Web resources for music librarians.
by
Lesley Anne Clayton, B.A. (Hons.)
A Master's Dissertation, submitted in partial fulfilment of the requirements for the award of Master of Arts degree of Loughborough University.
September 1998
Supervisor: Professor Cliff McKnight, B Tech, PhD,C Psychol., A.F.B.P.S. Department ofInformation and Library Studies
© L.A .Clayton, 1998 Abstract.
This dissertation is concerned with finding out what resources are available to the music librarian on the Internet, to see how widespread use of the Internet is amongst music librarians and to see if this is an area of concern to them. The project endeavored to discover if the music librarians felt that the Internet could compete with the more traditional sources that are available. Both traditional and electronic sources were identified to try to assess what was available.
A questionnaire was distributed to music librarians across the United Kingdom to find out what traditional sources they used, to asses how they felt about the Internet and to discover whether they had received any training or not. The music librarians were asked to list the most frequently used websites or search engines to compare them with the traditional sources. The different types of institution were identified and also the age groups were requested to see if any of these things had a bearing on their use of the Internet. The results of the questionnaire were then used to create a website of music resources specially designed for music librarians and were supplemented by other music sites that had already been identified.
It was discovered that approximately two thirds of those music librarians questioned did use the Internet, but to very varying levels. When looking at frequencies of use of the most popular websites or search engines only five were used by five or more music librarians. It was also found that use of the Internet was more widespread in academic or conservatoire libraries than in any other type of institution. Training was not very widespread and there was a definite need for the promotion of good music sites. Acknowledgements.
I would like to thank Professor Cliff McKnight for all his patience and advice whilst I have been completing this dissertation.
I would also like to thank my mother for her continuing support and for providing the means to enable me to undertake this course.
Special thanks go to Kate and Louise for keeping me vaguely sane for the last 12 months.
I would also like to express my gratitude to the computer staff for helping me with building the web site.
Lastly I would like to thank all the music librarians who answered my questionnaire and those kind few who evaluated the website.
ii CONTENTS:
Page
Abstract I Acknowledgements 11 Contents III List of figures Vi List of tables Vii
Chapter One: Introduction 1
1.1 Aims 1
1.2 Objectives 2
1.3 Methodology 3
1.4 Project outline 3
Chapter Two: Music libraries and librarians 5
2.1 IAML (UK) 5
2~2 Existing sources for music librarians 7 2.2.1 Paper sources 7 2.2.2 Electronic sources 13
2.3 Existing music projects 19 2.3.1 Project EARL 19 2.3.2 Music Libraries On-line . 20 2.3.3 HARMONICA 22
Chapter Three: Methodology 24
3.1 Preliminary 24
3.2 Literature review in brief 24
Hi 3.3 Internet searching 25
3.4 Discussion groups 25
3.5 Questionnaire 26 3.5.1 Design of the questionnaire 27 3.5.2 Contents of the questionnaire 27
3.6 Website design, construction and evaluation.29
Chapter Four: Literature review 31
Chapter Five: The survey 39 5.1 Response to the questionnaire 39
5.2 Results of the questionnaire 39
Chapter Six: Discussion of results 56
Chapter Seven: Website design, construction 62 evaluation
7.1 The website design 62 7.1.1 What makes a well designed website 62 7.1.2 What makes a good website 63 7.1.3 Sources to be included in the website 63 7.1.3.1 Classical 64 7.1.3.2 Pop 65 7.1.3.3 Folk 66 7.1.3.4 Jazz & Blues 66 7.1.3.5 Country & Western 67 7.1.2.6 Ethnic & World 67 7.1.2.7 Music Gateways 68 7.1.2.8 Miscellaneous 69
7.2 Website construction 71
7.3 Evaluation ofthewebsite 71 7.3.1 Criteria for evaluation 71
7.4 Evaluation by music librarians 72 7.4.1 Speed ofloading 72 7.4.2 Sites included 72 7.4.3 Site design and aesthetics 73
iv 7.4.4 General comments 74
Chapter Eight: Conclusions and recommendations 77 8.1 General comments 77
8.2 Use of the Internet 77
8.3 Promoting the Internet 78 8.4 'Web resources for music librarians' 79 8.5 'Hard copy' versus 'On-line' 79 8.6 Hope for the future 80
Bibliography 82
Appendix A: Questionnaire 85
Appendix B: Print out of 'Web resources for 89 music librarians'
v LIST OF FIGURES:
Page
Figure 1: Types of query music librarians are asked 40
Figure 2: % of music librarians asked about set genres 42
Figure 3: Use of the Internet amongst music librarians 46
Figure 4: When music librarians started using the Internet 47
Figure 5: % of music librarians: levels of comfort & training 48
Figure 6: % of music librarians willing to use the 51 Internet in the future
Figure 7: % of membership of IAML (UK) 52
Figure 8: Response to questionnaire from different types of library 53
Figure 9: % of age groups of music librarians questionned 54
vi LIST OF TABLES:
Page
Table 1: Types of query music librarians are asked 40
Table 2: Suggested other types of query 41
Table 3: Types of genre music librarians are asked 42 about
Table 4: Suggested other genres 43
Table 5: Most popular traditional reference sources 44
Table 6: Frequencies of use 45
Table 7: When music librarians started using the Internet 46
Table 8: Levels of comfort and training on the Internet 48
Table 9: Most popular websites and search engines 49
Table 10: % of music librarians willing to use the Internet 51 in the future
Table 11: Rate of response to the questionnaire 53
Table 12: Age groups of the music librarians questionned 54
Table 13: Diffusion of use of Internet across the different 55 types of library
Table 14: Age groups use of the Internet 55
vii Chapter One: Introduction.
CHAPTER ONE
Introduction
The Internet appears to be the reference tool that all libraries hanker for and certainly the Government seems to think that it is important, as they have declared that every school and public library should have access to the Internet by the year
2000. Music librarians seem to be one of the last groups oflibrarians to be convinced that the Internet is a viable reference tool, as a result of this there has been very little written by music librarians or in general in the U.K about this topic.
Therefore it seems the ideal time for research to be done on this subject as it is such a current area of discussion amongst music librarians and their professional body, the International Association of Music Libraries, Archives and
Documentation Centres (IAML (UK».
1.1 Aims
The aim of the project was to gain practical information on the use of reference material by music librarians and as a result of this research, to build an Internet resource for music librarians or other interested parties, that would provide links to useful sites. The links would include both sites that I had identified myself as being of use and those sites that music librarians had listed as their most frequently used and most popular sites.
1 ------
Chapter One: Introduction.
1.2 Objectives
The objectives of the project were to assess if there was widespread use of the
Internet by music librarians and by implication, whether it was a resource that they
felt could compete with the traditional paper-based reference sources available to
them. Initially the project was to identifY both the traditional and electronic
reference sources that were used on a fairly regular basis by music librarians and
how frequently they referred to them in the course of their work, also the types of
questions they get asked and about which genres they were asked. The project
aimed to discover at what time in the last decade did music librarians begin to use
the Internet to answer their enquiries and to see ifage had any effect on whether
they chose to use the Internet or not. Of the five types ofinstitution that were
identified - National Copyright libraries, public, academic or conservatoires, church
or cathedral and libraries of societies or institutions - the project was to identifY
which of these used the Internet most widely as a reference source. The project
was also intended to identifY how comfortable those music librarians who said they
used the Internet were with using it as a reference tool and whether they had
received any training on how to execute searches to a professional standard.
Of those librarians who do not use the Internet at present, the project aimed to
identifY whether they would consider using the Internet as a reference tool in the
future or whether they considered it an inappropriate resource for their institution
2 Chapter One: Introduction.
and/or materials. As the International Association of Music Libraries, Archives and Documentation centres is the official professional body for music librarians, it was decided that the project should discover the proportion of music librarians that were members, whether personal or institutional. Finally the project was to identify what m,!sic librarians would like to see available on the Internet as a
resource in a Utopian future, whether it was a viable proposition or not.
1.3 Methodology
In order to meet the aims and objectives of the project it was necessary to carry
out a literature review to ascertain what research had already been carried out on
this subject. Extensive searching of the Internet was to be carried out to locate
potentially useful music reference sites and then a questionnaire was to be
constructed to gain accurate information about music librarians' use of reference
sources. Finally the project would conclude with the designing, building and
evaluation of a music resource on the Internet. A sample of the music librarians
who wished to be involved with this final part of the project would then be asked
to evaluate the website themselves, to gain the professional user's point of view.
3 Chapter One: Introduction.
1.4 Project outline
• A discussion of music libraries and librarians, their professional representation, a
selection of traditional and electronic reference sources that exist, plus
information about current music projects that are specifically aimed at the
Internet.
• Methodology: literature review in brief, Internet searches for potentially useful
sites, discussion groups, questionnaire and design, construction and evaluation
of the resulting website.
• Literature survey in full, what has been written about music on the Internet and
if anything has been written specifically for music librarians.
• The survey: the results of the questionnaire.
• Discussion of the results.
• Web site design, construction and evaluation. What makes a good website and
what are good design practices. Which sites were chosen to appear on the
web site, how the site was constructed, plus evaluations by professional music
librarians.
• Conclusions and recommendations: suggestions following from the results of
the questionnaire.
4 Chapter Two: Music libraries and librarians.
CHAPTER TWO:
Music libraries and librarians
The project is mainly concerned with gaining information from music librarians about their professional practices and what resources they use in the course of their day to day work. Therefore the project needed to establish how the music librarian was represented professionally and also what reference sources could be identified, both traditional and .electronic, and to see if they were in line with those listed by professional music librarians in the questionnaire.
2.1 IAML (UK)
The International Association of Music Libraries, Archives and Documentation
Centres promotes co-operation between music libraries and librarians as well as
representing their interests in general.(l) Their membership includes music
libraries, broadcasting authorities, music librarians, library users, orchestral and
opera librarians and the music trade as a whole. There are approximately three
hundred members, either as institutional or personal members. IAML (UK)
publishes its own journal 'Brio' and a bi-annual newsletter. They have also
published a survey of music sets and a report on the availability of printed music in
5 Chapter Two: Music libraries and librarians
Great Britain. In addition to these they publish an 'Annual Survey of Music
Libraries' a!!-d all of these publications are available through IAML (UK).(2)
The Association actively promotes the services offered by the music libraries in the
U.K and represents the interests of both the library and librarian in discussions within the music profession and also with any other relevant body. In the 1997
Annual Report it states that IAML were involved in talks with the Department of
National Heritage, the Library and Information Commission, the music department of the Arts Council of England and also, they were in discussions with the National Federation of Music Societies. This suggests that they are certainly very active on behalf of music librarians and libraries.(3)
In the recent past IAML (UK) has played a major role in developing a Music
Library and Information Plan for both the U.K and the Republic ofIreland.
However, one oftheir most notable achievements has been the establishment of the
'Music Libraries On-Line' project in 1997, which connected the OPACs of the nine music conservatoires in England and they were hopeful that this would become the basis for a National Union Catalogue of Music. It is surprising that though music librarians are one of the smallest sectors of the profession, they seem to be extremely active through their professional body, in deVeloping resources through the new technology that is available today. They work in their own time and without pay, which is very commendable as it shows their commitment to their profession. As a means of encouragement they offer two prizes, the C.B Oldman prize and the E. T Bryant Memorial Prize for the best book on music librarianship Chapter Two: Music libraries and librarians and for a student or librarian in their first five years for a significant contribution to the literature of music librarianship.
2.2 Existing sources for music librarians
There is a bewildering array of reference sources available to the music librarian to enable them to answer their enquiries, both traditional paper-based sources and electronic sources whether on CD-ROM or on the Internet. There are dictionaries, directories, encyclopaedias, lists, catalogues, companions, yearbooks, bibliographies and guides to choose from. What follows below is a brief description ofjust a sample of what is available both in paper and electronic format.
2.2.1 Paper sources
THE NEW GROVE DICTIONARY OF MUSIC AND MUSICIANS
The most popular and enduring paper-based reference source first appeared in print in 1871 and it is now available in 20 volumes in its present sixth edition. It has approximately 22,000 entries contributed by 2426 scholars. It includes 16,500 biographies with many illustrations and music examples. According to John A.
Walford "the New Grove has been acclaimed as the leading music reference tool."(4) For those who cannot afford the money or the shelf space for this mighty
work smaller 'Groves' have been published on specific topics such as opera,
instruments and American music.(5)
7 Chapter Two : Music libraries and librarians
THE BRITISH AND INTERNATIONAL MUSIC YEARBOOK
This is an invaluable book providing a huge variety ofinfonnation on the music
profession as a whole entity from perfonners to venues and promoters. The
contents include artists and agents, venues, official organisations, promoters - both
clubs and festivals, different genres - classical, jazz, folk, early music and light
music. It also covers recording and broadcasting, competitions and scholarships,
education, libraries, museums, marketing, suppliers and other services.( 6)
THE BBC MUSIC LIBRARY CATALOGUES
These are 13 volumes that provide a reference guide to one of the worlds biggest
coIlections of actual performing editions, rather than just manuscripts, and there are over 300,000 entries in total within the 13 volumes. These volumes are split
into five categories. Firstly chamber music in one volume, then piano and organ in two volumes, the song catalogue comes in four volumes, the choral and opera comes in two volumes by composer and by title and finally there is the orchestral catalogue in four volumes. This is a very important catalogue and is very useful for the more advanced musician trying to locate a piece that is not so main stream.(7)
OXFORD COMPANION TO MUSIC
The first edition appeared in 1938 and was written by P.A. Scholes. The tenth and last edition was published in 1970 and this has been superseded by the New Oxford
Companion to Music, but nevertheless it still remains in print. However the 'old'
Companion to Music holds a huge amount ofinfonnation even though it is rather
8 Chapter Two: Music libraries and librarians eccentric in the way that the information is organised. The following is quoted from a review of the 'New' Companion in Brio, thejoumal ofIAML (UK) and therefore the opinion of a professional music librarian:
" in no way a successor to that curious, infuriating, but lovable compilation, the original Oxford Companion to Music ..... (more like) a thorough, impersonal, dispassionate and accurate dictionary ...... The most readily available source of information. "(8) (9)
MUSIC INDEX
This is a subject/author guide to current music periodical literature which is published monthly and then is cumulated annually. The publication covers 445 different music periodicals and features popular music, jazz and folk music as welI as classical. It also provides biographical information. This is obviously a useful publication to have, especially if in the academic sector and have students or . lecturers who need to know what has been written about a certain subject or what has been written by a certain author. (I 0)
KOBBE'S COMPLETE OPERA BOOK
This was first published in 1922 and was more recently revised and edited by the
Earl of Hare wood, the onetime director of the Royal Opera House, Covent
Garden. The book has a wide and detailed coverage of works that remain in the repertory and includes historical photographs of productions and performers and also many excerpts to illustrate particular points in the analysis of the opera in question. At the beginning of each entry historical casts are listed and cast lists
9 Chapter Two: Music libraries and librarians with voice type are given - all very useful for the student and librarian alike. The book itself is split into three main sections starting with pre 1800 then the nineteenth century and finally the twentieth century. These sections in their turn are divided either by national style - for example Italian opera in the 19th century, or by major figures like Verdi and Wagner both so prolific they merit an entry to themselves.{l1 )
THE GUINNESS ENCYCLOPAEDIA OF POPULAR MUSIC
This encyclopaedia comes in four volumes and has 14,500 entries covering everything from jazz, rock and blues, through country, reggae and Latin American, to the popular music of Africa and Asia. The information inside covers performers, writers, bands, labels, companies and instruments. Also covered are discography and bibliography as well as history. It boasts an extensive index and has a good general bibliography. This particular encyclopaedia, along with Lowe's
Directory of Popular Music are probably the nearest to a 'Grove' that is available about the popular music genre.(12)
LOWE. DIRECTORY OF POPULAR MUSIC 1900-1980
Now in its second edition, this directory is arranged into nine sections which is made up of a chronological list, stage shows, films, a directory of publishers, award winners, song contest winners, Novello award nominations, theme and signature tunes and finally a title index. This seems to be very much centred on the stage
11) Chapter Two: Music libraries and librarians musical and films and all that surrounds them, quite useful to the enthusiast and a decent foil to the Guinness Encyclopaedia already mentioned above.(13)
TELE-TUNES
This reference source is complied by M. Preston and covers television, film and show music that is available on compact disc, cassette, LP and video. Tele-tunes provides a guide to music used in soundtracks, commercials, shows and so on, and it can also identify theme tunes. Obviously this is a useful source as people are always enquiring, if they know that you have some knowledge of music, what was the music used for the bread commercial or what was the theme used for the detective series and so forth.(I4)
BRITISH UNION CATALOGUE OF ORCHESTRAL SETS (BUCOS)
BUCOS lists the orchestral sets held in 66 U.K libraries and has 10,000 entries with up to 35 holding libraries listed for each title. The details given include composer, title, publisher, orchestration, duration and the lending policy of each library that holds the set. BUCOS is available both in paper form and on microfiche. This list of sets and holdings must be very important especially to public libraries as they must get the most enquiries about borrowing orchestral music. Helen Mason, the music librarian for Lincolnshire, stated in a telephone . interview that the peculiar thing about British music librarians was that they were prepared to share their resources and so communication over' sets' was a very frequent occurrence and therefore this particular publication would be of great value to the music librarian.(15)
11 Chapter Two : Music libraries and librarians
THE INTERNATIONAL WHO'S WHO IN MUSIC AND MUSICIANS
DIRECTORY
This was first published in 1935 and it contains biographical information on 8,000 contemporary composers, arrangers, soloists and conductors in both classical and light classical genres. It is to be supposed that if a music librarian has not got the
20 volumes of Grove then this publication would provide a fair substitute for
biographical information.(16)
TIffi GUINNESS BOOK OF BRITISH HIT SINGLES
This book gives details of every hit single released since 1952 and it includes
miscellaneous information on specific trends and achievements. Along with the
sister volume on hit albums these works provide much information on popular
music since the early 1950's and will be found on the reference shelves of most
public libraries and elsewhere as standard resources. (17)
GRAMOPHONE GOOD CD GUIDE
This publication lists the 'best buys' on CD, the entries have a paragraph or so
discussing the recording and a series of symbols indicate the quality of the
performance and sound, price range and whether the piece was performed on
period instruments. The entry also includes the date of the original review in the
Gramophone Magazine so more details can be obtained by checking in back
copies. An invaluable guide for those involved in buying COs for the recordings
12 Chapter Two: Music libraries and librarians. collection and also for the times when one might be asked to recommend a particular recording ofa certain piece.(IS)
POPSI : THE POPULAR SONG INDEX
This first appeared in 1990 and is a title index of songs found in the popular music anthologies that are held at the British Library Documentation and Supply Centre at Boston Spa. It is available in both microfiche and diskette form. Its' coverage is "from music hall to the current top ten", but apparently it has not been updated since it was first created.(19)
2.2.2 Electronic sources
RED CD-ROM
This provides a cumulation of both the Gramophone and Music Master databases,
giving details ofneariy 1000,000 recordings that are available commercially
covering music of all genres. Details are included of over 100,00 classical and
popular performers, lists of tracks, catalogue numbers, release and deletion dates
and finally details of distribution all dating from 1995. This appears to be an
ultimate 'must' for the purchaser of recorded music. (20)
PROJECT EARL
The EARL consortium is made up of public libraries and associated organisations
in the UK with the aim of improving access to the resources in these establishments
via electronic means, There are two sections on music information, the first of
13 Chapter Two: Music libraries and librarians. which is the 'www Virtual Library'. The music section here is split into two categories, music and classical music. The biggest asset of the music site is that it is possible to select just academic sites, but commercial and private sites are also available. It is also possible to select which category you search, for instance FTP sites, performer, music institution, E-Zine, and you can select any or all of these categories. The option is given to scroll through all the music links or to scroll through all of the artist pages
The classical music site is provided and maintained by the Georgetown Preparatory
School. There is a complete alphabetical index and a recent additions catalogue.
There is also the option to submit enquiries or requests if unable to locate the information. The format is of subject headings with performers! artists listed there. These are as follows: soloists, conductors, ensembles, orchestras, choirs, opera/managementiagencies!miscellaneous. These lists are by no means exhaustive, even Pavarotti was not mentioned in the soloists category but for some reason Jessye Norman was though they are both renowned international opera stars.
Also available to search are organisations both academic .and commercial, on-line
periodicals, a reference section including composition, performance and theory,
reviews and broadcasting information, computer software and discussion forums.
The second section of music information available through the EARL consortium
is a gateway to music links. There are links to those public libraries that have
14 Chapter Two: Music libraries and librarians. decent sized music collections, catalogues of music information including orchestral sets and a catalogue of vocal sets, commercial bodies and a link to the
IAML(UK) discussion group. Also provided are general sources of information such as links to the Library Association, Library of Congress and the British
Library. There are guides to Internet music resources, such as the Exeter
University music subject tree arid the BUBL WWW subject tree based in the UK, plus European and American sites. At present a 'Special Music Materials
Collection' is under construction. (21)
BBC SCHEDULES (22)
The schedules give full details of BBC programmes both on television and on all seven radio stations, giving listings for today, the previous day and the next day.
Some hypertext links appear to provide more information though not on all entries.
ULTIMATE BAND LIST(23)
The Ultimate Band List is a very extensive site and has three types of search facility, an ordinary search, advanced search and the option to search by genre which itself has 30 different types. It is not just for pop groups but covers classical, opera and many other fields of music. The site provides details of performers, artists biographies, sound clips to sample the recordings, what is available to purchase through the UBL store and also links to related artists. Also available is concert news, music news, information on record labels, on-line events, meta music sites providing links to all sorts of genre and of individuals or bands,
15 Chapter Two: Music libraries and librarians
INTERNATIONAL LYRICS SERVER(24)
This site offers the possibility ofa full text search. It lists the Top 10 singles with
links to the full text of the lyrics. Links are available to further lyric sites, Top 40
lyrics, a hip hop archive and also links for albums, CD's, music news, music on
television and a music database that will give chordslTabs and MIDI to much of
the material. The site itself is based in Switzerland and provides the lyrics to over
80,000 songs in varying styles from Rock to Folk and much more. It is maintained
purely by enthusiasts who have secured sponsorship to cover their costs.
BRITISH PHONOGRAPHIC INDUSTRY (25)
The BPI is the trade asssociation for record companies in the UK with over 200 members and they represent over 90% ofUK record sales.
This site provides information on the BPI itself and its business, facts and figures, publications, information on the BRIT Awards both past and present, the latest chart details ad links to dotmusic. Also provided is information on careers in the record industry, details on how to spot a fake CD, and links to other record companies. The chart listings include the Top 40 UK singles, Top 40 UK albums and the Top 40 UK dance singles charts.
BOOSEY AND HAWKES (26)
. Many music publishing houses have their own websites, this one was chosen at random to give an example of this type. On this website can be found the
16 ;------_ ... _--
Chapter Two: Music libraries and librarians.
BOOSEY AND HAWKES (26)
Many music publishing houses have their own websites, this one was chosen at
random to give an example of this type. On this website can be found the
catalogues ofBoosey and Hawkes, details of accessories, information on new
publications and importantly and archive of their publications dating back to the
last century. A vast amount of single copies have been preserved from 1875
onwards which could prove useful for the music librarian with a request for
something potentially out of print. As Boosey and Hawkes are best known for
publishing British music they have works bya huge selection of British
composers, some of whom may come as a surprise to even the discerning music
librarian. It is a well constructed and informative site and you have the facility to
e-mail your orders to them as well.
BRITISH MUSIC INFORMATION CENTRE(27)
The BMIC specialises in British contemporary classical music and has 29,000
works by approximately 2,400 British composers since 1900. The collection also
includes published, unpublished and out of print material. Most of the stock is for
reference use only but they can help you to obtain scores and recordings in most
cases. Some photocopying is permitted by agreement with over 100 composers.
Also available are 15,000 recordings of British new music and there is also a small
collection of opera, music theatre and documentary films on video. The site lists
useful contacts, composers plus hypertext links to their websites if they have one,
17 Chapter Two: Music libraries and librarians. publishers, ensembles and performers with contact addresses, concerts, recent acquisitions and international information. A very useful site for anything to do with British contemporary classical music, well worth a visit.
WORLDWIDE INTERNET MUSIC RESOURCES. (29) -
This list of music resources is provided and maintained by the William and Gayle
Cook music library at Indiana University in America. This is probably one of the best music sites that there is on the Internet at the moment, it is so comprehensive to the point of being practically exhaustive that there is too much to talk about. It is basically and A to Z guide and when searching under classical for example it was broken down into instrumentalists, composers, conductors and singers followed by directories of artists of varying types. Links to biographies of artists were provided where possible. The list of choices of what to search under are as follows:
• Individual musicians (all genres) and popular groups.
• Groups and ensembles (except popular)
• Other sites related to performance
• composers and composition
• Genres and types of music
• Research and study
• The commercial world of music
• Journals and magazines
• General and miscellaneous.
18 Chapter Two: Music Libraries and librarians.
MUSIC LIBRARIES ON-LINE (32)
This project will be run until December 31 2000 and it is a virtual union catalogue
for British music materials of all kinds that can be accessed by a Z39.50 gateway.
The aims of the project are listed along with background material and contact
addresses. A large number oflinks are given such as Z39.50 resources, digital
library resources, digital library journals, music projects and research. A
publications page is under construction at the moment and the final page is a list of .
all the partners that are involved in the Music Libraries On-line project.
2.3 Existing music projects
With the advent of new technology there have been a few projects that have
specialized in providing information on music and related topics. Firstly there is
the official body of music librarians, the International Association of Music
Libraries, Archives and Documentation Centres (IAML). They are affiliated to the
Library Association as there is no specialist group within the LA for music
librarians and their contributions to the profession have been covered earlier at 2.1.
There has been one very noticeable contribution to web resources for music
librarians and that has been part ofProject Earl. The other big project that is on
going at the moment is a European project called 'Harmonica' but as yet there are
no English affiliations with this. In the distant future it is starting to seem possible that a global virtual union catalogue may be developed as technology pursues the route of protocols that would make all catalogues accessible.
19 Chapter Two: Music Libraries and librarians.
2.3.1 Project Earl
This project is about providing electronic access to the resources that are available
in public libraries across the UK. The main emphasis is on improving access to
information via 'task groups' which collaborate and draw on the expertise of the
staff at public libraries and focus on a particular aTeaof illterest:· These areas range
from business information through to the Welsh language and the task groups aim
to provide prototype networked public library services covering these· different
areas of information. (29)
The music task group has developed a gateway to music in public libraries and a
catalogue of orchestral sets available from the Westminster Music Library has been
published on the Internet.(30) The group has started talks with IAML to discuss
the future in developing networked services in the music information sector. The
gateway oflinks provides a route to catalogues, commercial bodies, discussion
groups, general sources of information, guides to Internet music .resources in the
UK, USA and Europe, music associations and special music materials collections.
The Project Earl website was reviewed earlier in section 2.2.2.
2.3.2 Music libraries On-line
This is a project to link the OP ACs of all nine music conservatoires on the United
. Kingdom using the Z39.S0 protocol,.enabling the user to search any of the OPACs
that have the Z39.S0 protocol and use the same search strategy that they are
familiar with. This makes a 'virtual union' catalogue of the holdings of the
20 Chapter Two: Music Libraries and librarians. conservatoires, which has been a long sought after ideal and is only made possible by the advancement oftechnology that has developed the Z39.S0 protocol. The 9 conservatoires have a long history of co-operation and this project is strengthening those ties with national support.
Music Libraries On-line is funded by Phase 3 of the eLib project. At present only five of the conservatoires that already have Z39.S0 compatible catalogues are involved and these are: Birmingham Conservatoire, Royal Northern College of
Music, Royal Scottish Academy of Music and Drama, Royal Academy of Music and Trinity College of Music. The remaining four, City of Leeds College of Music,
Guildhall School of Music and Drama, Royal College of Music and the Welsh
College of Music and Drama win be added in 1999. (31)
Music Libraries On-line is the first subject based project to receive funding to test the use ofZ39.S0 in the UK. The steering group that is responsible for the project is made up of the 9 conservatoires and representatives from the Performng Arts
Data Service, the EARL consortium, university music department libraries and
Fretwell Downing. The way the system works is that the library user will submit a request to a .. central clump .server.and then the software will search all or selected databases from the music libraries clump. The results are then formed into a set of records and these are fed through to the local OP AC. The website was published in late July 1998.
As quoted on the website of the project, the aims of Music Libraries On-line are:
21 Chapter Two: Music Libraries and librarians.
• "Creation of a virtual union catalogue for music materials of all kinds in British
libraries through a Z39.50 gateway.
• testing of interoperability issues arising from a diversity of systems.
• Development of an appropriate model for interface design.
• Identification and assessment of potential benefits of this project to the UK
higher education community.
• Dissemination of results to the widest possible audience.
• Agreement of a strategic plan for sustaining the activities of the clump beyond
2000.(32)
2.3.3 Harmonica
This is a European project based in the Netherlands at the SVB Braille Music
Library. Their aim is to improve access to the different music. collections, of all different sorts, through libraries. Their overall objectives, as listed on their project web site, are:
" _ realistic guidelines and recommendations targeting the wide and varied user community.
_ a review of national, European and international initiatives in the area of music information.
_ technical issues, in particular those involved in ensuring interactivity, interoperability and user interfaces.
_ the role of public library users of music information ( in addition to users from the professional music community.)" (33)
22 Chapter Two: Music libraries and librarians.
REFERENCES
(1 ) Welcome to IAML (UK) 's Home Page (URL: http://www.ex.ec.ukJ-JACrawleliaml-uk.html) 22 May 1998
(2)IAML Publications (URL: http://www.ex.ac.ukJ-JACrawlelpublic.html) 22 May 1998
(3)L4MLPorty Fifth Annual Report 1997-- --- (URL:http://www.ex.ac.ukJ-JACrawlel97ANREP.htm) 22 May 1998
(4)Lea,Peter.WandAlanDay. The reference sources handbook. 4th edition. London. Library Association Publishing, 1996. p87
(5)Ibid. p88
(6)Chalcraft, Anthony., Ray Prytherch and Stephen Willis. Walfords guide to reference material, volume 3 generalia, language and literature and the Arts. 6th edition. LondOn. Library Association Publishing. 1995 p416
(7)Ibid., p. 422
(8)Book Review In: Brio 20(3) AutumnlWinter 1983, p61.
(9)Chalcraft, Anthony., Ray Prytherch and Stephen Willis. Walfords guide to reference material, volume 3 generalia, language and literature and the Arts. 6th edtion. London. Library Association Publishing. 1995 p411
(10)lbid., p.408
(11) Ibid., p. 430
(12) Ibid., p. 441
(13) Ibid., p. 435
(14) Ibid.; p. 449
(15) Ibid, p. 437
(16) Ibid., p. 415
(17) Ibid., p. 440
(18) Ibid., p. 448
23 Chapter Two: Music Libraries and librarians.
(20)Lea, Peter. W. and Alan Day. The reference sources handbook. 4th edition. London, Library AssociationPublishing, 1996. p. 399
(21) Project Earl Home Page (URL: http://www.earl.org.uk) 25 March 1998
(22)BBC Schedules (URL: http://www.bbc.co.uklschedulesl ) IS July 1998
(23)The Ultimate Band List (URL: http://:www.ubl.com!-) IS July 1998--
(24) International Lyrics server (URL: http://www.1yrics.ch/) IS July 1998
(25)British Phonographic Institute (URL: http://www.bpi.co.uklmenu.htm) 15 July 1998
(26)Booseyand Hawkes (URL: http://www.boosey.com!) 15 July 1998
(27)British Music Information Centre (URL: http://www.bmic.co.uklindex.htm) 15 July 1998
(28)Worldwide Internet Music resources (URL: http://www.music.indiana.edulmusicJesources) 15 July 1998
(29)Project Earl HomePage (URL: http://www.earl.org.uk) 25 March 1998
(30) EARL Task Groups (URL: http://www.earl.org.uk) select 'Task Group'. 25 March 1998
(31 )Duffy,Celia. eLib Update - Music Libraries On-line. Ariadne 13 (URL: http://www.ariadne.ac.uklissue13/) 25 March 1998
(32) Music Libraries On-line (URL: http://www.musiconIine.uce.ac.ukl) 17 August 1998
(33)HARMONICAHome P(1ge (URL: http://www.svb.n1Iproject/harmonicalharmonica.htm) 26 April 1998 Chapter Three: Methodology
Chapter Three:
Methodology
3.1 Preliminary
The primary objectives of the project methodology were to search for evidence of current research on the subject area of use of the Internet by music librarians and also to join any discussion lists that may allow a certain amount of 'current awareness' to be achieved. To fulfill the last objective both the IAML discussion group and the
Arts and Humanities Data Archive discussion group were joined.
3.2 Literature review in brief.
The full literature and resource survey will be covered in chapter 4 and only a brief synopsis will be given at this point.
As was anticipated very little had actually been written that was specifically directed at music librarians and what had been written for them was not really of great relevance as it was so out-dated. Three years is a long time in the world of technology, three years being the average she1flife of any product in this sector, and the only article that had been written for music librarians about how to use the
Internet was published in 1994, which makes it virtually obsolete. The main thrust of research that has been done on the subject of music on the Internet has been on the more popular culture side of the business, featuring sites that have sound bites or
24 Chapter Three: Methodology video clips or that allow you to browse through virtual record stores and even to make a purchase having already sampled them on the-Internet.
3.3 Internet Searching
Extensive searching of the Internet was carried out to try to identifY any sites that may prove useful to music librarians. In addition to this, any websites that were mentioned in the course of any journal articles on the topic of searching for music on the Internet were visited to see if they would be of any use. Any site that might be included in the final website would have to meet certain requirements. It would have to be of sound educational value, be published by a reliable source and be a worthwhile site - therefore not just a site of one or two pages that did not provide links to other relevant sites of quality.
3.4 Discussion Groups.
To see if any music librarians were talking amongst themselves about the Internet, the IAML discussion group was joined. Unfortunately, only members ofIAML are able to participate in the discussion and so it was only possible to observe. Whilst observations were being made nothing really was mentioned about the Internet, most items were about requests for obscure or rare copies of music, or appeals for extra parts to 'sets' or for passing on useful information such as that 'Dogpile' is a meta search engine that will search multiple search engines at once. Finally it keeps its
25 Chapter Three: Methodology members aware of workshops and conferences that it is organising or that are of interest to the music librarian. (1)
The discussion group of the Arts and Humanities Data Service was also joined, hoping that there might be some mention of music on the Internet, but it was mainly concerned with museums and other issues such as digital preservation .. The discussion group also provided awareness of conferences and any major issues affecting those involved with the arts and humanities. (2)
In early August mention was made about a course specifically about music on the
Internet and also the publication of the Music Libraries On-Line website was announced.
3.5 Questionnaire
The questionnaire was to form the main part of the methodology as it would identifY the key elements of the work of the music librarian and it was to be distributed to as many music librarians as could be identified. It was decided that as many types of library were to be targeted as possible and the project identified five types oflibrary:
• National copyright libraries
• Academic or Conservatoire libraries·
• Public libraries
• Libraries of churches or cathedrals
• Libraries of societies or institutions - covering a wide range of organisations.
26 'Chapter Three: Methodology
In total 302 questionnaires were sent out.
3.5.1 Design of the questionnaire.
As librarians are busy people, whether they are involved in academic or public libraries, one of the main criteria was that the questionnaire should be fairly brief to
ensure.areasonableresponserate. Next it was necessary to plan how to ascertain
the necessary information on what sort of queries were asked, both using the
traditional paper-based resources and the electroniclIntemet sources. Then a small
amount of standard personal information was requested and then the music librarians
were asked to look ahead to the future and see what ideas they had.
3.5.2 Contents of the questionnaire.
The first part of the questionnaire was designed to ascertain the types of queries that
music librarians were asked and also about which genres. The respondents were given a selection of standard queries and were also given the opportunity to list any
other particular areas that they were asked about. A copy of the questionnaire can . be found in the appendix.
Question three asked the music librarians to specifY the ten, or as many as they could up to ten, most frequently referred to traditional paper-based reference sources, including CD-ROM' sand .to select the appropriate frequency of consultation that wasprovided.for them .. This was so that it was possible to make comparisons with the electronic sources that they used. The next section asked about actual use of the
27 Chapter Three: Methodology
Internet and whether they used the Internet as a reference tool or not. If they did
they were asked approximately when they first started to use the Internet to answer
their enquiries so a pattern of usage could be established. Following on from that,
the music librarians were asked whether they felt at ease and comfortable in using the
Internet as a resource and also whether they had received training on how to use the
Internet for search purposes. Question 7 then asked the librarians to specifY their ten
most frequently consulted websites or search engines and again to specifY their
frequency of consultation as provided using the same frequency patterns as question
three.
Of those music librarians who did use the Internet, they were asked what they would
like to see in the future in an ideal world, whether the idea was a viable proposition
or not. If they had been using the Internet for a year or so it was likely that they would have come up against some limitations or frustrations that they may have the
solution to, even ifit was only in a Utopian future.
Question 9 was aimed at those who did not use the Internet at the moment and it
asked them whether they would consider using the Internet in the future. Their
answer would very much depend on what sort of library they were working in, public and academic libraries are much more likely to be using the Internet than say the library of a church or cathedral.
The final section of the questionnaire was of a more personal nature, asking if they were members of the International Association of Music Libraries, Archives and
28 Chapter Three: Methodology
Documentation Centres, whether on a corporate or personal level. . Then they were
asked to specifY what type of organisation they worked for - namely the five types of
library already identified in 3.4 - and finally to indicate to which age group they
belonged as follows:
• 21 -30
• 31- 40
• 41 - SO
• 51 - 60
• 60+
At the very end of the questionnaire the music librarians were asked if they would be
interested in evaluating the website that was to be created as a result of the
questionnaires and if they were, then they were asked to fill in their name and postal
details.
3.6 Website design, construction and evaluation.
As a result of both Internet searching and as a result of the information returned in
the questionnaire, a website would be designed that would attempt to answer the
basic needs of the music librarian to answer everyday enquiries. At its most basic the
web site will consist of a selection of genres and when a certain genre has been
selected then the user will be brought , via hypertext links, to a small selection of
sites that cover that particular genre. All the sites would have to meet certain
specifications that will be outlined in the description of the website construction.
Once the website has been completed and published on the Internet the URL will be Chapter Three: Methodology sent to a selection of music librarians who have already agreed, and they will review the website. These evaluations will be included later in Chapter 7 .
REFERENCES.
(1) IAML (UK) Discussion Group
(URL: http://www.mailbase.ac.uk) 25 March 1998
(2) Arts and Humanities Data Service Home page
(URL: http://www.ahds.ac.uk/ ) 25 March 1998
30 Chapter Four: Literature survey.
CHAPTER FOUR:
Literature Survey
Very little has been written about music on the Internet - only a handful of articles
------and books have been produced in the last five years on this subject. This suggests that the area of music of all kinds on the Internet is a very new one, an area that has yet to be fully explored. Much of the work that has been done has been of a non professional nature, not scholarly, and has been aimed at the record or music loving computer enthusiast and not at the information community. However one article appeared in 1994 which was written specifically for music librarians.
In the September 1994 edition of 'Notes' Leslie Troutman wrote an article entitled
'An Internet primer for music librarians: tools, sources and current awareness'.(I)
Although Troutman emphasizes that his article is not a catalogue of resources he does explore the fundamental elements of the Internet, drawing attention to some sources, information tools and how to keep up to date with new developments. He agrees with Mary Kay Duggan, who had previously written one of the first articles concerning music and technology, that electronic communications are just as important an issue for music librarians as for.anyone else in the information community.(2) E-mail, electronic discussion lists and electronic journals are very important for keeping aware ofcurrent issues and should not be ignored by the music librarian.
31 Chapter Four: Literature survey.
An article was published in the College and Research Libraries News in 1995 which was basically a list of music resources on the Internet. It was not very extensive but could probably be considered as a good starting point if the reader was not very experienced in searching the Internet. The article was written by Richard AmRhein who was head of Technical Services division at the University of Nevada., Las Vegas and as he rightly says:-----
"Exploring the Internet for music resources presents a special challenge for the user.
Music is a topic of broad popular appeal and one of intense research for all types of people, from music hobbyist to musicologist. Consequently, the Internet is a source ofa plethora of music information .... " (3)
AmRhein does a very good job of trying to cover as many topics as possible with a brief description of what each site does. These are listed under the following subject headings: Gateway systems of the major listings and indexes of music sites, discussion lists and e-joumals, newsgroups, artists representatives, music education, song lyrics and a general section on other interesting sites. As mentioned earlier it is not an extensive resource but a good lead to more knowledge of the subject area.
The Library Journal publishedanartide in July 1996 in the Webwatch column on music sites and quotes the following statistics:
"Yahoo! lists 15,065 musically related sites, of which about 11,000 concern artists within particular genres. Intemauts seem to prefer rock music, which leads to more than 2,000 sites, but other favourites are jazz, industrial, metal and synth pop.
Classical music haunts the lower registers with blues, folk, rap, rave and sou\''' (4)
32 Chapter Four: Literature survey.
Those figures represent only one classified browsable lists' statistics. The article goes on to draw attention to a reviewing service, a virtual music store and an archive of underground bands, but also gives a list of website watchwords - in other words things to look out for when trying to asses whether a site or search engine is really efficient and useful.
For the music librarian who wants to know more about the Internet and what is available, one book in particular may prove useful. Colin Berry in 'A pocket tour of music on the Internet' explains in easy language how the Internet works and technical matters are considered.(5) Also areas such as 'Nettiquette' or what is good and bad practice on the Internet and 'Lingo' - in other words the jargon or shorthand that is used by the Internet aficionado.
One of the best features of this book is that Berry points out the pitfalls and he makes suggestions on how to avoid trouble and a selection of symbols are employed to alert you to any potential danger. Not only does he list websites as such, he also lists newsgroups and discussion groups and a symbol is deployed to distinguish between the types of site. Anything that is of special interest or is a particularly good site to visit is emphasized again by a symbol. All music genres are catered for. What must be remembered with this book is that it is an American publication and any handy prices that might have been quoted are in dollars, also the book was published in 1995 and many of the site addresses may now be obsolete.
33 Chapter Four: Literature survey;
One academic from the information community. who has made a contribution to
researching music on the Internet is Peter Jasco, who is the associate professor of
library and information studies at the University of Hawaii. He has written a series
oftwo articles for 'Information Today' on finding music on the Internet. Part one
discus~es classified browsable lists, searchable guides, searching for soundclips and
web-wide finding tools with soundclips.-He gives quite a lot of web addresses that
you might like to investigate as a music librarian, but it is more popular in tone than
scholarly. (6)
Part two is probably slightly more. interesting as Jasco gives tips on how to get
'value for money' when searching music databases and downloading sound clips. He also gives advice on which are the good sites to search, including web addresses, tips
on how to execute single criterion searches and how to use multiple criterion search engines. As Jasco points out this is a very lucrative market and it is one that will go
on expanding while there is competition to beat.(7)
It is a perennial problem when dealing with technology as an author, that anything you write is likely to be out of date within a very short period of time. Technology has a very. short life span, usually averaging only three years. Perhaps this accounts for the lack of material in this area, but plenty has been written on the Internet in general.
One of the most recent publications in this 'general' market is the ''New Riders official World Wide Web directory" now in its seventh edition.(8) It is very much in
34 Chapter Four: Literature survey.
the style.ofa'Yellow Pages' ofInternet sites, plus newsgroups, gopher and mailing
lists. Also accompanying the book is a CD-ROM .which is an HTML version of the
book so you can have the best of both worlds. The range of music categories was
very impressive although many sites were missing that the project had identified. The
possibilities included alternative music, Christian music, Bluegrass, commercial
music resources,-Iyrics, music databases, New Age music, record labels, Rock and
RoIL and even several pages on Opera as well as the genre categories that the project
had identified. At the end of each subject a list of other related sites was given. This
is a very large Internet guide and well worth investing in, but as mentioned earlier
these books date very quickly.
If looking for something a little smaller in size there is available the "Websters New
World Pocket Internet Directory and Dictionary". This has two functions providing both lists of the most popular websites along with short definitions of some of the fundamental Internet terminology and acronyms. A useful book put there is a bias as it was produces in conjunction with Lycos - which is one specific search engine. (9)
The main thrust of the other articles that have been written about music on the
Internet has been towards.the multi media facility that is available on the Internet, suchasdownloading soundbites and video clips. Much has been written about virtual record stores and how you can see the album covers, listen to the tracks and even watch the accompanying video. A large part of the market for the Internet is commercial business and so it is not surprising to find more information on virtual record stores and about the different record companies as their main interest is in
35 Chapter FoucLiterature survey.
selling their products to the. public. With the technology to allow the Internet user. to
. purchase CD's and other goods on-line, these retailers will take every opportunity to
reach the general market.
In their article in the June I July edition ofDatabase Peter Jasco and Judit Tiszai
quote the following statistics about record companies onthe Internet
" .... over 600 about or from mainstream, affiliated, independent, and esoteric labels,
and over 250 that sell CDs, vinyl records cassettes and music videos."(10)
The article goes into some depth about music databases both the free on-line
.. catalogues and.those that you have to subscribe to and points out that because there
are a number of high quality databases that can be accessed for free the CD-ROM
corner of the market is not going to be able to compete here. The only way that they
can approach this area is from an educational or entertainment angle for those who
are keen on music, with texts and other multimedia features. A long list of resources
is conveniently given in the article.
An illustration of how artists are exploiting the Internet can be found in the March
1998 edition of Classical Music magazine.(II) An article was written by Andrew
Stewart about .Sarah Walker the British mezzo-soprano and how she had a website
built for·her that went beyond the usual. publicity material that appear. on artist sites.
She is at present developing an on-line conservatory of music to enable singers from
all over the world to quiz established artists about any questions that they have about
opera, song and classical concert repertoire. She also has an e-mail facility so that
36 Chapter Four: Literature survey.
you can ask her directly for infonnation and advice .. There.are few opera stars that
would take this much trouble, the question is will it last?
The astonishing technology that allows us to use the Internet for browsing, sampling
and purchasing music is having a 'knock-on effect' on record stores. In an article in
-- Classical Music magazine the managing director of Chandos Records, a classical
music record company, was quoted thus:
" I will ask dealers if they are prepared to take my entire catalogue of2,000 titles in
their shops and they will say no. The Internet is the future. We have to face it." (12)
However, the trouble does not even. stop at the record stores as there are some
companies in America who have an enonnous number of tracks on database that can
be dialed up, assemble their own compilation album, pay for it electronically and just
wait for it to be delivered right to their own home. It is even possible to design your
own record sleeves or disc labels. The technology does not even stop there as a
company has set up kiosks that allow you to 'sample and select' at shops, service
stations and airports. They claim that a 45 minute recording will be produced within
just four minutes. So the Internet is not just threatening record stores but the people
that produce the record as well.
37 Chapter Four: Literature survey.
REFERENCES:
(I)Troutman, Leslie. An Internet primer for music librarians: tools, sources, current awareness. Notes 1994, 51 (1)
------(2)Duggan, Mary Kay. Electronic information and applications in musicology and music theory. Library Trends 1992, 40 (4) .
(3)AmRhein, Richard. Internet resources for music. College and Research Libraries News, 1995 56 (11)
(4)Collins, Boyd R. Webwatch, Library Journal , 1996, 121 (12), P 27-28
(5) Berry, Colin. A pocket tour ofmusic on the Internet. A1mameda (CA) USA, Sybex, 1995
(6)Jasco, Peter. Searching for music on the Internet. Information Today. 1997, 14(5) p46-7
(7) Jasco, Peter. Finding music on the Web: part 2 Information Today. 1997, 14 (6) p42 - 45
(8) New Riders. New Riders offiCial World Wide Web directory. London, Prentice Hall, 1998.
(9)PfatTenberger, Bryan and Lycos. Websters new world pocket Internet directory and dictionary. London, Simon and Schuster, 1998.
(10) Jasco, Peter and Judit Tiszai. Music to your ears (and eyes). Database. 1996, 19 (3) pIS -26
(ll)Sommerich, Phillip. Talking shop. Classical Music, 1998 March, p44
(12)Stewart, Andrew. Britannia on the net. Classical Music, 1998 March, p14-15
38 Chapter Five: The Survey
CHAPTER FIVE:
The Survey
5.1 Response to the questionnaire.
In total 302 questionnaires were distributed to music librarians all over the country.
Five were sent to National copyright libraries, 17 to church and cathedral libraries
and 190 were sent to public libraries. In addition to these 66 were sent to academic
or conservatoire libraries and finally 24 were .sent to libraries of societies or
institutions.
A total of 121 music librarians replied at all, of these only 105 had filled in the . . . questionnaire as requested. This represents a response rate of 40.6 %. The other
replies reported that they had no music librarian or anybody who felt qualified to
answer the questions that had been set.
5.2 Results of the questionnaire
In answer to the first question about the different types of query that the music
librarians were asked about 89.5 % said they were asked about composers, 96.2 %
were asked about specific pieces and 64.8 % reported that they were asked about
recordings. Also, 38.1 % said that they were asked about conductors, 61 % about
performers, 62.9 % about local arts facilities and finally 66.7 % were asked about
hiring or borrowing sets of either vocal or orchestral music.
39 Chapter Five: The Survey
Table 1. Types of query. composers pieces recordings conductors performers local arts sets
89.5 % 96.2% 64.8% 38.1 % 61 % 62.9% 66.7%
Figure 1 . Types of query music librarians are asked.
composers recordings performers sets
40 Chapter Five: The SlITVey
In addition to these set responses there were twelve other suggestions, which are
illustrated in the following table. One respondent did not specify which types of
query they were asked about.
Table 2.
OTHER TYPES OF QUERY NUMBER SUGGESTED BY Music hire 2 Venues 1 General music business 3 Adverts 2 Music history 2 Tuition 2 Sound effects 1 Music CO-ROM's 1 Plays 1 Music information sources 1 Location of manuscripts 3
The second question asked which types of genre music librarians were asked about and 90.5 % replied that they were asked about classical music, 68.6 % said they were asked about pop music and 70.5 % said that they were asked about jazz music. Also
61 % replied that they were asked about folk music, 51.4 % about country and
41 Chapter Five: The Survey western music, 63 % about ethnic and world music and finally 48 % replied that they were asked about ' middle of the road' music.
Table 3. Types of genre. classical pop jazz folk Country ethnic! M.O.R & world Western 90.5% 68.6% 70.5 % 6 1 % 51.4 % 63 % 48%
classical pop jazz folk c&w ethnic M.O.R
Figure 2. % of music librarians asked about set genres.
42 Chapter Five: The Sw-vey
In addition to these set responses a total of 18 other genres were specified by the music librarians and these are shown in Table 4 below. However the single mentions of punk, hard-core, electronic, garage and jungle could probably have all been included in the 'pop' category. Again one correspondent did not specifY which types of genre they were asked about.
Table 4.
OTHER GENRES NUMBER SUGGESTED BY
Film music 11 Show music 9 Military I Brass 4 New Al!.e 3 Television 3
~ Radio ~ Celtic I Punk I Hard core 1 Blues 1 Music Hall 2 Hymns I church music 2 Dance bands I Rel!.l!.ae I Gospel 1 Electronic I Garal!.e 1 Jungle 1
In answer to question three, which asked the music librarians to cite the ten most frequently used traditional sources, a total of 129 reference sources were cited.
43 Chapter Five: The Survey
However of these 129 only 13 were used by 15 or more music librarians. These 13 are listed below in Table 5.
Table 5.
Traditional source % of music li brarian users New Grove 77.1 % RED Music Master Catalogue 45 % British music Yearbook 44 % Gramophone Classical Catalogue 30.5 % CPM 24 % Teletunes 23 % RED Classical Catalogue 23% RED Tracks 20% Lowes Directory of Popular Music 18 % Guinness Encyclopaedia of Popular Music 17.1 % MPA 17.1 % Music Week DirectoJY 15.2 % BUCOS 15.2 %
For frequencies of use, please see Table 6 below.
44 Chapter Five: The Survey
Table 6. The most frequently used traditional reference sources.
title d aily once a o nce a o nce once less uses week mo n th in 3 in 6 often m t hs m ths Grove Dictionary 33 23 14 5 2 I 3
RED Music Master 28 12 7
British Music yrbk 19 17 5 4 1
Gramophone classical 14 9 9
CPM 8 11 3 2 1
Tele-tunes 3 12 3 4 2
RED classical 8 9 5 1 1
RED Tracks 6 9 5 I
Lowe Directory of 4 ID 4 Popular music Guinness Encyc. of 3 8 5 2 Popular Music MPA 7 10 1
BUCOS 7 7 2
Music Week Di rectory 4 9 2 1
45 Chapter Five: The Survey
Question four was aimed at finding out what percentage of music librarians used the
Internet to answer any of their queries. Of those questioned, 38.1 % said that they did use the Internet and 62 % said that they did not use the Internet to answer quenes.
% who % who use the do not Internet use internet
Figure 3. Use of the Internet amongst those music librarians questioned.
Of those 40 music librarians who did use the Internet, question five asked them in which year they started using the Internet and the responses are shown in Table 7 below. Three respondents did not specify when they started using the Internet as a reference source.
46 Chapter Five: The Survey
Table 7.
1991 1992 1993 1994 1995 1996 1997 1998 no reply I I 2 5 7 15 6 3
Rate of increase in use of the Internet.
Number of music librarians.
1~1 1~ 1m 1m 1~ 1~ _ 1~M~ Year
Figure 4. When music librarians started using the Internet
The 40 music librarians that did use the Inlernet were next asked if they were comfortable using the Internet as a reference tool and also whether they had received any training on how to use it. The number of music librarians that replied they were
47 Chapter Five: The Survey comfortable using the Internet was 33 and 7 said that they were not. [n total 27 replied that they had had some training which left 13 who had received no training at all .
Table 8.
Yes I am comfortable No, I am not I have been trained r have not been using the Internet comfortable using the trained Internet 82.5 % 17.5% 67.5 % 32.5 %
comfortable not tra ined not trained comfortable
Figure 5. % of music librarians showing levels of comfort and training.
Question seven asked those music librarians who did use the Internet to list their ten most frequently used search engines or websites. In total 62 sites were specified, but of these only five sites or search engines were used by five or more music librarians. These were the OPAC 97 of the British Library, the lAML (UK) web site, Altavista
48 Chapter Five: The Survey and Yahoo search engines and finally the Project EARL website. The frequencies of use are shown in Table 9 below.
Table 9.
Title daily once a once a once in once in less uses week month 3 mths 6 mths often Altavista 3 1 J 1 1
OPAe 97 5 4 1 , IAML (UI<) I ~ 2 1
Yahoo 4 1 1 1
Project EARL 3 1 1
Question eight invited the music librarians to say what they would like to see available on the Internet in the future, regardless of whether it was viable or not.
The following is a list of all the suggestions.
• Fuller bibliographic sources/dictionaries
• Better information from publishers
• Union catalogue of vocal sets
• British union catalogue of orchestral sets ( This does exist)
• A quality Music Hall site
• Publisher catalogues on-line
49 Chapter Five: The Survey
• National song index (BLDSC has something like this)
• Comprehensive, up to date information on new releases
• Information on US releases
• Index of song titles available in sheet form
• All libraries acquisitions to be published on the Internet
• Song index with details of anthologies available
• site of library catalogueslOPACS including USA
• A site with links to popular music
• Access to all catalogues of holdings of vocal and orchestral sets plus conditions of
hire
• Catalogues of printed music available for purchase
• Music as well as words to songs that you could download the music of
• More on-line catalogues and databases from music publishers and information
centres
• Directory offan clubs
• Evaluation notes of web sites
• Bibliographies and retrospective catalogues of major research collections available
• RED databases free of charge
• Authoritative guide to what is available on the Web
• RISM on the web
• MP A list directly available on the web
• An ability to download high quality reproductions of music scores, with an on-line
billing account direct from publishers both in the UK and abroad
• Access to Westminster music libraries holdings and BLDSC
50 Chapter Five: The Survey
• Song type search music and song index mounted through inter-library co-
operation and therefore free to the library community
Of those 65 music librarians who did not use the Internet at the moment, question
nine asked if they could see a time in the near future when they would be using it. In
total 75.4 % replied that they could see themselves using the Internet in the future
and only 20 % said that they could not and this was usually because of the nature of
their music collections. Unfortunately three respondents did not answer this question
and this accounted for 4.6 % of the music librarians who did not use the Internet at
present.
Table 10.
Will use the Internet in future Wont use the Internet in future No reply
75.4 % 20% 4.6%
Will use in Wont use in No reply future future
Figure 6. % of music librarians willing to use the Internet in future.
51 Chapter Five: The Survey
All of the music librarians were asked whether they were members, whether personal or institutional, ofIAML (UK) to which 56.2 % replied that they were members and
44 % replied that they were not.
Member Nota oflAMl member (UK) oflAMl (UK)
Figure 7. % of membership of IAML (UK) amongst music librarians questioned.
Of those who responded to the questionnaire, three out of a possible five replied from National copyright libraries, 26 out of 66 academic or conservatoire libraries,
66 out of a possible 190 public libraries, 2 out of 17 church or cathedral libraries and finally 8 out of a possible 24 libraries of societies or institutions.
52 Chapter Five: The Survey
Table 11. Rate of response to the questionnaire.
National Academic or Public Libs. Church or Societies or copyright libs Conservatoire Cathedral Institutions 3 26 66 2 8
To show response to questionnaire from different types of library.
libs. or Conservatoire Number of music II _ Acaldem,ic librarians ------tlnpublic libraries IU ,"ourco or Cathedral or Institutions
Types of library
Figure 8.
53 Chapter Five: The Survey
The final question on the questionnaire asked the music librarians to indicate to which age group they belonged and the results are shown in Table 12. There were three respondents who refused to specify their age group.
Table 12. Age groups of the music librarians questioned.
Age 21-30 Age 31-40 Age 41-50 Age 51-60 Age 60 + No reply
&'6% 40% 27.6% 19.04 % 1.9 % 3%
21-30 3140 41-50 51-50 60 + No reply
Figure 9. % of age groups of those music librarians questioned.
When all the data had been completely analysed it was possible to monitor the use of the Internet in the different types of library and these results can be seen in Table 13 below.
54 Chapter Five: TheSurvey
Table 13.
Type ofInstitution Use the· Internet Do not use the Internet
Public Library 21 44
AcademicJConservatoire 14 <. 12
National copyright 2 .1
Church I Cathedral 1 1
SocietylInstitution 3 6
It was also possible to see the diffusion of use of the Internet across the age groups previously stated and these results are shown in Table 14.
Table 14.
Age group Use the Internet Do not use thelnternet
21-30 3 6
31-40 18 24
41-50 9 21
51-60 10 12
60+ 1 1
. Chapter Six: Discussion of results
CHAPTER SIX
Discussion of Results.
The following points are observations made after the results of the questiormaire had beenreported~.------______
• The highest percentages ·of enquiries were concerning either pieces or specific .
composers and it was surprising to find that specific performers were much lower
down on the list. One of the difficulties with the first two questions was to keep
the number of choices down to a fairly small number but still be quite wide
ranging. The response to these two questions gave 12 additional responses to
question one and 18 to question two and this reflects the fact that the set
responses given were limited.
• It was surprising to discover that the most enquiries about a specific genre were
about Classical Music, followed by Jazz and then in third place Pop. This was
surprising as the Media report that Classical music is not in vogue and that those
institutions that promote Classical music are just a drain on the tax payer and the
Government. For·example, the reaction to the c1aimfor extra funding for the
Royal Opera House at Covent Garden which had already been allocated several
million pounds for its repair and refurbishment project hit the headlines of most of
the major newspapers. It is, of course, possible that people feel more out of their
depth with this genre and want professional help, but this is only a possibility and
probably not the answer. Middle of the Road, or Easy Listening as it is also
56 Chapter Six: Discussion of results
known, was the least asked about genre closely followed by Country and
Western. This could mean that people find this kind of music more accessible or
it could mean that people are less interested in these genres.
• The huge number of traditional sources that were reported was a surprise, more
I-----uniforrnity had been expected_The sheer.diversity_wauathe[Jarge - a total of
129 sources in all. It was assumed that everyone used their own 'in house'
catalogues and these were not included in the count. It came as no surprise to
discover that the Grove Dictionary of Music and Musicians was the most
frequently used reference tool as it is clearly a very comprehensive and valuable
source of information, even if it is very expensive to purchase. It had nearly twice'
as many users as its nearest rival - the RED Music Master catalogue with 81 and
47 users respectively.
• Beforethe results had been received it had been anticipated that more music
librarians would not be using the Internet than would be using it. This assumption
had been made as the majority of music librarians that had been questioned
worked in public libraries and it is not expected that there will be Internet .
connections for all public libraries until the year 2000. These figures will change
once this legislation has been fully implemented~ There were no surprises in
particular, just a small sense of encouragement that as many as 40 music librarians
were using the Internet to answer their enquiries.
• It was interesting to discover that one solitary music librarian had been using the
Internet as a reference tool since 1991. However there had been a steady increase
57 Chapter Six: Discussion ofresults
in use of the Internet throughouuhe first half of the 1990's.and then usage
doubled between 1996 and 1997. The number of respondents who started using
the Internet in 1998 shows a possibility that the previous years number could be
matched as new users in 1998 are half way there at this moment with another six
months until the end of the year.
• Just over half the music librarians that used the Internet said that they had
received some training even ifit had been half a day, as some were keen to point
out on the questionnaire. The vast majority of Internet users said that they were
comfortable using it as a reference source but that still left seven or 17.5 % that
were not comfortable with it. It seems that there is room for improvements in
these areas.
• The results of question seven were rather surprising, giving a total of 62 websites
or search engines. However, of these as many as 48 were only used by one music
librarian which left only 14 sites with more than one user. As a result of these
figures the number of sites that were used by five or more librarians was very
small. There were only five sites used by five or more music librarians and two of
these were search engines leaving only three actual and definite sites. A1tavista
was the most frequently used site or search engine with 16 users and this was
followed by the OPAC 97 of the British Library with 10 users.
• These results really were quite. disappointing comparedto the strong trends found ..
in the traditional reference sources. However, it must suggest that music
58 Chapter Six: Discussion of results
librarians at present are not very experienced in using the Internet and are only
confident about using the search engines. It is hard to believe that such a
phenomenal site as the University ofIndiana World Wide Music Resources site
did not have more than two users. It was also a surprise to discover that the
Project EARL website, which is a very useful gateway to music links was only
used by five music librarians. It IS clear tharsomething-must be done to make---.....
music librarians aware of what is available to them on the Internet without going
through a search engine and to open up the excellent resources that are waiting
to be discovered.
• The suggestions for what music librarians would like to see on the Internet in the
future was quite a different matter, giving 28 suggestions in all. A lot of what was
suggested were requests to see on the Internet material that was already available
either in hard copy or on fiche such as BUCOS, RISM and the RED Music
Master Catalogues. Some suggestions would entail years of work such as
retrospective catalogues and bibliographies of the major research collections.
There also seems to be a general consensus of opinion that music publishers
should put much more information onto the Internet and that fuller bibliographic
sources would be a distinct advantage to the music librarian. However if these
music librarians had tried just a few of the websites, such as the Indiana University
site or the Ultimate Band List site which has 150 entries alone under classical
music, then maybe this last item would not have appeared at this point.
59 Chapter Six: Discussion of results
• Of those music librarians who were asked if they would consider using the
Internet in the future, the majority said yes. Those few who responded negatively
usually had the explanation that the Internet was not appropriate for their
collection, such as some of the Oxford and Cambridge University manuscript
collections that only require their own 'in house' catalogues, making the Internet
superfluous to theIr reqUIrements.
• It is quoted on the website ofIAML (UK) that they have over 300 members, but
the percentage of music librarians questioned that said they were not members
(44 %) seems to indicate that IAML (UK) have missed a large quantity of music
librarians - unless it is a financial matter that has prevented the music librarians
from joining .. The actual cost of membership is £31 for personal membership and
£45for institutionalmembership. These costs will rise by £1.00 in 1999. As the
membership is a yearly subscription many may be reluctant to pay these prices on
top of what they pay to belong to the Library Association. It is a great shame that
so many music librarians are not represented by their official professional body.
• Nearly twice the number of music librarians do not use the Internet as a reference
source as do use the Internet in public libraries. Twice as many music librarians
use the Internet as do not at the National copyright libraries out of the three that
replied, as did the three librarians out of nine at the libraries of societies or
institutions and out of the two church or cathedral libraries that responded, one
used the Internet and the other did not. The only type oflibrary that had more
users of the Internet than non-users were the academic or conservatoire libraries Chapter Six: Discussion of results
with 14 users and 12 non users. This is probably a not unexpected result as the
academic world tends to have more funding and they have to stay up to date with
progress to compete for students.
• As for the idea that age might affect the music librarians use of the Internet, there
were Internet users in every age category. Out of the nine musiC"librariam;-irrthe--~-~
21 -30 age group there were three Internet users and in the 31-40 age group there
were 18 users out of a possible 42. In the 4 I -50 age group there were 9 users
and 21 non users, in the 5 1-60. age group 10 users and 12 non-users and finally in
the 60 and over age group one music librarian used the Internet and·one did not.
A very rough calculation shows that there are very nearly half as many users of
the Internet as non-users in every age group except in the 21-30 age group where
only one third of the number of music librarians use the Internet and in the 51-60
age group where almost the same number use the Internet as do not, the figure
for users is only two music librarians less.
61 Chapter Seven:Website design, construction & evaluation
CHAPTER SEVEN
Website design, construction and
evaluation.
7.1 The Website Design
There are two elements to a basically successful website: the first is design and the second is educational worth or value.
7.1.1 What makes a well designed website.
• Clear design, easy to read without a difficult or busy background and obvious
how to use.
• Consistency in design throughout is essential so that if a page is accessed from
any other page than the home page, a user would then know on what site they
have landed because there are titles throughout the site.
• Predictability is vital- keeping your navigation icons or whatever in the same
place and keep your hypertext links in the same colour throughout.
62 Chapter Seven:Website design, construction & evaluation
• Ease of navigation - is it necessary to return to the home page to move about the
site or is it possible to navigate from the present page to any location within the
site.
• A logical progression of thought.
• Avoid a lot of text unless publishing an essay on the Internet.
• Ensure tha~i hyp.~ertrt;;extrtih~·ntkkssf1funnKc:titiiOo.nn.:------
(1)
7.1.2 What makes a 'good' website.
A question that must be asked about any web site is :Is the information found relevant? A useful site will provide several links to other useful pages, it contains detailed information and is updated on a fairly regular basis. The visitor to.a website
must assess if the suggested audience is catered for, is it informative and. does it
work consistently and quickly enough for its purpose. A good website is well
organised, logical, clearly divided and easily grasped. It will anticipate the users
needs by providing easy navigation around the site. Finally the site should be reliable
and created by an authoritative source. If it is possible to reply positively to all of
these then the site is a good website.(2)
7.1.3 Selection of sites to be included on the website.
First it was necessary to decide how the site was to be organised and it was decided
to arrange the website by genres or subject headings. Those that were chosen are :
• Classical
63 Chapter Seven: Website design. construction & evaluation·
• Pop
• Folk
• Jazz & Blues
• Country & Western
• Ethnic & World music
• Music Gateways
• Miscellaneous.
7.1.3.1 CLASSICAL
• The British Music Information Centre.
Coverage includes British contemporary music from 1900 with 29,000 works by approximately 2,400 British composers. For a fuller review see Chapter Two, section 2.2.2. (3)
• 'Yahoo' Classical Music Genre.
Lots of different options for searches such as artists, awards, competitions,
composers, conducting, ensembles, events, Early music, Baroque, historically
informed performance, Opera, Renaissance, reviews, symphony orchestras and
Usenet links. A very useful site.(4)
• Gramophone magazine on-line.
This site provides all you would expect from the paper based copy - reviews, news,
the editors' choice plus recording of the month dating back to September 1996
which you will not find in the paper version.(5)
64 Chapter Seven:Website design, construction & evaluation
7.1.3.2 POP
• The Ultimate Band List.
A huge site with an ordinary and advanced search facility, plus the option to search by genre. Also provides the UBL Top 100 chart. For more detail see Chapter two
2.2.2. (6)
• British Phonographic Institute.
As well as providing infonnation on the British record industry. and the BRIT awards past and present, the site provides the Top 40 singles chart, the Top 40 album chart and the Top 40 dance singles chart. For more infonnation see Chapter two 2.2.2. (7)
• 'Q' magazine on-line.
As with the Gramophone magazine on-line, 'Q' magazine on-line is as one would expect with the same contents as the paper version with reviews and news of the charts. (8)
• Cnotes music.
At this site it is possible to search by artist name or by album. It includes recent releases by genre, contains Billboard listings, the option to buy on-line is offered, there are links to band sites and infonnation on tour dates and so forth. There is also a news site about any ofthe featured artists.(9)
65 Chapter Seven:Website design, construction & evaluation
7.1.2.3 FOLK MUSIC
• Folkmusic.org.
A direct search or browse facility is available by artist on this site, also information on shows, business, organisations, shopping for books, sheet music, instruments, media and forums. At present work is going on to develop an Internet directory of folk sites. (lOI})------
• English Folk and Traditional Music on the Internet.
This site provides links to folk music resources such as discographies, bibliographies, libraries and archives, instruments, songs, tunes and dances. Also listed are artists, events and specific folk music genres - a very comprehensive coverage of the subject.
(11)
7.1.2.4 JAZZ AND BLUES
• Red Hot Jazz Archive.
All the major characters of Jazz pre 1930 can be found here with biographies, discographies, further reading and full details of the bands that the.artists.played with plus recordings. There is a site search facility, a section on Jazz films, jazz bands from 1895 - 1929, essays and articles about Jazz on the Internet. The site has
academic support.(12)
• Jazz and Blues
Links are given here to E-Zines about jazz and blues, official pages and also fans'
pages. (13) Chapter Seven:Website design, construction & evaluation
7.1,2,5 COUNTRY AND WESTERN.
• 'Yahoo' Genres: Country and Western Music.
An interesting selection of choices are presented here to the user of this site including an 'Anti Country' section along with the normal selections of artists, charts, chat,
Christian, companies, festivals, magazines, orgamsatlons, reglonallfiform~tionl:-,--
Tejano and Usenet links. It is important to note that not all of these sites are strictly
'professional' sites. (14)
• Nashville Music Link.
A bewildering array of choices meet the visitor to this particular site, choices include: artists, labels, song writers, Press, charts, radio, publishers, services, studios, musicians, resources and a great deal more as well. This is a very serious site based in the home of Country and Western music. (15)
7.1.2.6 ETHNIC AND WORLD MUSIC.
• Ceolas. This site contains information on Celtic musicians and artists, resources, instruments,
Celtic dance, reviews, tunes, software and a tune index plus tour schedules and
related sites. A very useful site for Celtic music. (16)
67 Chapter Seven:Website design, construction & evaluation
• 'Yahoo' Genres: World Music.
This site offers a wide range of choices either by country, from Afiica to Vietnam, cultures or groups, by ethnomusicology the user can search through archives, journals, university departments and organisations. Searches can also be made for festival s and under World Fusion including artists and labels. (17)
7.1.2.7 MUSIC GATEWAYS.
• World Wide Internet Music Resources.
This list of music resources is provided by the William and Gayle Cook Music
Library at the University ofIndiana and it is a fantastic site with hundreds oflinks.
The site features both an A -Z guide and a subject heading selection to guide the site user through their search. Further details can be found in Chapter two 2.2.2. (18)
• Music Resources.
An exhaustive index of music resources available on the Internet provided by the
Sibelius Academy in Finland. All genres are.covered making this site the nearest rival to the World Wide Internet Music Resources site. (19)
• Project EARL Consortium.
This was the fifth most popular website amongst those music librarians questioned that were using the Internet as a reference source. This site will lead you to the
WWW Virtual Library which has a music site and a classical music site. Also
68 Chapter Seven:Website design, construction & evaluation available from the 'Task group' page is a gateway to music links. For a more detailed account of these sites please refer to Chapter two 2.2.2. (20)
• IAML(UK)
This was the third most popular website amongst those music librarians that were questioned and using the Internet. Apart from presenting-alhheinfonnationabout--..
IAMI.. (UK) this website provides some music links including the Exeter Music
Subject Tree, as well as links to the Music Library Association in the US and to the
American Musicological Society. (2 I)
7.1.2.8 MISCELLANEOUS.
• British Library: OPAe 97
A search facility based on a fonn filling fonnat which can access the catalogue of
printed music held at the British Library since 1980. This was the second most often
used website amongst those music librarians who responded to the questionnaire and
would seem to be an essential site for the music librarian. (22)
• Music Database
This is not a flashy or pretentious site, but a good site for enquiries about recordings
as it is possible to search the database by album, artist, track, style, language and
country. (23)
69 Chapter Seven:Website design, construction & evaluation
• BBC Schedules,
Listings of television and radio schedules can be found here for today, the day before and the day after. Some extra links are given providing more detail but not for all entries. (24)
• International Lyrics Server.
This site offers the possibility of a full text search on the Top 10 singles, as well as searching the Top 40 lyrics and contains the lyrics to over 80,000 songs of all genres.
The site is maintained in Switzerland by enthusiasts who have managed to secure sponsorship for this project. (25)
• Brass Bands on the Internet.
This site provides links to the many Brass Band home pages giving infonnation about the bands, events and also how to book them. A useful site for Brass band enthusiasts. This site was included not to single out brass instruments in particular but because Brass Bands are an entity of their own and not just a section of the orchestra.(26)
• Music Libraries On-line
The purpose of this site is to create a virtual union catalogue of music materials of all kinds that can be found in British music libraries and this infonnation will be made accessible through a Z39.50 gateway. Links can be found for Z39.50. resources, digital library resources, digital library journals, music projects and research. (27)
79 Chapter Seven:Website design, construction & evaluation
7.2 Website construction
The website was created using Adobe Pagemill on an Apple Macintosh computer.
The plan for the website was to make it as simple and easy to use as possible and also for it to be fast loading ifit was to compete with the traditional paper sources already discussed in Chapter two. As a result of needing a fast loading.site·irwas:-- decided not to include any graphics to keep the speed of access competitive
The format of the website was to consist ofa 'Home Page' with hypertext links to subsequent genre pages, which would in their turn give links to the chosen websites.
For ease of navigation the full range of genre options were placed at the bottom of each page plus the home page option. This would enable the user to , for example, move straight from the Classical page to the Jazz & Blues page without having to return to the home page first. No major problems were encountered during the construction of the website, the real test was to find out if all the links still worked once the site was built.
7.3 Evaluation of the website
7.3.1 Criteria for evaluating a website.
• Clear and well designed.
• Created with the audience in mind.
• Ease of navigation.
• Easy to use.
7! Chapter Seven:Website design, construction & evaluation
• Functioning links.
• Does the page do what it says?
• Is it good quality information and authoritative.
7.4 Evaluation of the website by music liorarians.
The following are comments made by a selection of the music librarians who answered the questionnaire and who volunteered to evaluate the web site that was created as a result of the questionnaire.
7.4.1 Speed of loading.
Speed is vital if an Internet site is going to compete with the traditional hard copy version of a resource and so it was very important that the site loaded as quickly as possible.
• "The site loaded very quickly, even though accessed at a usually busy time on the
Internet. It was also extremely clear, well laid out and easy to use."
• "Speed ofloading was fine."
7.4.2 Sites included.
The music librarians are the information professionals who alone would be able to
assess whether any of the sites chosen would be of any use and whether the
coverage was extensive enough to cover all possibilities.
72 Chapter Seven:Website design, construction & evaluation
• "I have had a look at the Internet for Music Librarians site that you have created
and can report that it looks to be a very useful collection of links to sites of
interest. "
• "Most of the included sites look to be useful although some more than others."
• "There must be many more links that could be added to the Classical music
section. I hadn't the time to make a list but there is a lot out there! I could
probably provide suggestions ...... " .
• "I wasn't sure about the fact that your site mixed links to gateways and links to
'final destination' music sites. I'd be tempted, if this was a music page on my
website at the college, to just give the links to the gateways and let them do the
work for me!"
• "Links from each category were very useful and included several not used
before."
7,4.3 Site design and aesthetics.
Fundamentally the site was supposed to be purely functional and simple to use so
that the beginner on the Internet, once at the site, would have no difficulty in
getting information.. Any addition of graphics would. slow down the loading of
the site a little, despite the protestations of one music librarian but the general
feeling was that thought they add to the interest they are not essential.
• "As far as the look of the site is concerned, for pages of this sort simple is best I
think - they are clearer to understand and they load faster. Some designers are
tempted to use complex logos, large graphics, silly animation, and busy
73 Chapter Seven:Website design, construction & evaluation
backgrounds where they are entirely unnecessary and in many cases detract from
ease of use."
• "I think personally I prefer a few small graphics."
• "A simple button graphic does not take up more than 3 or 4K which will
downIoad in I or 2 seconds. cf the BMIC site: the home page has almost a dozen
graphics, yet sti11loads in 10 or 20 seconds maximum.
• "Also what 'about a frames style version, so the main menu can be kept constantly
in a frame on the side of the screen. This would make locating a few links listed
in different sections much easier."
• "Lack of graphics was not a problem. Considered not really necessary in a site of
this kind."
7.4.4 General comments.
• "I have bookrnarked your site and will I am sure become a regular visitor."
• "It is a very good idea in principle - just needs a bit of development."
• "Overall impression - an extremely useful and easy to use site which contained
much more information and links than expected."
74 Chapter Seven:Website design, construction & evaluation
REFERENCES
(1) Pfaffenberger, B, Hypertext style. London, Academic Press, 1997.
(2) Website Evaluation (URL: http://www.oahton.edul-wittmanlfindlevallhtm) 22 May 1998
(3rBritiShMusidnjormatioJreentree------ (URL: http://www.bmic.co.uklindex.htm) 23 June 1998
(4) Yahoo!Genres! Classical Music (URL: http://www.yahoo.comlEntertainmentlMusiclGenres/Classica1/) 23 June 1998
(5) Gramophone Magazine On-Line (URL: http://www.gramophone.co.ukl) 23 June 1998
(6) Ultimate Band List (URL: http://www.ubl.com!) 23 June 1998
(7) British Phonographic Institute (URL: http://www.bpLco.uklmenu.htm) 23 June 1998
(8) Q Magazine On-Line (URL: http://www.qonline.co.ukl_newalmagazine.htm) 23 June 1998
(9) enotes Music (URL: http://www.cnotes.com!cnotes.home.html) 15 July 1998
(10) Folkmusic.org (URL: http://www.folkmusic.org/) 23 June 1998
(11) English Folk and Traditional Music in the Internet (URL: http://web.ukonline.co.ukIMemberslmartin.niallFolkmus.htm) 23 June 1998
(12) Red Hot Jazz Archive (URL: http://www.technoir.netljazz ) 23 June 1998
(13) Jazz & Blues (URL: httpJltoltec.lib.utk.edul-musiclwwwpopu.htmI#jazz ) 23 June 1998
(14) Yahoo!Genres/Country & Western (URL:http://www.yahoo.comlEntertainmentIMusiclGenreslCountry_and_Western) 23 June 1998
75 Chapter Seven:Website design, construction & evaluation
(15) Nashville Music Link (URL: http://www.nashville.netl-troppo/musiclink.htm ) 23 June 1998
(16) Ceolas (URL: http://www.ceolas.org!ceolas.html) 23 June 1998
(17) Yahoo/Genres! World Music (URL: http://www.yahoo.com!EntertainmentfMusicIWorld_Music)23 June 1998
(18) World Wide Internet Music Resources (URL: http://www.music.indiana.edulmusicJesources) 23 June 1998
(19) Music Resources (URL: http://www.sibs.filkulttuuripalvelutlmusic.html)23 June 1998
(20) Project Earl Consortium (URL: http://www.earl.org.uklearlwebllibs.html) 23 June 1998
(21) IAML (UK) (URL: http://www.music.ox.ac.uklIAMLI) 23 June 1998
(22) British Library OPAC 97 (URL: http://opac97.bl.uklSearch?Action=New) 23 June 1998
(23) Music Database (URL: hhtp:/Iwww.roadkill.com!-bumettlMDB/) 23 June 1998
(24) BBC Schedules (URL: http://www.bbc.co.uklschedules/ ) 23 June 1998
(25) International Lyrivcs Server (URL: http://www.lyrics.ch!) 23 June 1998
(26) Brass Bands on the Internet (URL: http://www.smsltd.demon.co.uklbbJinks.htm) 23 June 1998
(27) Music Libraries On-line (URL: http://www.musiconline.uce.ac.ukl ) 17 August 1998
76 Chapter Eight: Conclusions and recommendations
CHAPTER EIGHT:
Conclusions and recommendations.
8:-1~General comm-e-''itss------c------~- ~ --~
From the response to the questionnaire it is quite clear that music librarians are asked a wide variety of questions about all genres of music, depending on their type of library, and that these areas were far more wide ~anging than the questionnaire catered for. It is fair to say that the highest proportion of music librarians using the
Internet to answer queries can be found in academic or conservatoire libraries but it is to be hoped that all of these figures of users and non-users wiIl change significantly in the next two years or so. As for the International Association of Music Libraries and Documentation Centres, they have missed 44 % of the music librarians that were questioned for this project. It is not known whether this is a conscious choice or whether it is just a matter of finance as the membership fee is not a small one, but none the less it isa shame that such a large number of music librarians are not represented by their professional body.
8.2 Use ofthe Internet
It is clear from the research carried out that the Internet is a very new area for the music librarian and as a result of this less than two thirds of those music librarians that were questioned were using the Internet to answer their enquiries. Half as many· music librarians in public libraries used the Internet as the number that did not use it.
77 Chapter Eight: Conclusions and recommendations .
The only area where the users out-weighed the non-users was in academic or
conservatoire libraries, but this is probably not so surprising.
The reaction of the music librarians who did use the Internet to it as a search tool
was quite encouraging as the majority felt comfortable in using the Internet even
though fewer of them had receIved any traInIng. IIowever,many-ofthose-who-had---~ ... _ ..
received training added that they would like to have more training and there seemed
to be a need for a universal training scheme on how to access the Internet efficiently.
Of those music librarians who were already using the Internet only a very small
number were using it extensively. and imaginatively. In the main the music librarians
were using Altavista and Yahoo search engines and then one or two final destination
sites, such as OPAC 97 at the British Library and the IAML (UK) website.
8.3 Promoting the Internet.
There are a huge quantity of sites available that would be of use to the music
librarian, both professional sites that are maintained .by libraries and .by library
schemes and also commercial sites. As the majority of music librarians only used a
very limited number of sites on a regular basis it seems obvious that a lot of work
needs to be done to promote the useful sites. A directory of valuable sites would be
an idea or in fact a website that would advertise good sites and draw attention to any
new sites that would be of interest to music librarians. The obvious candidate for this task would be IAML(UK) as they are the professional representatives of music librarians. They should be raising awareness to the potential of the Internet as a vast resource and promoting the material that can be found on it. Another point that
78 Chapter Eight: Conclusions and recommendations should be raised is that IAML (UK) actually publish a report on the availability of printed music in Great Britain but it is only available through them in hard copy, this report should appear on their web site in full.
8.4 'Web resources for music librarians'
It appears that in general those music librarians who reviewed the specially created website thought that it was a very useful site that they would be inclined to use.
They found it clear, easy to use and weIl.laid out and they did not think that the lack of graphics was necessarily a problem. Some thought that it would have been nice to have some small graphics and they were of the opinion that it would not have drastically affected the loading time. One music librarian in particular tried to give encouragement to make the web site more sophisticated with a menu in a frame that would constantly be on screen. Most comments that were a little critical were usually constructive but on the whole the overall impression was that the website was a success and they hoped that it would remain available.
8.5 'Hard copy' versus 'On-line'.
Judging by the evidence given by those music librarians who were using the Internet in more than a basic way, they are of the opinion that in some areas the Internet can compete with hard copy resources. However there are some areas that fall short of the mark, for example publishers' materials and catalogues of sets, but it is probably only a matter of time before these things Can be found. Certainly any of the publishers' sites that were visited had catalogues of stock and the option to purchase via e-mail.
79 Chapter Eight: Conclusions and recommendations
From the replies of the music librarians there is absolutely no doubt that they would like to see anything that appears in hard copy, such as publishers' materials,
catalogues and so forth, in some kind of web format. The response to question eight
seems to indicate that the music librarians would be very keen for anyone who
publishes a resource in hard copy to put a versIOn on the1ntemerand-that-thevy-----~ _I
would be prepared to use it. The music librarians are not frightened of using the
Internet at all, in fact they seem very keen to use it, in the main. The only negative
responses that were received were from those libraries that had specific collections
of music, such as historical manuscripts, for which only in-house catalogues are
necessary.
8.5 Hope for the future.
There is plenty of potential and scope for new sites that will be of use to the music
librarian on the Internet. Just one glance at the suggestions that were generated by
the music librarians will give a large amount of material that has the potential to be
widely used by them. It is possible to access the catalogue of the Westminster music
library through Project EARL but it is unfortunate that the British Library only has
music stock from 1980 in its OPAC 97. It would be a very worthwhile project to
put the rest of the stock on-line. Having said this, it is possible through the Music
Libraries On-line website to access the stock of all the major British conservatoires
and if the music librarian has the Z39.50 protocol many of the OPACs of academic
80 Chapter Eight: Conclusions and recommendations and public libraries can be searched, as can many be accessed through the EARL website.
The future seems to be bright from the point of view that the majority of those music
librarians who did not use the Internet at the present time were hopeful that they
would be using it in the near future. The malO thing tharseemedto-beholding-them~ ___ _
back was funding the acquisition of the technology and not a reluctance to use it. It
is to be hoped that the Labour governments' pledge to bring Internet access to every
school and library by the year 2000 will solve this problem for the music librarians
and that access will be for all and not just those with better funding.
81 Bibliography
BIBLIOGRAPHY.
AmRhein, Richard. Internet resources for music. College and Research Libraries News, 1995 56 (11)
Arts and Humanities Data Service homepage (URL: http://www.ahds.ac.uk/ ) 25 March 1998
Berry, Colin. A pocket tour of music on the Internet. A1ameda (CA) USA, Sybex, --- 1995------______
Brass bands on the Internet (URL: http;flwww.smsltd.demon.co.uklbb-links.htm ) IS July 1998
Brio 20 (3) AutumnlWinter 1983
BBC schedules page (URL: http://www.bbc.co.uk/schedules/ ) 15 July 1998
British Library OPAC 97 (URL: http://opac97.bl.uk/Search?Action=New) IS July 1998
British Music Information Centre (URL: http://www.bmic.co.uk/index.htm) 15 July 1998
British Phonographic Institute (URL: http://www.bpi.co.uk/menu.htm) 15 July 1998
Ceolas (URL: http://www.ceolas.org/ceolas.html) IS July 1998
Chalcraft, Anthony.,Ray Pryterch and Stephen Willis. Walfords guide to reference material, volume J generalia, language and literature and the Arts. 6th edition. London.Library Association Publishing, 1995.
Collins, Boyd. R. Webwatch. LibraryJouma/, 1996 121 (12)
Duffy, Celia. e-Lib update - Music Libraries On-line. Ariadne JJ (URL: http://www.ariadne.ac.uk!issue13/) 25 March 1998
Duggan, Mary Kay. Electronic information and applications in musicology and music theory. Library Trends 1992,40 (4)
Englishfolk & traditional music on the intemet . (URL: http://web.ukonline.co.ukIMemberslmartin.niallFolkmus.htm) IS July 1998
Evaluation website. (URL: http://www.oahton.edul,,,,wittmanlfind/eval/htm ) 25 March 1998
Folkmusic.org home page (URL: http://www.folkmusic.org/) 15 July 1998
82 Bibliography
Gramophone Magazine On-line. (URL: http://www.gramophone.co.uk/) 15 July 1998
HARMONICA homepage (URL: http://www.svb.n1Iproject/hannonicalhannonica.htm) 26 April 1998
IAML (UK) homepage (URL: http://www.ox.ac.ukllAMU ) 25 July 1998
IAML (UK) discussion group (URL: http://www.mailbase.ac.uk) 25 March 1998
.. -International Lyrics Server (lJRL:1utp:1/wwwJyric=hI)t5-July-l998:------
Jasco, Peter. Searching for music on the Internet. Information Today. 1997 14 (5)
Jasco, Peter. Finding music on the Web. Information Today. 1997 14 (6)
Jasco, Peter and Judit Tiszai. Music to your ears (and eyes). Database, 1996 19(3)
Jazz & Blues (URL: http://toltec.lib.utk.edul-musiclwwwpopu.html#jazz) 15 July 1998
Lea, Peter.W. and Alan Day. The reference sources handbook. 4th edition. London. Library Association Publishing, 1996.
Music Database (URL: http;!lwww.roadkill.com!-burnettIMDBI) 15 July 1998
Music Libraries On-line (URL: http://www.musiconline.uce.ac.uk) 12 August 1998
Music Resources (URL: http://www.siba.fi!kuittuuripalveiutlmusic.html ) 15 July 1998
Nashville music link (URL: http://www.nashville.netl-troppo/musiclink.htm) 15 July 1998
New Riders. New Riders official World Wide Web directory. London, Prentice Hall, 1998.
Pfaffenberger, Bryan. The elements ofhypertext sty/e. London, Academic Press, 1997.
Pfaffenberger, Bryan and Lycos. Websters new world pocket Internet directory and dictionary. London, Simon and Schuster, 1998.
Project EARL homepage (URL: http://www.earl.org.uk) 25 March 1998
'Q'Magazine on-line (URL: http://www.qonline.co.uk/_news/magazine.htm ) 15 July 1998.
83 Bibliography
Red hot jazz archive (URL: http://www.technoir.netljazz ) 15 July 1998
Sommerich, Phillip. Talking shop. Classical Music, 1998 March
Stewart, Andrew. Britannia on the net. Classical Music, 1998 March
Troutman, Leslie. An Internet primer for music librarians: tools, sources, current awareness. Notes, 1994 51 (I)
Wtimate Band List (URL: http://www.ubl.com ) 15 July 1998
World Wide Internet Music Resources (URL: http/lwww.music.indiana.edulmusicJesources) 15 July 1998
Yahoo Music! Genres! Classical (URL: http://www.yahoo.com!EntertainmentlMusiclGenreslClassicaV)15 July 1998
Yahoo / Music! Genres / Country & Western (URL: http://www.yahoo.com!EntertainmentlMusiclGenreslCountrLWestern!) 15 July 1998
Yahoo Music / World music (URL: http://www.yahoo.com!EntertainmentlMusicIWorld_Music/) 15 July 1998
84 APPENDIX A:
Questionnaire
85 QUESTIONNAIRE: USE OF THE INTERNET BY MUSIC LmRARIANS.
1. As a music librarian, what sort of queries do you get asked? (Please tick where appropriate) a. About particular composers 0 b. About particular pieces of music 0 c. About particular recordings· 0 d. About conductors 0 1______e.Aboutparticular performers 0 f. About local music/arts facilities O------~ g. About provision of , sets' for local groups 0 h. Other (please specifY as a general topic) ______
2. Which different types of genre are you asked about? (please tick where appropriate) a. Classical 0 b.Pop 0 c. Jazz 0 d.~k 0 e. Country & Western 0 f. Ethnic I World music 0 g. Middle of the road 0 h. Other (please specifY)
3. As a music librarian, what are your 'top ten' ordinary reference tools, not including the internet, e.g. directories, dictionaries, encyclopaedias, CD-ROMS etc. (Please give just the title, and tick box for frequency of use. If you have not gotten items to list, put down as many as you can ). daily at least once once once less once a in3 in6 often week month• mths mths l. 0 0 0 0 0 0 2. 0 0 0 0 0 0 3. 0 0 0 0 0 0 4. 0 0 0 0 0 0 S. 0 0 0 0 0 0 6. 0 0 0 0 0 0 7. 0 0 0 0 0 0 8. 0 0 0 0 0 0 9. 0 0 0 0 0 0 10. 0 0 0 0 0 0 4. As a music librarian, do you use the internet to answer any of your enquiries? (please delete as appropriate) YES / NO
IF YOUR ANSWER IS YES GO TO OUESTION 5, IF YOUR ANSWER IS NO GO TO QUESTION 9.
5. Since when, approximately, have you been using the internet as a reference tool?
6. On using the internet: (Please delete as appropriate) a. Are you comfortable using the internet? YES/NO b. Have you had training on use of the internet? YES/NO
7. What are your 'top ten' websites or search engines that you use to answer enquiries. Please give site addresses and indicate how often you use them by ticking the appropriate box.
.. daily at least once once once less once a a in 3 in6 often week month mths mths l. 0 0 0 0 0 0 2. 0 0 0 0 0 0 3. 0 0 0 0 0 0 4. 0 0 0 0 0 0 5. 0 0 0 0 0 0 6. 0 0 0 0 0 0 7. 0 0 0 0 0 0 8. 0 0 0 0 0 0 9. 0 0 0 0 0 0 10. 0 0 0 0 0 0
8. What would you like to see on the Internet as a resource for music librarians that you have not already found ?______
NOW GO TO QUESTION 10, PLEASE. 9. If you do not use the internet as a resource at the moment, do you think that you will in the near future? (please delete as appropriate) YES/NO
10. Are you a member of the International Association of Music Libraries (IAML)? (please delete as appropriate)
YES/NO ~------~
11. What type of institution do you work in? a. National copyiightlibrary D b. Academic Library/ Conservatoire D c. Public library D d. Church or Cathedral library D e. Library of a society or institution D
12: What age group do you belong to? (please tick the appropriate box.) a.21-30 D b.31-40 D. c. 41 - 50 D d.51·60 D e. Over 60 D
THANK YOU FOR TAKING THE TIME TO COMPLETE THIS QUESTIONNAIRE.
Please return it in the postage paid envelope by JUNE 5TH 1998.
Ifyou are interested in evaluating the website that is created as a result of this questionnaire, please fill in your details in the space provided below.
NAME: ADDRESS:~~------______
______,POSTCODE. ______Department of Information and Library Studies Loughborough University Loughborough Leicestershire LE11 3TU UK Switchboard: +44 (0)1509 263171 Department: +44 (0)1509 223052
• • Loughborough • University
15 May 1998
Dear Music Librarian
Internet Use
The enclosed questionnaire is part of a research project based at the Department of Information and Library Studies at Loughborough University. The aim of the project is to investigate the extent of the use of the Internet by music librarians and to assess your response to the Internet as a search tool. We would also like to know what you would like to see, in an ideal world, on the Internet as a reference source for music librarians.
The project will culminate. in a website that will link the most popular websites used by music librarians. If you would be interested in assessing this website for us, please fill in the section at the end of the questionnaire.
We would be very grateful if you could take time to complete the questionnaire and return it in the reply-paid envelope by 5th June 1998 at the latest. If you have any questions about this project, please feel free to contact myself ~r Professor Cliff McKnight, Head of Department (email [email protected].
Many thanks in advance for your cooperation.
Yours faithfully
Lesley A. Clayton (email: [email protected]) APPENDIX B:
A print-out of the website, "Web resources for music librarians"
89 esources for music librarians home page bttp:lIdils2.lboro.ac.ukIlsIacJwnnll.btml
Web Resources For Music Librarians
Welcome to the 'Web Resources For Music Librarians' website.
This site was developed as a result of a survey of music librarians throughout the United Kingdom asking about their use of the Internet and which sites they visited the most. You will find both the most ~~uent1y used websites and also some sites which may prove useful that the music librarians did not mentiomn~.------______
The website is easy to use - just select the category that you wish to search and then select the site that you wish to visit from that genre page!
GENRES
CLASSICAL
JAZZ { BWES
COl JNTRY & WESTERN
E1}INIC {WORW
MUSICALGAIEWAYS
MISCELLANEOUS
......
Compiled and created by L.A. Clayton 1998.
08/1819814:56:19 I urces: classical music hap1/dils21boro.ac.ukIlsIacIwrml2.html
Web Resources for Music Librarians
CLASSICAL MUSIC
The British Music Information Centre
The BMIC houses music and infonnation about British composers and British music since 1900, not. only in printed fonnat but also recordings and video footage. Very infonnative.
'Yahoo' Music Genre! Classical
Lots of different options to choose from, including: Artists, awards & competetions, composers, conducting, ensembles, events, Baroque, Early music, historically infonned perfonnance, Medieval, labels, opera, Renaissance, reviews, symphony orchestras and Usenet links. A very useful site.
'Gramophone Magazine' • onIine.
All you would expect from the printed copy, reviews, news, editors choice and 'Recordings of the Month' from September 1996.
HOMEI POP I FOLK! ,JAZZ & BLllESI C &W I ETHNIC & WORLDI
MUSIC GATEWAYS Il\HSCELI,ANEOllS
::::::::::::::::::::,,:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::n::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::I::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::,,:::::::::::::::::::::::::
Created and compiled by Lesley Clayton 1998
0811819814:56:57
1 esources:pop J;Ilusic http://dils2.lhoro.ac.ukIlsladwrml3.html
Web Resources for Music Librarians
POP MUSIC
~"""="====~=.....= ...... = ... ~.... ".= ...... = ..... = ..... =... =.... ~..= ..... =..... =...... = ..... = ..... = ..... =...... = ..... = ... = ..... = ..... =...... = ..... = ..... =...... = ..... = ..... = ..... =...... = ..... =..... =... ~==
The Ultimate Bandlist.
An absolutely enonnous site which has both an ordinary and advanced search facility adn the option to search by approximately 30 genres. Sound clips are available on this site, artists biographies and infonnation on what is available for sale at the UBL store and also links to related artists. The site provides concert news, music news, infonnation on record labels,on-line events, meta music sites, magazines and E-zines not to mention the UBL Top 100 chart.
The British Phonographic Institute
Includes the Top 40 UK singles, Top 40 UK albums and the Top 40 UK dance singles charts.
This site gives infonnation on the British Phonographic Institute and its business, facts and figures, infonnation & publications, infonnation on the Brit Awards, the latest chart details as entioned earlier and also sonie links to dotmusic. Careers infonnation about the record industry is provided, details on how to spot 'pirate' CD's and also links to other record companies. The Top 40 singles chart provides links to reviews and websites of bands where possible, aswell as that you can get sound clips and also purchase recordings from here.
'0' Magazine ontine
Just as you would expect from the paper edition: reviews, news etc of the charts.
CNotes Music
Search by artist name or album name. Infonnation on recent releases by genre, billboard listings, purchase online, links to band sites, news of tour dates etc and also details of featured artists.
HOME I CLASSICAU FOI.KI TA ZZ & BLIJESI C & W I ETHNIC & WORLD!
MUSIC GATEWAYS! MISCEU.ANEOUS/
2 08118198 14:57:42 esowces: folk music http://dils2.lboro.ac.ukIlsladwrml4.httnl
Web Resources for Music Librarians
FOLK MUSIC
~ ....
Folk Music.org
A direct search or browse facility available to search by artist Also information on shows business, organisations, media, shopping (ie: instruments. sheet music. books etc.) and forums. Work is currently underway on an Internet directory of folk sites.
EngUsh Folk and Traditional Music OIl the Internet
Gives links to a huge quantity of Internet resources on this topic. Discographies. bibliographies. libraries & archives. instruments. songs. tunes & dances. artists.events and specific genres within the field of folk music. A very comprehensive resource.
UOME/CLASSICALl POPIJAZZ & m,IJESI C & Wl ETHNIC & WORLD I
l\UJSIC GATEWAYSI MISCELLANEOITS I
Created and compiled by L.A.Clayton 1998.
08/18198 14:58:35 woes: jazz/blues http://dlls2.lboro.ac.ukIlslacJWRMI..5.HlML
Web Resources For Music Librarians
JAZZ & BLUES
.===.=.... =.... =..... = ..... = .... = .... =..... = .... ~...•.. ==== .. =..... = ..... = .... = ..... = .... = .....= .... = ... = .... = ...... • = ••= ••=~".==".=.""."'~
The Red Hot Jazz Archive.
This site gives information on the major characters in Jazz pre 1930. It includes biographies, recordings, further reading,full details of the bands that the major characters played with and discographies. Also included is a search facility, details of jazz films, jazz bands 1895 - 1929, essays and articles on the Internet and the site has academic support
Jazz/B1ues
Lists e-Zines, official pages and also fans pages.
HOMEI CLASSICAl, Il'Or I FOl/KI C &Wl ETHNIC & WORLD I
MllSIC GATEWAYS I MISCELLANEOUS I
~...•. w .•.•...•...•.•. w .•.•••.•.•.•.•.•. w.w••••.•••.•.•.•. w.~ ...... w.w ...... N••••. W.·.·.·.w•• ~w." ..... ·.· ...... ,.·.·.·.· ..... ·.· .. ,.,..·.·.·.·.·.·.·.·.~· ... w.w.· ..... ·.w ...... ww.·.·.""'... ,,· ...... w.·.·.·.·... • ..N''''MW.V.W.·.·.·.· .... "·.· ... w... ·?-· ... •••••.•.•.• ..... ·.w,, .... w ...·.·.·.·.·.·.·.·.·N.·.·.·.· .... N.· . .".W.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.w ... •••.
Created and compiled by L.A.Clayton 1998.
08/1819814:59:14 urces: country & western htlp:l/dils2.1boro.ac.uldlslaclWRML6.1fIML
Web Resources For The Music Librariau
COUNTRY & WESTERN MUSIC.
...... ~
Yahoo Music Genres! Country & Western.
A wide variety of choices including: Anti country & western, artists, charts, chat, christian, companies, festivals, magazines, organisations, regionalinformation, Tejano and Usenet links.
NB. Not all of these sites are maintained by professionals.
Nashville Music Link
From the capital of C & W a bewildering array of choices await you! Includes: Artists,labels, songwriters, press,charts, radio, publishers, services, studios, musicians, resources and a lot more besides. A serious Country music site from the home of Country music.
HOME! CI,ASSICALf rOPl }'OLK! JAZZ & BJ.llES! ETHNIC & WORLD I
MJjSIC GATEW AYS! MISCEI,LANEOIIS
Created and compiled by L.A.Clayton 1998.
08/18198 14:59:58 ~oW'CCS: Ethnic I World music http://dils2.lboro.ac.ukIlsladWRML7.lITML
Web Resources For Music Librarians
ETHNIC I WORLD MUSIC
Ceolas • Celtic Music Site
Artists, resources, instruments, celtic dance, reviews, tunes & software, tune index, tour schedules and related sites. A comprehensive contribution.
Yahoo Music Genres / Ethnid World Music.
A wide variety of choices here, including: Countries - from Africa to the Isle of Man and from New Zealand to Vietnam, cultures and groups. Ethnomusicology - archives, journals, University departments and organisations. Also festivals, World fusion, artists and labels.
UOMEfCJ.ASSICAI. (POPI FQI.K (JAZZ & BLl!ES (C & W I
MUSIC GATEWAYS (MISCEIJ,ANEOJJS I
Created and compiled by L.A. CLayton 1998.
08/18/9815:00:37 I ~sources: music gateways http://dils2.1boro.ac.ukIlsladWRML8.1fIML
Web Resources For Music Librarians
MUSIC GATEWAYS
...... " ...... ~~=
World Wide Internet Music Resources.
Once more a simply huge site that is very difficult to talk about as there is so much here! There is an A Z guide. The site is maintained by the William & Gayle Cook Music Library at the University of Indiana, in the USA. Nine options are offered: Individual musicians (all genres) & popular groups, Groups & ensembles, Other sites related to performance, Composers & compostition, Genres and types of music, Research & study, The commercial world of music, Journals & magazines and General & miscellaneous. This is probably one of the most comprehensive music sites available.
Music Resources.
This site is maintained by the Sibelius Academy in Finland and is an exhaustive index of musical resources available on the Internet. Quite simply - you name it and it is there! Coverage includes all genres.
Project Earl Music Links.
This first link will get you to the WWW Virtual Library, select Humanities, then Performing Arts and then music or classical music depending on what you are looking for. The big bonus with this site is that you can narrow the search down to eliminate non academic sites and also specify the category that you want ego performer, music institution, FfP site or E-zine. The Virtual Library is maintained by the Georgetown Preparatory School. The Classical music site was not as good as I had hoped, the list of soloists was by no means exhaustive and I only noticed one really big name from the world of opera. The other lists available are conductors, ensembles, orchestras, choirs, operalmanagementlagencieslmiscellaneous.
Also available via EARL is the Gateway to Mu~ic {joks which is maintained by the music "taskforce" and this provides links to public libraries with large collections of music, links to catalogues of music information including a catalogue of orchestral sets and a vocal sets catalogue, commercial bodies - music publishers, the IAML (UK) discussion group, links to the Library Association, Library of Congress and the British Library. Also available is a guide to internet music resources such as the Exeter Music subject Tree and BUBL www subject tree in the UK , European and US sites are also given. Music associations are listed and at present a 'special music materials collections' section is being developed.
IAML fUK)
2 0811819815:01:21 esources: music gateways http://dils2.lboro,ac,ukllslaclWRML8,!flML
Full details are given here of this professional association plus some music 1inks including the Exeter Music Subject Tree and 1inks to the Music Library Association in America and the American Musicological Society. This was the third most popular site in the survey.
International Lyrics Server
This site offers the possibility of a full text search of the Top 10 singles with links to the full text of the lyrics and it provides lyrics to over 80,000 songs of varying genres from Rock to Folk with much in between. Links are also available to further lyrics sites, Top 40 lyrics, the original hip-hop archive, - music links for albums~CD's, musicnews.-musi~l~ision and a music database that will giv'e I ------~ chordsffabs and MIDI to many songs. The site is based in Switzerland where it is maintained by -~ .. en thusiasts who are funded by sponsorship.
HOMEt CLASSICAI.l POP! FOLKtJAZZ & BLUESt C & Wt
ETHNIC & WORJ.Dt MISCELLANEOUS I
\ ...... I .. , ...... , .. , ...... 1 ...... " ...... Created and compiled by L.A.Clayton 1998.
2 08/1819815:01:21 ~ources: Miscellaneous http://diJs2.lboro.ac.ukIlslac!WRML9.1f!ML
Web Resources for Music Librarians.
MISCELLANEOUS
British Library 'OPAC 97'
A search engine for printed music held at the British Library since 1980. An easy to use form filling format An essential site for the music librarian.
Music Database
A very unpretentious site that allows you to search the database by album, artist, track, style, language and country. Where possible you are given the opportunity to buy recordings and also given links to websites of the band or artist
BBC Schedules
Here you will find full details of BBC programmes both on television and on all seven radio stations for today, yesterday and the next day. Some hypertext links are available to give more detail though not on all entries.
International Lyric Server
You can search the full text of the Top 10 singles as well as the Top 40 lyrics. The site contains over 80,000 song lyrics for a full range of genres. The whole project is based in Switzerland and is maintained by enthusiasts who have managed to get sponsorship to fmance the website.
Brass Bands on the Internet
This site provides links to many of the home pages of Brass Bands both well known and not so well known. Details are given about the bands, events and how to book the bands.
Also of major interest is the Music Ubraries Onmproject, which went live in mid-july but is still under construction.
HOME! CI.ASSICALI POPI FOLK I ,JAZZ & BLUES I C & \W
2 08/1819815:02:14 f: 40198137