital assistants (PDAs), so we can regain added to the collection and the remainder were some shelf space. We are experiencing a cash- either sold at a book sale or at "Half-price shortage: digital resources do not come cheap; Books." The money was used to purchase our endowment incomes are dropping. We are historic CD reissues fiom the Metropolitan still acquiring more scores than available shelf Opera (these discs must be used in-library, as space. Compact shelving gets full, too; offsite the Met declined to permit their circulation). storage with robotic retrieval will help for the "Andante.com" is in negotiations with the Met, short term. Johns Hopkins University is to broadcast some of these historic recordings offering desktop delivery of PDF documents. via its Web site. As for the publishing industry, there is no shortage of biographies and fan-ographies, but Regaining a Sense of Space Ned Quist e-books seem a long way off. (Brown U) The growth in e-journals? One day, J- Quist described his paper as a think piece STOR will get to music. We are already rather than a presentation. seeing the end of paper newsletters. And then there are scores. The "Thor Power Tool There is a day when the road neither comes Ruling" meant the end of large print-runs: nor goes and the way is not a way but aplace. publishers pay tax on unsold inventory, hence Wendell Berry they keep as little stock on hand as possible... so, we're seeing fewer and fewer Libraries have surrendered their large work- new scores. Eventually, we will see an tables: reserves now take up what was electronic music stand. Commercial recordings are also in decline. Archives will lose their physical assets. It was Music is being streamed or downloaded piece suggested that pricing at "Andante.com" is by piece. The term "album," which we know as quite inexpensive, at $8.95/person/month. an "LP," once meant a set of 78s which were stored in a hardcover album with paper storage What about backup systems? Well, when envelopes. We need to redirect our space: find the service goes down, you have a slow day. more teaching space, "production space" (i.e., What do you do now, when the power goes space for the creation of sound fles for course out? You still have print, but can you read it reserves, etc.), and welcome those patrons who i f come to read, study and listen. Do we need to it's dark? provide listening equipment (perhaps yes, for LPs)? Patrons can provide their own listening Controlled subscriptionrates can help with devices or we could sign out small, portable budgeting, but, honestly, if you are part of a units. We need places where we and our users consortium, you are a victim of the group. If can enjoy "being," so that they (and we) can there are subscriptions you cannot afford, you read and reflect. A reading room should be a are out of luck. pleasant place for those involved in the thoughtfbl pursuit of scholarship. My MLA conference was cut slightly short this year, as my convoluted travel plans Questions were entertained about needs dictated missing both the Annual Meeting and assessment and space versus services. Old LPs Banquet. The 2004 MLA Conference is to be are copyrighted. If you digitize the sound, you held in Washington, DC. The 2005 Meeting is must also digitize the accompanying print Vancouver, B.C. I understand that CAML material to have the tandem of sound and text. will be meeting with MLA in 2005, and I encourage you to attend. Yes, compared to Naxos's offer of digitized music tracks CAML conferences, MLA is ovenvhelrmng, raises questions about the budget over the long but it's also amazing. term? You no longer own the physical item.