CONTINUO
�
NEWSLETI'ER OF THE INTERNATIONAL ASSOCIATION OF MUSIC LIBRARIES, & II AUSTRALIA NEW ZEALAND BRANCH.
CONTINUO
VOL 5 NO 2 DECEMBER 1975
Contents
Editorial 2
Programme of Music Librarianship Seminar held Melbourne, August 1975 . . . 2 Music library resources in New Zealand by Dorothy Freed 4
Collection of interest to IAMLANZ members: a note on a hymnology collection ... 10 Bibliographical organization of music (scoresj collections by I. Miller 11
Australia Music Centre L~d by J. Mut'doch 16
Copyright and the music librarian by R. Hughes ... 18 NUCOMUSIC by Prue Neidorf ... 22 Minutes of the General Meeting of IAMLANZ, 28th August 1975 25 Constitution of IAMLANZ . . . 27 .Gditorial
(:n 28th and 29th August, 1975 t a most successful music librarianship seminar was held in Melbourne, organized by the Victorian Division of IAivILANZ. About 30 members from throughout Australia and New Zealand attended.
This issue of •Continue' includes some of the papers presented at the seminar.
A General Meeting of IAMLANZ was held during the seminar and the minutes are included in this issue of 'Continue'. In addition, the IAMLANZ Constitution is included. Several members have requested copies recently and it is published in this issue for future referenceo
Music Librarianship Seminar
August, 1975
Melbourne
At the time of the 18th Biennial Conference of the Lib~Jry Association of Australia, the Victorian Division of IM'lLANZ organized a two day seminar on music librarianship.
Opening address by Ivlr K .A .R. Horn, .Acting President, IAMLlL."tiJ.l.
'Music library resources: types of materials, problems of storage, access and use'. Miss M. Greene, :F'ao.ulty of Music, University of Melbourneo
'Readers services in the music library'. Miss J. Irwin, Dandenong City LibrarJ.
'Bibliographical organization of music collections'o I. Miller, The Victorian College of the Arts.
'Collection building: music acquisition. tools and music suppliers'. Miss M. Caldwell, N.S. IJ. State Conservatorium of ~!iusic.
'Music library resources in New Zealand'. Mrs D. Freed, Victoria University of Wellington.
'Early music periodicals in New Zealand'. G. Seaman, Univ-ersity of Auckland. (This paper will be published in Continuo 6 (l)o)
2. 'Audio-visual resources and facilities in the music library'. J. Stafford, Tasmanian College of Advanced Education.
A short piano recital by B. Greenfield, New :tealand.
General Meeting of the Australian and New Zealand Branch of IAML.
29 .. 8.75 'The National Library and the Union Catalogue of Music'. Mrs P. Neidorf, National Library of Australia.
'Music information centres'.. J. Murdoch, Australia Music Centre Ltd ..
'ALBIS: a music network?' Discussion. Chairman, K. Horn, State Library of Victoria.
'Orchestral music resources in Australian libraries'. I. M.iller, The Victorian College of the Arts.
'Copyright and the role of APRA'. R. Hughes, composer.
3. MUSIC LIBRARY RESOURCES IN NEW ZEALAND
Dorothy Freed
Introduction
This is my first conference visit to Australia since I became involved with music library affairs in my own country and abroad. Our two countries have much in common. We were originally settled; and at ·about the same time, by the same sort of English- speaking people, the majority of whom came from unmusical back- grounds in Britain~ Many individuals; of course, were musical; but the 19th century was hardly the Golden Age of music in Britain, so a basic tradition such as would have been found had our countries been populated by Italians or Germans was lacking. There were, however, many choirs in both countries (this was an English tradition), many brass bands, and a great deal of music-making in the home. Our libraries weren 1 t too bad in the late 19th centuryr but music didn't appear in them. The combination of music and libraries got away to a late start.
I'm going to tell you a little about the development in New Zealand, and I hope to learn while I am here something about yours.
History
I can't tell you when music scores first started to appear in public libraries. in New Zealand. No doubt the small amount that did was the result of gifts from private individualsu perhaps part of a large bequest of books. But I can tell you that there are still thousands of people who ought to know better, who do not know that there is any music for loan in any public libraries. And I believe there are still small libraries who have music but cannot face cataloguing and organizing it.
We do not have a national conservatoriun1 of music in New Zealand. We do not haven national music library. The nearest thing we have to the first is Executant Diploma courses at the four major universities (Auckland, Wellington, Christchurch and Dunedin). The nearest thing we have to the latter (as far as a large collection.is concerned) is the Radio New Zealand Music Library. I aJ:n thinking, of course, of music scores and where ordinary people in New Zealand might think of finding them. Fifty years ago a few people would have known of the then small collections at some of the university libraries; there would have been no Radio New Zealand Music Library because there was no radio. Forty years ago the NZEC library was started. But again, there was little point in knowing about it if you weren't doing a broadcast, and even today, this library only lends through direct contact (occasionally), or through indirect contact by way of broadcasting stations. It does not lend through the Library Intcrloans system. However, the fact remains that it does supply most of the provincial music-making groups.with their music.
Maybe you think that this harping on the borrowing of music is unnecessary. Why can't people buy their own? Well, -it is a lot easier to do this in Australia. than New Zealand. Our music stores are few and far between arid they never have in stock what you want. It usually has to be imported from Australia, Britain and A.~erica with a big time-lag to further put you off, and the cost by the time we get it is exorbitant. We are at present experiencing a real upsurge of group musical activity in New Zealand, with three thriving government-sponsored executant courses in Wellington alone.
Well, to get back to 30 years ago. Public libraries in at least the four main cities were buying music scores. University collections were becoming more comprehensive. our National Libra-:y (then the National Library Service} was established. It was buying lots of books about music 1 but music scores themselves were not being bought, except for community songbooks and a few operatic and light opera vocal scores. Our man in the street could borrow music to play from his public library if his street happened to be in one of a small number of cities. If he lived in Auckland he was best off, be.cause Auckland Public Library has always been the bright star in the New Zealand music library firmament, especially since 1947 when it received a large and valuable bequest of music scores on which to build. He could also borrow through interloan, because cards for music scores did appear in the National Union Catalogue.
So things remained, until 1961 when an NZLA ad hoc committee was set up to think up ways and means of improving the situation on a national level. Their recommendations, published in 1963, included~
1. That the major cities should be induced to buy more music for their existing collections, on promise of a nationally organized service to back them up.
2. That an effort be made to induce municipal libraries which have insignificant or non-existent music collections to buy music on the same promise - &~ interloan service backed by a national collection.
3. That the Minister of Education be approached with a view to "reaching agreement on an immediate start in building up a national collection of music'".
4. That National Library Service should be asked to begin purchasing scores and books on music, new and second-hand, to form the nucleus of what will eventually be the Music Section of the National Library; the music to be bought in single copies at first.
5. That cards representing scores in the Union Catalogue be separated to form a Union Catalogue of Music.
6. That the National Music Library, when constituted, should act as a repository for our collection of national music.
7. That it should aim to provide the most substantial general reference collection in the country, both of scores and books on music.
8. That it should "provide out of separate stock a service to small choirs and instrU!.aental groups, perhaps by subscription". 9. That it should '1provide a home for a national collection of musical instruments" •
10. That specialist staff be appointed at National Library Service.
Unfortunately, this was a committee, like so many others, without teeth.
It recomm.ended 1 and trusted to the Lord.
The National Librarian accepted the recommendations which applied to the National Library and gave assurancE;s tiiat. al though time, space q staffing and money were in too short supply to make an irr.mea.iate start, the recom..rnendations would in time be acted upon.
I might mention that at that ti.~e the National Library Service was a separate government organization. It had a central division and various branches - notably the Country Library Service and the Schools Library Service. The National Library Act of 1964 incorporated the National Library Service, the Alexander Turnbull Library and the General Assembly Library into the National Library of New Zealand. Then plans for a National Library building appeared on the drawing board. !tis at_ the moment a deep hole in one of the Wellington city streets. When the building is completed in about five years~ time, we will have something that people can bok at, a rich collection brought together in one place instecd of a number scattered all over the city. Many desirable things not yet done will be easier to organize and achieve in the new building.
In 1963 the physical set-up of the Central Division of the National Library Service was far from beautiful. Its valuable work of organizing the book resources of the country and.operating the interloan service was being done under appalling conditions. One can hardly blame the National Librarian for reeling a little at the thought of immediately implementing the Music Committee's recommend- ations. His reaction could well have been, "Let's wait until we get the new building". I believe this attitude has coloured the official reactions to a certain degree; but certain thingsg and important things, did happen.
The first was the establish.ment of the Union Catalogue of Music Scores. This took about two years a.rid iqa,s completed in 1967. It has been, I think, very successfulr <:1nd would undoubtedly be more so if mor~o_gle were aware that music could be borrowed thr9ugh interloan. This is a public relations problem; and, as you will know, not being able to get across to the public (especially on a national scale) many of things libraries can do for them is one of our great short- comings.
The second thing was an abortive attempt in 1967 to have the position of Music Librarian at the National Library Service established. I was the person the National Librarian then had in mind, and I was taken on to the reference staff with this idea in view for the near future. But it was not to be. The country suffered a recession, and no new positions could be established then. However, in the nearly two years I worked there in the Reference Section, I was asked to spend a certain sum of money eanaarked for starting a systematic collection of scores at the National Library Service, and did so with great pleasure. Fortunately, as it turned out, most of this went to subscriptions to continuing series of scholarly complete editions of composers' works. I say "fortunately" because when I left the National Library Service in 1968: the buying programme seemed to collapse. The "complete works" project, however 1 went on - it had to, once tho initial commitment was made.
Looking back over the y8ars I can now see another thing that happened; although it may be im.~odest of me to mention it. I started a "Needle the National Library" campaign. In 1960 I had published a paper on a National Library-·based organization of music for amateur choirs and orchestras, and another in 1961 on the general needs of the New Zealand public for music, highlighting the need for a nationa.l music collection which would include th8 cullection of New Zealand music; and these papers, of course, appeared in the library. literature. I had sat on the Music Committee of the NZLA in 1961. I was then a lowly librarian in the heirarchy (having only graduated the year before), and although I was aware that nobody else was doing anything about itr I did not feel I could rush into print too often in N.Z. Libraries. However, Werner Gallusser picked up my papers during his research and decided that for New Zealand, I must be the one to interest for IA~L affairs, and when IPP..Llu~Z was formed he asked me to be the N.Zo Vice-Presidento By this time {1970) I had left the staff of the National Library for pastures new, and was no longer in the running for the still non-existent job of Music Librarian at the National Library. But I found that being outside it, and with no axe to grind, I was in a much stronger 9osition to fight.
In 1971 I went to an IAML Congress in Switzerland and published a paper on that. Then I published one on IAMLANZ. In 1972 the conv&~evof the NZLA Conference Con~1ittee asked me to organize a full afternoon session on Music in Libraries at the 1973 Conference in Invercargill, and this.was highly successful. All sorts of needs were aired at this meetingr and librarians who attended heard about things many had not before been aware of - the latest run-down on policy 1 events and non-events at the national Library, and the excellence and example to us all of the music collection and services at Auckland Public Library. A description of the meeting plus two of the papers were published liJ.ter in N.Z. Libraries. The following year (i.e. last year) we had a one day mini International Conference of IAHL..-;NZ under the auspices of the N"ZLA Conference {where we formed a N.Z. Division): and also a half day session on Music in Libraries following the success of the meeting the previous year, and these meetings and many of the papers given at them were fully reported in N.Z. Libraries. This year (1975) we had a one-day meeting of the N.Z. Division of IAMLANZ at the Auckland Conference of the NZLA., again fully reported, and affiliated the division with the University and Research Section of the NZLA. And, of course, from now on we will be having a meeting every year. And I shall see that everything that happens is fully reported. The editor of N.Z·. Libraries asked me to compile a~d edit a whole issue to be devoted to music matters, and I joyfully did so. This appeared last month. I have really tried to mo.ke music news on the library front. I believe I have been successful so far. In a letter I received from the National Librarian last Christmas he actually thanked me for what he described as "keeping us all on our toes"!
For the ma.in object of all this publicity is to keep pricking the conscience of the National Library, because there is still no Music Librarian there. As a result of a remit passed at the Inver- cargill meeting in 1973 another c.d hoc com,.'11ittee on Music was set up to see if the earlier Committee's recom..~endations were still viable, and if necessary to make further recommendations. (I notice from Prue Neidorf's report of the 1974 IS.ME Conference that she recommends the updating and resubmission of your own Covell/Brown report.) I convened this meeting, and our report carJe out promptly. It supported nearly everything in the previous r:aport, and stressed that as so much depended on a Music Librarian at t-he National Library, an appointment should be made with despatch as a matter of urgency, if necessary with the aid of an Arts Council grant. This report, too was published.
Still no Music Librarian. Hard times 1 hard times, they say, but we must keep on battling. t'7e have our Union Catalogue of Music Scores, you have your Music Librarian at the National Library of Australia. 'rhere are just so many things for .a national Music Librdrian to do. Three important things have been done without one - the Union Catalogue of Music Scores, the appearance of at least the nucleus of the National Library score collection, and the establish.111ent of the Archive of N.Z. Music (of which, more anon). But many more things need to be done. Instruments. We have at least one ~xtremely valuable collection of old and exotic musical instruments in private hands in Wellington which could easily be sold outside the country at the death of its. owners if approaches are not made for its eventual acquisition for the country. Choirs and orchestras desperately need multiple copies and parts of choral and orchestral works to be made available through a loan or hire system. The music section of National Library must be built up to be a viable concern to back up the cou;:1try I s resources. Imd above all, librarians looking after music collections in public libraries all over the country need encouragement, help and advice.
The Archive of N.Z. Music
We now do have an Archive of N.Z. Music 9 whichu after slow beginnings, has suddenly taken off. In 1944 the General Assembly Library (now, but not then, part of the National Library) asked publicly for N.Z. music scores to be given to it. I don't think it got much, except a small amount through copyright deposit 9 l~~yway, there would have been very little because we still have little in the way of music publishers in the country. In 1968 just before I left the National Library Service I made a list of N.Z. scores I knew to exist, and Alexander Turnbull Library (the N.Z. historical library) was urged to try to obtain copies in some form or another. These were all published scores., but most were well out of print. However r the ad.mirable Auckland Public Library and a fei;, other libraries had copies of them, and copies could be made. Alexander Turnbull Library has been working on this list since then, though I couldn't exactly say with despatch. In the meantime,, two other lists of New Zealand music appeared as Library School bibliographies, and I published a Union List of MSS in New Zealand librariesu so new items were added. So things were moving, but slowly, slowly. Then came the shot in the arm.
In 1974 CAHZ was formed and as a composer I was invited to its initial meeting. Douglas Lilburn, our leading composer, discusseci wit.1-i. me before the meeting a remit he wished to present suggestin9 that composers deposit their manuscripts and published scores, before or after death, with the National Library. I rang the new Librarian at Turnbull Library who expressed enthusiasm. And so it all happened. The composers were astonished but flattered that anyone should want their scores for reasons other than direct performance. Turnbull Library circularised the composers and ran a publicity campaign in the press for scores, records, tapesu letters, programmes1 scrapbooks - 8. anyti.~ing to do with N.Z. music. A Music Advisory Committee was set up to help Turnbull Library and roost of the members of ti.'1.is are members of CA.NZ. A procedure was worked out ~,,,hereby scores could be borrowed if necessary by the composers themselves, or by others with express permission of the composers. And arrangements were made between Radio New Zealand Music Library and Turnbull Library for the transferring of scores held in the former Library to the latter. This is now all going smoothly, and is a matter of great satisfaction to all concerned, particularly me.
Archive of Maori and Pacific Music
Another resource we have recently acquired crept in quietly, and that is the Archive of Maori and Pacific Music at the Anthropology Depart.~ent, Auckland University. Here we find something very important starting all by itself, so to speak, and in a University department with only the driver vision and energy of its creator to solicit government funds a.11.d launch it. I speak of course of Dr Mervyn McLean.
Dr McLean was the chief guest speaker at our mini international meeting of IAMLfu~Z in Wellington in 1974, and the description of the Archive in the paper he gave there was published in Continue, ,, • 4 no. 1, June 1974, so I will not go into details here.
So in the last ten years in New Zealand we have achieved a national archive of New Zealand music; a national orchive of Maori and Pacific music; a Union Catalogue of Music Scores at the National Library; the start, at least of a comprehensive national collection of music scores at the National Library; an entry into Groves Dictionary of Music and Musicians under the heading "Libraries - New Zealand", document2.tion to appear in the next edition of Rita Benton's international Dictionary of Music and Research Libraries; and membership of the International Association of Music Libraries wit,~ our own New Zealand Division. And in another direction 1 CANZ is planning publication of a book on N.Z. composers, and the establishment of Resident Composers in groups of schools.
However, we must not forget, for a moment, the things we have not achieved. We have not yet got a Music Librarian at the National Library; we have no national Music Information Centre; we have no Directory of New Zealand Music; lectures on Music to Library School students ceased, inexplicably, several years ago, which means the,t librarians who will be looking after music get no specialized training whatever< we have not a single specialized music periodical in the country worth mentioning; we have no nationalization policy for University music collections; and nobody is giving anythought to the provision of material in multiple copies or parts to amateur choirs and orchestras.
What we need most urgently is ORGANIZATION of the resources we already have. For this we need a Music Librarian at the National Library. What we need next is more music scores and records in our public libraries all over the country. I think it is true to say that the quality of a country or· a city is a measure of the culture of the people who live there, in which case, surely it is most important that libraries should encourage the musician and provide him with what he needs. For is not music thG queen of the arts? And I believe
,;;·,, what we need next is recognition of music librarianshi p as a specialist branch of general librarianship. Music in our libraries has got to stop being the difficult stepchild t hat .Mother doesn't wc.nt to know about.
Mrs D. Freed is a Vice President of IAHLANZ and is actively interested in promoting nusic library resources and services in New Zealand. She is Refenmce Libraria.,, at the Victoria University, Wellington.
This paper was presented during the I AMLANZ Workshop , Helbourne , August, 1975.
------Collection of interest to I.AfvILANZ members
Every now and again a collection is brought to our attention that would interest all music librarianso At the suggestion of Mary O'Mara, Hon Cable in Brisbane has sent the Ifo.t ional Library details of his own collection of hymnology, which is obviously the largest specialized library of its kind in Australia. Ron has approximately 3,000 volumes in hymnology and related areas.
The hymn books. are shelved in. chronological order of date of publi~ation. This is of particular value in trying to sort out when any popular hymn first came . tnt_o general use, which is quite often a very different thing from its first publication and/or relative copyright dates.
The other obvious shelving arrangement would be by religious denomination. Another collector in the U. 3. A. corresponding with Ron does this, and includes other specific denominational material where relevant. rrhis is often a good expedient for understanding the theological variants in the words of some hymns. Although Ron does not have a shelf list, he does have a catalogue of approximately 23,000 hymn tunes, listed in approximately 40,000 hymn tune nameso Many tunes have more than one name ( One has 16 or 17 different names) and quite a large number of tunes have similar names, e.g. 'Bethel' has twelve tunes listed. Ron has correspondence from all over the world on this master listing, and one day would like to get it published.
( Note submitted by Prue Neidorf )
+++++++++++++ Bibliographical organization of music (scores) collections
I. Miller
In Australiat important music collections have developed, or potentially may develop, in the following types of libraries:
A. University libraries
A.l Historically, music libraries have developed as separate Faculty or Department libraries e.g. NU, SU, VU, WU. As with most small branch libraries at universities, these libraries rarely received adequate funds for collection maintenance and development and have operated with difficulty owing to a lack of staff. Often totally inadequate space was provided to accommodate the collection.
A.2 In the sixties, the newly established universities were determined to avoid a proliferation of un- economical and often philosophically unsound branch library services. However, the evidence suggests that university library managements unsuccessfully opposed/were disinterested in opposing or perhaps supported the inevitable argument that scores and recordings should be housed close to the teaching department e.g. VMoU, NUN. VLU provides an example of a music collection developed as part of the central university library.
B. Colleges of Advanced Education Libraries
B.l Single disciplin~ colleges e.g. QCM, NCMr CSM.
B.2 Multi-disciplinary colleges e.g. VCOA.
C. Special libraries
e.g. Australian Broadcasting Commission libraries Australia Music Centre Ltd. Victorian Educational String nusic Library
In the past, thero has been a tendency to staff some of the special music libraries with administrative rather than professional library staff. As a consequence services offered and bibliographical systems chosen for the organization of the collection are often distinctive.
D. Public libraries
e.g. Music and Sound Recordings Section, National Library of Australia. Art and Music Library, State Library of Victoria. Central Music Library, Pert..~. All four types of libraries night serve a similar range of users i.e. amateur and professional musicians, music students and scholars, and the general corn..~unity interested in music. However, each type of library could probably i dentify a particular category of user a.nd a general use pattern. For example, a university music library catering for the research interests of musicologists and a conservatoriu.'n of music library providing music for performers may have a substantial nmnber of scores in corm!lon. However the scores will be used for different purposes. I suggest that a clear understanding of the categories of users and types of use patterns may be a useful starting point when considering the problem of organization of the music library collection. In a small academic library catering for a reference and study use pattern, there may be strong arguments against classifying the collection of scores. Most Australian libraries have developed dictionary catalogues and a subject approach for scores would be possible. I suggest that no single classification scheme can be endorsed as suitable for all types of music libr~ries, if the library is to be user oriented rather than system oriented.
The purpose of classification is to group library resources on the same specific subject. The choice of classification schemes available for the classification of scores is essentially li..."'llited to three schemes:
British Catalogue of Music Classification scheme Dewey Decimal Classification scheme Library of Congress Classification scheme.
British Catalogue of Music Classification
BCM was compiled for the 9ouncil of BNB Ltd by Eric Coates, one of Britain's leading classification theorists. The scheme was . published in 1960 and, in principle, is a synthetic scheme. Coates identified isolates in the broad subject field of music e.g. march,. trumpet, military, 1920, English, and grouped the isolates into logical facets. These foci (the isolRtes grouped into facets) may be combined according to a citation order, t o produce a classification m.1:.tlber exactly co-extensive with the subjGct of the. score. A classification number for an English military march for trumpet could be determined by combining the symbols for 'English', 'r;iilitary', umarch ' and 'trumpe t ' according to the citation order. However, in practise, the more complex subjects are classified in less detail. A sextet for: piccolo woodwind violin ) violoncello) strings guitar ) piano keyboard percussion percussion would be classified under a predetermined class f or woodwind , strings, keyboard anc percussion ensembles. A special classification number would not be compiled by combining t he symbols for the component instruments and for sextet. In theory, such a combination would be possible although citation order problems ·could result and the classification
120 number would be lengthy.
Important features: l. BCM provides a detailed listin~ of music foci enabling the creation of specific classification numbers.
2. With the instrumentation ancl form of composition being indicated in the classification nu.'llber, the scheme is ideal for use in a classified catalogue with an index produced by chain indexing.
3. As a pure notation is used (letters only) the schem~ can be successfully used in a library using a'l1other classification scheme for monographs and periodicals. No confusion results.
Disadvantages.
The scha~e is difficult to use. Classification nu."!lbers are difficult to remember and most people experience difficulty in determining shelving order for classification m.miJ:iers (lqtters only used) •
BCJ.'1 is used in 'The British Catalogue of Music' although the British Library may decide to use the Dewey Decimal Classification for music in future. The continued use of BCM is under review at Ij present. 11,
Dewey Decimal Classification .I,1 ,f DOC is the most widely used classification in the English j speaking world. 'rhe scheme is a pre-coordinate one~ classes, sub-classes ~'...•_i.:.· etc. are all fixed and often lack specificity. However, DDC offers f considerable opportunity for number building, mainly through the ·•..111~ use of the standard subdivision and area tables. I could only classify the 'English military march for trumpet, 1920' as 1 English trumpet .Jl1 music, 1920' s'. All tru.-npet music, whether accompanied or un- ;) accompanied would be classified at the saine number. ,j
The scheme is enumerative and as a result is inflexible. However j it offers the advantage of fa.-niliarity a.nd for this reason must be 'of seriously considered when specificity is not essential. In a public .~,. music library, DOC may be th0 best choice. I
McColvin's (see his standard monograph) redraft of the 780's ;ii sequence in DDC offers little improvement to the existing schedule. ~,1-t :.t ·c~ 'l'he Library of Congress Classification
LC was developed to classify monographs and scores held in the Library of Congress. Like DDC, it is an enumerative scheme. In fact, the scheme is highly enU1~erative with very little opportunity for synthesis. Class M (music) first appeared in 1917 and was revised in 1957.
While the scheme may be useful for classifying a substantial collecti of monographs on music, in my opinion it has limited use for classifying scores. Specificity cannot be obtained. lm English military march for trumpet, 1920, could only be classified undBr the broad classes ij M 85-89 (solo trumpet and cornet music). ::,fI 13. 1
__:::•f fa·1·· 'f LC would probably only be chosen for use in classifying scores when the music collection was part of a large library collection already classified by LC.
The following chart compares the classification possibilities offered by the three schemes.
BCM DDC LC .. ------,------accompanied tNPMJ = 788. 48 = M95 = a studies tuba, solo instru.ment bass horns including solo tuba music unaccompanied, miscel- tuba laneous work ------natina for WTPEM = 788.4 = 1:1257 = rn & piano horn solo, piano horn music horn and piano music accompaniment in form (Duo) of sonatina
ass 4tet for WNS = 785.74801 = M457 = trumpets, brass 4tet (WUWOWTWSNS brass 4tet work for wind 4tet. rn = 4tet for 2 trumpets, Do not appear to be :ombone' horn and trombone) able to specify brass instru.'!lents.
nata for 4 WTNSE = 788.4 = M457 = rns horn quartet in sonata horn music work for wind quartet form ------ncerto for NXNPF = 785077 .. 0 M712.4 = ings and key- i septet for a strings Septets - cnn Septet for pfe. & ard septet and keyboard ensemble specify instru.~ents - strings. Original in the form of a add note - table of composition. concerto precedence
rk for piccolo NYDPQNQ = 785.76 ••• M685 = olin, viol-~ sextet for woodwind can add no. for each Sext0t for miscellan- cello, guitar strings keyboard & instrument (or group) eous combinations. rcussion & percussion. according to table of Lacks specificity. ano (XVQTSSRSQNQ = sextet precedenceo for piccolo, violin, cello, guitar, percussion and piano) ...... ------···--·------NYDNM = 785.79 ••• M920 = in, alto wind, string & key- Nonet - ca.-i add no. Nonet for \'i'ind-string e, Eng. board+ percussion for each instrument (or and piano. , bass nonet group of instruments) inet, according to table of j bass precedencG. piano 785.79789016 = nonet for wind, string, keyboard and percussion ...------·-·------
140 The seven works classified were works recently received in the VCOA Library. If required, specificity could be achieved in all seven cases when BCM was used. with DOC, s';'.)ocificity was possible in four cases and with LC, three specific nurr.bers were available.
As can be seen from the above examples, BCM could be particularly useful in a music library catering for performers. Students and staff soon become used to the letters notation, although the symbols are rarely easily remembered.
In future several music libraries in categories A and B (see introduction) are likely to be using machine readable records obtained from central sources e.g. Australian Marc Record Service. The MARC records being created by LC {since 1973 for music) usually include both LC and DDC classification numbers. The British Library is creating machine readable records for the production of a 15 year cu.~ulation of the British Catalogue of Music but it is unlikely that BCM nurilbers will be added to British MARC records for music. (A U.K. MZ-\.RC format for music has yet to be finalized.)
There could be strong arguments against using BCM if BCM numbers have to be added to all MARC records for music. Both the Ohio College Library Centre (OCLC} and the shared cataloguing project a.~ongst Britain's academic libraries have demonstrated that the greatest cost-benefit improvements in technical processing can be achieved when alterations are not made to existing machine readable records.
Another factor that must be considered, is the proposed revision of DDC music schedules in DDC 19th edition. At present a com.~ittee of North American librarians has just completed a commissioned revision of the 780 1 s schedules. The committee has been influenced by BCM and it is anticipated that greatly improved possibilities for number building {synthesis) will be a. feature of the new music schedules.
I find it difficult to answer the question: 'What is the most suitable classification scheme for music (scores)?' At the Victorian College of the Arts, I chose to use BC.~ as specificity was important, the students and staff would become fmailiar with the scheme t...11rough reqular use and considerable economies in classification could be achieved by using The British Catalogue of Music and t.lie published catalogue of the Central Music Library, Perth {uses BCM). It is likely that machine readable records will be created for our music entries in the near future, as cooperative computer based cataloguing develops a.~ongst the Victoria Institute of Colleges. A considerable percentage of the music currently being purchased in the library that I arr, associated with has been published prior to 1973. In house creation of machine readable records for scores will be inevitable. When machine readable records for scores can be obtained from a central source, we will be prepared to absorb the cost of adding a BCM classification number to each record.
Ian Miller is the Librarian of The Victorian College of the l-ixts, Melbourn This paper was presented at the music librarianship seminar, August, 1975, at Melbourne. Australia Music Centre Ltd
Jai.--nes Hurcfoch
(Summary of paper presented at the music librarianship seminar p August, 1975, prepared by the editor.)
The music information centre group of IAML was established in 1958 at the instigation of the Donemus Foundation, At-nsterdarn. The centres were originally called 'Documentation Centres; but as this suggested a passive collection of music of the past, · 1 Information Centres' was substituted. The centres aimed to acquaint the musical world, in an active way, with what was happening, principally with contemporary composers. In order to create a framework within which the M.I.C. group operate, the music information centres became a group of IAML. (IAML is affi~iated with the International Nusic Council, Unesco , as an international organization.)
The role of the music information centres is to provide the fullest possible information on national music pr oduction in the country concerned. The information would be based on docu..uentation: scores and parts, records , t apes, bocks- and journals, biographi es and annotations, and music criticisms. Internationally, the centres cooperate by exchanging information and publications.
In 1971, there were 18 members in the MIC group of IAML: Austria,
Belgium, Canada 0 Czechoslovakia, Denmark, Finland, France, Federal Republic of We st Germany , Icela.nd, Israel, Netherlands, Norway , Poland, Portugal, Sweden, Switzerland, U.K. ar1d U. S.A. At the time of this meeting, Australia and Yugoslavia had applied for mernb0rship .
I have recent information on five of the centres : Donemus , Switzerland, Austria, U.K. and Canada. Of this grou~ , the Canadian Music Centre is the most interesting. The Donemus and Swiss centres are activs. The Austrian and the U.K. centres are very low key and suffer from lack of financial support.
The history of the Australian music centre. (Australia Music Centre Ltd) can be traced back to 1969 when the Ac.visory Board u Cora.""!lonwealth Assistance to Australian Composers , discussed the need for a body to coordinate all efforts relating to music in Australia. In 1972 the CAJ'.C was absorbed by the Australia Council, then called the Australian Council for the Arts. The Mus ic Board of the ACA requested Roger Covell to examine the general situation r egarding music in Austra lia and amongst his recommendations was the proposal for a music information centre. In April, 1972, the newly appointed music consultant to the Australia Council (myself) recommended that the music centre project be regarded as a priority development.
In August 1974 the Australia Music Centre was incorporated as a non- profit company limited by guarantee. · However, the AMC Board decided not to go ahead with the project until adequate funds had been promised. In March, 1975, funds had been provided and the initial staff were recruited. On 2nd June, 1975, the Centre moved into permanent accom.~odation in the historical Rocks area of Sydney.
The I~MC has 9,000 square feet . l\.bout half will be used by the centre initially and it is hoped to sub- let the remaining space t o compatible organizations. Music Rostrum Australia h::~s rented office space. I am attempting to persuade the Jazz Action Society and the Musicological Society to rent accommodation. The Centre offers a 22' x 22' conference room with a small kitchen.
The specific functions of the Australia Music Centre are:
1. to promote and assist in the dGYelopment of music in 1'.ustralia and in particular Australian composers and musicians;
2. to promote and assist in performance, publication and recording of Australian musiciµns and composers;
3. to assist with the collection of bibliographical materinls on Australian composers and musicians;
4. to generally provide information on and promote Australian music.
Miscellaneous points mentioned:
i. Satellite centres are proposed to complement the work of the national centre. The first centre is likely to be established in Adelaide.
ii. A detailed questionnaire sent to 500 Australian composers was described.
iii. AMC will act as an agent for hire music. Universal Edition: Australia, has already arranged for 25 works to be available from the A1"\1C.
iv. A. Mccredie has been c.ppointed consultant on musicologyr to the Centre.
v. AMC is preparing the smusic' comDonent for the culture kit being prepared for the Department of Foreign Affairs.
vi. AMC has a role as watchl:nan. As the l\.MC is an independent, dis- interested body, it can a.ct as a public conscience.
vii. With the increase in Australian content a.>1d the grmrth in broadcasting stations, an increasing nu."i:lber of performin; groups will be needed to supply music for broadcasting.
viii.Ethnic music will be collected by AMC.
James Murdoch is the foundation National Director of the Australia Music Centre Ltd. Previously he was a music consultant with the Australia Council, Sydney.
The followinr; article may be of interes-:.: to readers: "Australian Music Centre Ltd." Elizabethan Trust news no. 17 14-15, December, 1975. Copyright and the Music Librarian
R. Hughes
The Copyright Act; at present in force, sets down thG nature of copyright in original works of a literary, dramatic, or musical nature as follows - I quote only those sections which concern us in this conference ··
The exclusive right to do any of the following acts: l. To reproduce the work in material form. 2. To publish the work. 3. To perform the work in public. 4. To broadcast the ~f'1ork: - by sound broadcasting or television. The first clause 0 To reproduce the work in material form', comprehensively includes manuscript, printed material~ tapes, recordings, films ~tc.; all of these forms are subject to particular conditions and control specified later in the Act. The second clause 'To publish the work', can only be granted by licence of the original author, or owner of the original MS, to a publisher, who, by mutual agreement, thenceforth controls the use of the work. The third and fourth clauses 'To perform the work in public I and 'To broadcast the w.ork ••• • are clear, and subject to control either by permission of the aut.~or or his represent- ative, or licensed by a society appointed for that purpose.
In broadcasting, there exists another large area of copyright controlr related to clause one. This is the right to reproduce copy- right performance by mechanical means on taper film etc. either from live performance or pre-recorded for re·~diffusion, and all are subject to permission of the various owners of the work itself, the performers, or the record manufacturer. The above clauses are all very clear. Contraventions of these rights do not always arise from a lack of knowledge, or misunderstanding oft.he law. Quite often there can be a deliberate disregard of the obligation to com:;;)ly with the law, knowing that there is a good chance of the breach not being detected, and that pursuit of an infringement is costly to the copyright owner and likely to be poorly rewarded on recovery.
Before t.-Je go further I would like to e:nphasize a point which is often overlooked. Whilst the law sets down regulations governing authors' rights, it clearly acknowledges that copyright is not a privilege conferred on the author. The l'~ct invests the author wi:th a copyright in his own creation, which comes into existence the moment the work is created - the words are 'copyright subsists in an original work of which the author was a qualified person at the time when tt~e work was made'~ and copyright means the sole right to authorize or forbid doing any of the acts in the clauses I quoted earlier. If unpublished, permission to reproduce must be granted by the author or his representative. If published, then the publisher who has been appointed to act for the author must give permission to copy. International law confirms the right universally, at the same time limiting it in certain waysF particularly in the period of time in which the work is protected. I have never been able to discover how
18. this limitation of time came to b2 iirrposed and accepted., for it seems that copyright is the only £orm of personal property which is compulsorily taken m.;ay from its owners,, without compcnsntion, fifty yGars after the death of the original o~mer, surely a compelling reason why adequate payment should be made for its use while the period of copyright exists. Can you imagine the volume of prot8st which would pour forth from the family interests of a wealthy business, when, at the end of fifty years after the death of the founder, they were due to hand over their inheritance to public ownership without further participation or recompense? This could happen, of course, in a wholly socialist state, but in the society in which we live at present: the creative work. of the artist is the only personal property subject. to this ±m:rosed ncquisition. For reasons which I am not awQre of, I o.m sure there must be significant justification in :::?.uthors' rishtsr when after nearly sixty years of non- recognition, the Soviet Union has now accepted the validity of these rights; and has agreed to institute a system of reciprocal rights, in accordance with the regulations of interna.tional conventions. Maybe I have said too much on this subject, but I believe that the music
profession and the music industry generally 1 give minimal consideration to the value of the composer 1 s contribution to music, and consider that they have very little moral obligation towards his material situation.
Reverting to clause l of the Act c "To re;::iroduce the work in material 2 form , I am sure you all know that libraries have been granted generous rights. r,. whole division of the 1-\ct, comprising several ck,tailed sections, specifies the limits. But because of the increasing range and efficiency of technological equipment now available, these rights are bein,:::: abused beyond reasonable limits. I believe that you have an obligation to educate and control contraventions by both lecturers and students, and performers, and in doing so, you will influence others to respect authors 0 rights. In particular, you must not forget that libraries remain responsibl€: for the photocopying output from equipment operated on their premises, from printed material supplied by the library, and this brings us to discussion of the: abuses in photocopyinq of copy- right material.
According to the Act, the copyinc; of an 'Gxtract of reasonable lGngth' does not constitute a.n infringer;1ent, but there is considerable doubt about how much is a 1 suJ:,st~nti.:>.l part' in relr,tion to the whole wo::-k, .Z::-.lthough not specified. in the A.ct, t~1e commonsense view now a1.;,_:c:=:,p·:.:cJ. by copyright societies is th,~t the tot::i.l a~ount copied should not exceed 10% of the whole worko In music, a single movement of a suite, or a single song in a cycle, which in themselves may mnount to less than l0%of the complete work, must be considered to be whole in themselves, and not as parts of tho com::::,lete work. In my experience, 'substantial part' frequently means a xerox print of a complete work.
As you represent libraries ·which enjoy the special provisions permittinz. ;::ihotocopyinr within the limitations of the Act, I assume that any equipment under your control is properly supervised. You do not have the right to make copies without n,strict:i.<)n for anyone ·uho may a,-tt. You can make a single copy of a reasonable port"ion,. for a person who has gf'<..,::n an assurance I) that the copy is requir~d for research or private study· and 2) a copy has not previously been supplied by the librn.ry. The person must be charged the cost of makin?: the copyo Tl:1 last point is important-
19. I thi~ the problem for t·he copyright owners may eventually be resolved by adequate payment for the use of the work in this way. Moves towards this situation are now being made, .but first we should be aware that the Australian law is not as. completel,y protective as that of the United Kingdom where a librarian is required by law to obtain from an applicant a signed declaration as to the purpose and use of the required copy. I have no doubt that this proviaion should be incorporated in the Australian Act, and strict supervision applied to all material passing through the machines, so that use 1-!i!_ detiied +.Q ~ I have some doubts about t he provisions of the .A.ct relc:.ting to unpublished manuscripts, given to a library for permanent safe keeping, and which:f,:,: open to public inspectiono Copyright is not inf~inged by t~e m~i~g of a copy fori 9 re~ea.rch or study, or with a view to pubhcatio~ ·r 111.s of course subJect to the statutory 50 years law. Authors ~.ind composers no not always leave specific instructions on a manuscript which they havenot published during their life time (probably with good judgement), but have not destroyed for personal sentimental reasons. I question the right of anyone to take up this work years l ater, make some editorial alterations, and because of contemporary novelty, gain some advantage. No composer can. be certain that any restrictions or special conditions he may place upon his manuscript will be observed, after it has been presented to the care of a public or educational library, and some composers have expre s?ed doubt about leaving any of their works to libraries. In the matter of performances in educational establishments, which are granted a generous concessional licence fee, my obser- vation is that as U.'1.iversity and college halls are now being utilised much more for public concerts, the whole question of privilege in these prerrises should be re-examined. Librariaiisare not bound to be concerned, but invariably they have been involved in preparation for the concerts, often advising on availability and provision of copyright music, and therefore are in a position to ensure that the Act is not infringed. I would particularly warn against extracting the manuscript performing parts from a printed score, even when such parts are difficult to obtain from a publisher. In some cases, local permission may be given for a special performance, on condition that the parts are surrendered after use, and suitable fees paid. Although it may not come within your control, I must mention mechanical copyrighto Probably the most widespread and flagrant infringements are occuring in the indiscriminate use of tape recorderso Bvery time a tape recording is made illegally, authors' rights, performers' rights and record manufacurers ' rights are infringed. All copyright music, when recorded, is licensed by 20. individual publishers or copyright owners, and copyright in the performance, and in the disc or tape, both as mechanical contrivances, is the property of the record manufacturer. Any further re-recording by broadcasting stations for re-diffusion is authorised by the Australian Music Publishers Association, and subject to agreed terms. The purchase of a recording by an educational library, does not absolve the institution from complying with the terms of the Copyright Law, similar to those applicable for printed music: that is, extracts of a reasonable length only, for research or study .. You cannot knowingly issue a rare disc or tape, to permit someona to re-record a whole work without being party to a breach of copyright. I have kept these remarks to what I think are the important points for your guidance. You have been given certain privileges by law, but you are also obliged to see that these are not mis-usedo Copyright exists for the encouragement of learning, and must be respected. Through- out its history, there has been conflicting opinion, and misunderstanding of the justness of its principles. Copyright has often been aubjectedto challenge by individuals and institutions prepared to deprive owners of their rights. But remarkably so, the rights of the author have been upheld in innumerable legal instances. No one can be certain that this will always be so, and copyright owners have to be constantly alert against such attacks. We have such a solution here, in Australia, at the present time. I have now read an interpretation of a sarnmary of the seemingly equivocal judgement given to the High Court 7 so I canvt pursue this matter to my purpose except to say; and I quote from the interpretation ttThe effect of the judgement is that the University and anyone ;,1ho installs photocopying machines in similar circumstances, is legally responsible for any infringements of copyright which library users commit by using the machinesoa In my opinion, the only just decision should include the imposition of adequate fees for the use of photocopying machines, ,1hich will at J8ad give some recompense to an a.uthor for his work, and -tc, -: r-ublisher for his costs in printing cu"'ld issuing the Robert Hughes is an Australian composer, keenly interested in promoting interest in Australian music. He has made a considerable contribution to the work of the Music Board, Australia Council. This paper was presented at the IAIVILANZ Workshop, Melbourne, August 7 1975 • 21. NUCOMUSIC Notes for the music library workshop session at the LAA 18th Biennial Conference, Melbourne, August , 1975 Prue Neidorf :Background At the Adelaide University - 1970 Seminar for music librarian- ship and documentation resolution number 3 recommended that: 1. a. National Union Catalogue of Music be established in the National Library of Australia., to include printed and manuscript scores, musical documentations, recordings, monographs and serial holdings. 2. That is should be an entity· separate from NUCOM and should be published and regularly upd.ate·d. · 3. An approach be made to a central orga...'1iS3.tion to set up a mobile team to collect relevant data. for this project from individual libraries. In the Covell/Brown report on Music Resources in Australian libraries published also in 1970, recommendations no' s. 9 and 10 urge the preparation and organization of a National Union catalogue of music. When the music and sound recording section was set up in 1973, we recogni~ed the urgency of setting up a. union catalogue, but did not have the resources to attend to it immediatelyo When 11UCOM was being consolidated prior to microfiL~ing in 1974, all cards relating to scores and recordings were extracted, in addition to eighteen drawers of cards which had been set aside for an eventual union catalogue of music. A spot check shows that the following libraries have contributed cards so far: WSTeaC, WLB, WO', QU, Q,PL, TCAE, TU, SAl!1S, SU, SFU, 111.J, NUN, :Nl.JN:H, NRML, ANU,. A.'iT'1C. I am not certain if this represents every library's complete output of cataloguing data., as there is a clause excluding music scores in the NUCOM handbook, and it is also not known when the entries were sent. Present situation Holdings: 0 unsorted cards 7,905 • sorted into primary 19,380 alphabetical sequence • edited 8,755 total 28,140 22. Man hours so far: clerical assistant 438 hours librarian 402 hours Current methods The unsorted cards are sorted into alphabetical order by a clerical assistant. These are then 'edited'. This process consists of assigning or assuming uniform title headings according to the Anglo-American cataloguing rules. At the present rate of progress, we hope to have the present holdings fully sorted by the end of this year. I.AMLANZ partici;eation We have decided to invite all music libraries to contribute their cataloguing output starting from the date of this conference. vJe hope that all IAMLA.NZ member libraries will contribute copy and that inclusion in the 1Tf.JC0}1USIC will indicate that the item is available on inter-library loan. If this is not the case, the card should be marked not available for loan. This will probably be the case for u...~ique, rare or manuscript items which nevertheless would contribute to our knowledge of their existence by being in a union catalogue • .DXtension ·of Union Catalogue activities It is unlikely that we will be able to create additional files from the union catalogue such as ones for manuscript and printed editions of Australian works, or one for microfilms. The major activity related to the union catalogue currently possible will be identifying RISM materials during the editing p:::-ocess. J;_~:i;on catalogue or sound recordings The national union catalogue of recordings has yet to be set ;~_r.. }!7 our thousand two hundred and seventy-five cards have been fftt:racted from NUCOM so far, and are totally unsorted. This will net start until the NUCOMUSIC is fully sorted, and again cataloguing copy is requested from contributing libraries as from the date of this conference. Points to be discussed music Parallels with 'Guide to the National Union Catalogue of Australia. • Amendments to inter-library loan code • DeveloJment of uniform cataloguing code. Other related union catalogues. " Points to be discussed - sound recordings 0 Deletions must be notified as well as additionso Copyright problemso • Postage, packaging and handling cost so 0 Supervision in borrowing libraryo Inclusions/exclusions 0 Oral history materials • Audio visual, kit materials • Ms P. Neidorf is the Music and Sound Recordings Librarian, National Library of Australia~ 24. International Association of Music Libraries Australia and New Zealand Branch Minutes of General Meeting, held at The Victorian College of the Arts, 28th Augu.st , 1975 • The ~ranch Vice-President, Mr Horn, opened the meeting with a brief report. He referred to the last General Meeting in 1971, and its resolutions. One of the principal activities of the Branch since 1971 had been the formation of Divisions in New Zealand, the A.C.T., New South Wales, South Australia and Victoria. He said that owing to this development, the Constitution ought to be looked at to develop some organization to ensure that the Divisions worked together and were in constant communication. He mentioned that as a result of both the first(1970) and second (1971) General Meetings of IAMLANZ, a file of correspondence concerning resolutions passed had grown between the Branch and AA.COBS. The result of this correspondence had been most]y negative and he suggested that the file ought to be looked at,. Other activities mentioned: There had been correspondence from the Special Libraries Section of the LAA suggesting that music librarians should form a group within the Section; I.AMLA....~Z made a submission to ALBIS ( mentioned in the General Secretary's repo ,rt to 'Continue'); the Victorian Division made a submission to the Committee of Enquiry into Public Libraries; the survey of music periodicals; a delegation from the Branch attended the 1oth IAML Co11g:;.~ess in Jerusalem in 1974 ( Prue Neidorf's report was issued as an Appendix to ' Continua• , Jecember, 1974) • He said that there was much 'vl11finished business to be discussed, as well as a good deal which -- neec'L2,'!. careful documentation and assessment of where matters stood. One cf the matters still requiring attention was the proposed survey of m1;•8::.c manuscripts held in microform in Australian libraries. He exE:r=-::J::r~d, the indebtedness of the Branch to Dene Barnett, Werner Gs.:: t·.:;:.,,T)r and Michael Holland. He then asked if these comments could ler:3 :: a discussion of future activities. Office bearers for IAMLANZwere elected1 with the following President: Mr K. Horn Vice-Presidents: Dr. W. Gallusser Ms. P. Neidorf General Secretary: Mr,. I. Miller Representative from N.s.w.: Mr J. Murdoch Other State representatives, New Zealand representatives and a Treasurer were to be appointed by the Executive. There was a general discussion of past and future developments .-;ith reports from Divisions .. The Victorian Division reported on a formal detailed submission being prepared to try to improve the situation regard -ing lending resources in Victoria • .An offshoot of the NoSail. Division had developed between librarians involved in arts/humanities subjects and those in museums. James :Murdoch mentioned that the .Australia Music Centre had been established and recognized by the .Australian Advisory Committee to UNESCO, and had joined the M.I.CG group of IAML. The New Zealand Division was formeu 18 month& ~go and is affiliated with the University and Research Section of the NZLA. Projects for discussion at its next meeting were: A national music directory; a letter written to the Director of the Library School objecting to music librarianship lectures being withdrawn,; and a letter to the National Library of New Zealand expressing dissatisfaction at its non-appointment of a music librarian. The Division was actively campaigning on the two latter matters. At its meeting in 1974, the A.C.T. Division became concerned with the rationalization of music resources in the Canberra area. The question of the desiderata list of music periodicals was raisedo Prue Neidorf indicated that the National Library wanted to assume responsibility for most periodicals on the list, with some help from the Australian National University. Subscriptions had already been placed for 70 periodicals on the list. Victorian libraries had been approached and were willing to help but AACOBS had not taken the matter further. Prue Neidorf suggested that marked lists be cir- culated, with IiJJilWiNZ formally requesting AACOBS to co-ordinate replies. There was some discussion about the possibility of Divisions being established in other States and about membership. Margaret Greene suggested that musicologists should be members. An advantage of joining IAMLANZ might be easier access to overseas libraries. Gerald Seaman mentioned that t-he New Zealand membership included musicologists.Pr~a Naidorf'r aaid that she would like to see the membership widened to include people whose decisions affect music libraries. James Murdoch suggezted that IANLANZ should have support from the recording and publishing industries. From the publishers point of view, the reward in commercial terms would be considerable. The retiring General Secretary thanked Mary 0' Mara for her article on music reference works published in' The Australian Library Journal' and Paui Bentley for his article on Australian music libraries published in 'Australain special library news'o Janet Irwin requested the incoming executive to try and promote the establishment of Divisions in all Australian states. The meeting concluded at about 5.30 p.m. Mary O'Mara ooooeooeooeooo••••• 260 INTERNATIONAL ASSOCV.TION OF HUSIC LIBRARIES AUSTRALIA AND NEP' ZEALAND BI:'.A1:1CH Constitution f,rticle I N.ameand Headquarters The name of this organization shall be the International Association of ;v!usic Libraries. Australia and New Zealand Branchf 1 hereunder called the ,:Branch • • Its headquarters shall be at the place of residence of the General Secretary. Purposes The Branch shall have as its purposes: 1. To foster co~operation bet,reen music libraries, other institutions and private :LncHviduals hav:i.ng music collections. 2. To constitute a. representative Australasian organization charged with stimulating and co~·ordinating the a.ctivities of the members and other organizations and individuals with like interests • .3. To study and to support projects dealing with musk bibliography and music library science on national and international levels. .. To encourage the,exchnn:r:c and lending of materials connec· ed with music. 5" To encourage early documentation of all music collections not yet catalogued and classified. ·· :,_. To co---operate in conserving and protecting our I!lusical heritage. To meet from time to time as an Australasian congress. To nromote the recruite.1nent and training of music librarians. Article III The Branch shall nave four caterories of members; corporate? , ;; ,<, ::.1~ual 9 student and honorary. The following me.y be corporate members l institutes and organizations which maintain libraries 1 collections of recorded sound;, archives; publishing firmss antiquarians; booksellers; other organizations interested in rnusic~ etc. 2. The following may be .individual members 1 all persons interested in the work of the Branch. 3. The following may be student members~ all persons interested in the work of the Branch;, who are working towards the Library Association's registration, a diploma in librarianship or a degree. 4. The following may be elected b.onorfi.}y,members~ p2rsons and organizations who have 1'."Gndered notable services to music :itraries or to the Branch itself. 27. Article IV Dues or su"hscriptions Subscriptions she,11 be fixed et $8. O'i for corporate~ $4. 00 for individual members and $2.GO for student r;iemhers. 'l'hey shall be payable annually by Lugust 31 to the Treasurer of the Branch. Honorat'y members shall not be required to pay a subscription. Article V _9rganization The Branch shall have as its conponcnt organs~ General- 1'1eeting, the Cor:.nnittee and the Executive. 1. The Ger1eral Meeting shall consist of. 211 the members. Honorary and individual members are all entitled to one vote. Corporate menbers are entitled to two votes. A qµorum shall consist of two-·thirds of the total ~enbership. The General Meeting shall n.eet at least once in t";very three years. It shall elect the President, 2 Vice·-·Presidents the General Secretary, and one committee member fron each P_ustralian state not already represented by one of the above=raentioned off ice--hearers. 2. These members shall form the n;.icleus of the Committee. They shall invite two re:,resentatives from New Zealand, one to become the third Vice-President, or,e a committee member. They shall also appoint a Treasurer from among the menbers of the Dranch, as well as an Assistant Secretary and additional committee members if thought necessary. 3. The Committee of the Branch leaves the current business to be discharged by the Executive; The Executive consists of the President 9 The General Secretary and·the Treasurer. All offices shall be declared vacant at each General Meeting. ·past officers are eligible for re·-election. Lrticle VI Committee Workinp; committees n2-y be appointed by the Executive or the Committee for carrying out the rcsolut:Lons of the General r-leeting or the Comr.:.ittee, .'crticle VII Budget The financial resources of the ~ranch ~.:,all consist of~ 1. Dues or subscriptions; 2. Grants; 3. Gifts and legacies. According to Article II$ paragraph 5~ of the Rules of Procedures set up by the International Association of Music Libraries$ the collection of the ncn1bership dues for the I L M L is made by the Treasurer or Secretary of the Branch. Once the dues have been collectedi the Branch deducts 10% of the total if there are 100 and less menbers in the Branch, and 20% if there are more. The renainder of the money is sent to the Treasurer of the Association. 28. Article VIII 1-J.I11 :ndmen ts The present constitution may be amended only during a regular session of the General fleeting. L.11 proposed amendments must be submitted in writing to the General Secretarys who will distribute copies of the.m to all r:ie~bers cf the Branch at least 40 days before the meeting at which they are to be voted upon" Votes by mail or by proxy are admitted" An amendment shall become effectibe if passed with a simply majority of the votes of the General Meeting" Article IX Dissoh:tion The dissolution of the Branch may be pronounced only by a General ?Jeeting specially convoked for this ~1.;rpose, and r,:Lth a two--,third majority of the actual members favouring the dissolution. Prior to the dissolution~ the funds of the Branch~ after payment of all debts~ shall be transferred to an institution recognised as beneficial for the promotion of music bibliography 9 nusic librarian= ship~ or sim:Uar aims" Article X Affiliation or mutual representation The Branch shall~ with the aim of pursuing work•-'= common :_,,:.:e:::-est, be able to r.e()_uest affiliation with certain organizations ·.-.,;,,:-2 activities are iu. the field of librarianship~ music and ·, :•1, The Branch shall alsc be able to be represented on other ::, ,::1r~:i.zations whose interests lie in 8. similar area" **************** ,-, ;', !.971) 29. NEW ZEALJiFD FEWSLETTEI_L The issue of Continuo describing the two day Mus ic Workshop in Melbourne last August has not yet reacht:ld me here. B1-1t for me this uas a tremendously intere sting experience 0 Having visited some venerable music libraries in Britain and Europe and attended an I.A.M.L. Conference in Switzerland, I was struck by the similarity in Australia and New Zealand of our problems, our strengtb,_,9 and our weaknesses compared with these other countries. Ou~· ,music librarians tend to be trained librarians first, music librarians later - a situation by no means the norm in Europe - which means that we all speak the same language. Also our primary object t ends to be ge tting music material to those who want it rather than to build or maintain rich r ef erence collections which are not generally accessible to tho public, as we do not ha ve so mu ch t o conserve as they do in Europe . Our national libraries coordinate our resources in a way not common in Europe . This is something we take for granted, and it is a sur~rise to fir.d hm,r astonished our European colleagues are to learn of OUI' dire ct and simple methods of coordina tion. So much.,,. and much more - we in Australia and Few Zealand have in common. The differer,ces between us seem to me to be negligible. We in New Zealand are, I believe, better coordin-,,. ated. But we have less - far too much less , I fear - to coordinate. Australia has incompar ably richer resources. I was able to visit the National Library and see the exciting things that are going on in the Nusic Section under difficult conditionso There were lessons to be l earned there for us, when we do finally get our Music Librarian at our National Library - that mysterious person "\.vho has been promised to us now for 12 years but still, sadly, fails to materialise. News from New Zealand over the past six months can easily be recounted as on ly two things appear to have happened, one good , one bad. At the annual mee ting of our New Zealand Division in February 1975 it 1.va s de cided to ask the Queen Elizabeth II Arts Council to set up a workin g party to consider the compiling and publication of a Year bDoH of Music in lJfc,W Zealand, as we all f elt that such a directory was badly neededo This request was turned do't-m . I quote from the l etter sent to me : "The ber.efi ts of such a proj ect are disproportionate to the investme nt of funds which would be required to make it a reality." At our next A.G.M. we ·will have t o consider other ways of getting this accomplished, even if not on a continuin g basis. The happy event, also resulting from our meetingts deliberations, was the re-establishment, after a ;bapse of several years, of lectures on Music to the N.Z.Library School graduate class. Dorothy Freed Wellington, New Zealand N .z. Vice':l'President, IAM],Ju-rn 29/12/75 SEJECTION OF RECORDINGS SUGGESTED FOR PURCH.ASE (DECEMBER 1.97.5) U.! >JAW 6t515 ''The myths and legends of English Chamber choir with King .Arthur••• " orch., soloists / Measham !!:!}2. ZR,G 72~ B.ANRS Horn concerto Barry Tuckwell (horn), Gervaise c SE.ARIE Aubade, for horn & orchestra Peyer (clarinet), New P.o. and MUSGRAVE Clarinet concerto London s.o. / Del Mar ZRG- 770 HODDINO'IT Violin sonata No.1, Septet op.10, Myer~oough (violin), Martin Jones Divertimento op.32 tpf), Nash Ensemble ZRG 788 CROSSE.BERKEIEY,DICKINSON Contemporary songs M & P. Dickinson (mezzos. & pf) ZRG 790 !IR'l'W:.fS.tm The Triumph of Time, Chronometer BBC· S • 0 ./Boule z zaG- 794 COPLAND Piano quintet IVES Piano trio Cara.iff Festival Ensemble ZRG 804 POULENC Chansons Palmer (soprano) ,Constable (pf) ZRG 812 CAMILLERI Missa mundi G.Vleir (organ) , BASF BAC- 3CF{2.•"A- MOZART Il re po.store c Soloists, Salzburg Moza.rteum Orchestra/Hager BEETHOVEN Triple concerto in C op. Maier (vn),Bylsma Badura- 1W 3097 I 56 (vo), i Skoda(pf'),Collegium Aureum \ l CLASSICS FOR PIEASURE ]CFP 40210 DEBUSSY Violin sona tlli in g Hasson (vn), Isador (pf) ' FA~ Violin sonata in A, op.13 l 1-CBS :~M 763~H MOZART Divertimento in Eb, for string trio Stern(vn),Zukerman(va),Rose(vo) \CBS 73451 COPLJJID El Salon Mexico, Danzon Cubano,eto. L.s.o. and New P.O.JICopland \Q~ SBP4443 Solitude on guitar Baden Powell jCl3S SBP4517 Mysterious traveller Weather Report JOBS S2Bl? 147 "Ella Fitzgerald live a.t Carnegie Hall" 1CM S2BP 162 "Get up with it" Miles Davis l ··.·ORD \- t°At 1839 FAU'Rt Chant :f'Uneraire,op.17 Musique des Gardiens de la KOECHLm Quelques ahorals pour les f~tes Paix/ Isoir(organ) populaires SCHMITT' Dionystaques, op.62,no.1 COUPERJN,F. Messe des paroissea, messe des Isoir ( organ) oou\rents GRIGNY La messe LEBEGUE Suite de 2me tonJ Elevation BACH Flute sonataa,BYTV' 1030-5; Partita Preston (:Baroque flute) ,Pinnock in a,IWiN 1013 (harps.),Savall(viola da ga.mba) RHEINBERGER Organ sonatas nos. 12 and 17 Fisher & Farrell (organ) I _woe.A ! s1'L 6717 VARIOUS Works for horn and pianoforte Tuckwell(horn),.Ashkenazy{pno) sJCL 61,18 RACHM.l'lNINOV Songs Soderstrom (sop) ,Ashkenazy(pno) -100-2 HAYDN Pianoforte works McCabe ·,P..G!t z70CJJ57 ... BMHMS Folksongs Mathis(sop.) ,Schreier( ten.) ,Engel ,. (pno)~Leipzig Radio Chorus CORELLI ~33 .132-3· Violin sonatas 1-12.op.5 Me lkus ( vn) 1Dre y:f'us ( ha.rps • & organ}, Atmaoayan~vc),Scheit(lute) 2!f~3 182 Viennese dances from the classical era Eduard Melkus Ensemble 2533 290 Ll\SSUS Penitential psalmsJ Motets Pro cantione antiqua, Early music wind ensemble 2533 291 DUFAY & DUNSThBIE Motets Pro contione antiqua.1 2;33 295 MEYERBEER Lieder Fisoher~Dieska~aritone) 2722 017 (8) BACH Masses ,motets and songs Various .. performers 2726 Q53 MMIIER Symphony Noe. 8 & 10 Bavariah Radio/Kubelik 2733 007 (3) DEBUSSY & RJiVEL Chamber works Various performers fil1Y ASD 3083 GOUNOD Melodies Souzay (baritone), Baldwin(pno) ASD 3092 SIBELIUS 4 legends Royal Liverpool P.O./Groves ASD 3097 HOIST The Wandering Scholar; The English Chamber Orch. jBedford Perfect Fool London Symphony O./Previn · ASD 3102 Russian choral works of the 17th & 18th cent. USSR Russian Chorus/Yurlov ASD 3105 BAR.T6K Violin sonata No. 1 Oistrakh(vn), Richter(pno) PROKOFIBV Violin sonata No. 1 .&sD 3j06 SP.ENDil.ROV Almast-Persian Maroh, etc. Moscow Radio s.o./,Roshdestvensky T.ANEIEV Symphony inc, op.12 Bolshoi Theatre O./.Roshdestvensky SLS 980 (3) V..JI:/ILLI.AMS Sir John in Love Soloists,John Aldis Choir,New P.O./Meredith Davies JSIB 982 (2) BERLIOZ Granremesse des morts,op.5 Tear(ten.). , CitY.-m..,J, of Birmingham ) s,.o. & ohorus1 .... .L""'ma.ux rsm 5022 (2) VARIOUS The art of the recorder Early Music Consort/Munrow I LYRI'!'A J SRCSl 66 IRELAND Songs Luxon (baritone), Rowlands (pno) f SRcs 68. HOWELI.S Piano quartet in , op.21 Richards : l , Fantasy string quartet,op.25 Richnra.s Ensemble rSRCS 7z.. BERKELEY Divertimento in Bb;Serenade for London P.O,/Berkeley 1trings;Sinf'onin concerta.hte; Canzonetta;Partita SCOTT,CYR.IL Piano concerto No.1 in C Ogdon(pno), London P.O./Herrmann SZYM.1'.NOW'SKY King Roger; Roxana's song; Lodz P.s.o./Czyz Symphony No.2; Etude in Bb minor,op.4,No.3 .Q,ISE.lm LYRE 344 RE!ZENSTEIN Piano quintet in D;Sonatina Melos Ensemble, Dolmetsch(reo.), for oboe & piano;Partita ~or Cra:,cton(ob.),Crowson(pno), treble recorder & pinno Saxby(pno) 342 MATHIAS Organ works Herrick l "f l <' ·.··.'1.····~,;.:·:•:·.:.:·····.•··: JANACEK Along an overgrown path Kvapil (pno) l10212 • .~10214 JANACEK Violin sonata; Fairy Tale Messiereur (vn), Kozderkova(pno), for vc & pno; Youth suite Apolin (vc), Kvapil (pno), for wind sextet Foerster YJ ind Quintet 1103,95 . SUK String quartet No.2; Meditation Suk Quartet ( on st.Wenceslas Chorale c:M 201 SCRIABIN Preludes Nos.1-24,0p.11; Nos.1-5, Ruth Laredo (pno) Op.74;Poeme in Fsharp,Op.32,No.1 J?ijILIPS 370550- "Jacques Loussier in Concert at the Royal Festival Hall" ,00642 VTEILL Symphonies Nos. 1 & 2 Leipzig Gewand.hausfi)e Waart 500812 C.ASTEINUOVO- Conoertino f'or harp and chamber Catherine Michel (hp), Monte TEDESCO orchestra Carlo National Opera Orchestra/ RODRIGO Sones en la Giralda.Fantasia Sevillana Almeida VILLA-LOBOS Harp concerto J.C.BACH Keyboard. concertos op.7,Nos.1•3 & Huebler (pno)., Vienna Capella. Op.13,No.4 Aca,lemica/Me lkus MONTEVERDI Madrigali run oros i Members of Glyndebourne chorus, Engl.Chamb.Orch./Leppard 500928-9 (2) SCHUBERT Pianoforte works Brendel 747142 (4) BEETHOVEN Pianoforte trios Beaux Arts Trio )74.7175 ( 8) SCHUBEmT Late pianoforte works Brendel \ RCA 1 M.AHIBR Symphony No.4 Blegen (sop<),Chicago s.o.,ILevina ".:~·;·w.-.1 L1 089,~77 MOZART Concert arias Price (sop.J,London P.O./tockhart : L 10083 ME.ALE Orenda;Coruscations Roger Vl oodward ( pno) BOYD Ang Klung i SCULTHORPE ftoto musio CONYNGHAM Snow Flake l BAUID Concert I KEPIFFU§ IOnT 1233 USD CRUMB Eleven Echoes of Autums 1965 Aeolian Chamber Players t v70LP.E Trio Trio of the Columbia Univ.Group i of Contemporary Players · ;a 1231 USD PARRIS Trombone concerto Roman Siwek ( trb), Polish Nationa Radio Orchestra/Szostak ROCHBERG Contra Mortem et Tempus Sarah Lawrence C-olle ge olian WUORJNEN Janis s a:ry music Des Roches (pero.) LQuartet l1!ED PACIFIC RECORDS Recent works from New Zealand _.,,suPRAPHON 110153p MARTINU Violin concertos Nos ,1 & 2 · f Suk ( vn) Czecfr.P .. O.;'Neumann . 1011414 TUMA Various orchestral works:Pa:rtita. Puleo & ba.chazel .. (trombones), ind; Sinf'onia in Bf'lat; Suite in Prague Chamber Orchestra A; Double hombone sonata in e; Sinf'onia in A TE LEFUNmi tVl6 41877 J.ANNEQUIN Chansons f'rarn,aises Paris Polyphonic Ensemble/Ra.vier t1{6 35083 BACH Chorale Preludes EiJV 651-668 Chapuis (org.) tn6 35257 (2) "Duf'ay and his Times" Syntagma Musicum/Otten . DUFAY ,BR.ASS.ART, LAN"TINS , LO QUEVILIE ,DUNST.AB LE , BINCHOIS,.ANDRJ:EU,SOLAG-E,H.ASPROIS,CES.ARIS, GRENON,MORTON EX6 3.5269 (2) BACH Cantatas 39 & 40 Soloists, Hanover Boys' Choir, Leonhardt Consort/Leonhardt Cantatas 41 & 42 Soloists, Vienna Boys Choir, Vienna Voncentus Musicus/Har- noncc:,Urt TURN.ABOUT TV 3]+496S MILHAUD Piano concerto No.2. Suite Johannesen (pno), Blees (vc), Cisalpine sur des airs popu- Radio Luxembourg Orchestra/ laires, .. Piemontais; La muse Bernard Kontarsky mena.gere '1:V 37080s-2s GERSHVJIN Pia.no concerto in F; Lullaby J .Siegel & B.Liberman (pianos) :ror at ring orches.tra.; Cuban St. Louis Symphony Orchestra/ overture; Porgy & Bess-Suite; Leonard Slatkin An American in Paris;Promena.de UNICC'RN RBS 320-1 MAHIER Symphony No.6 in~ Stockholm P.O~/Horenstein UNS 237 HERRMANN Welles raises Kane - Suite London P.O./Herrmann The Devil and Daniel 1Yebster - Suite