Hermine Vermeij (UCLA); Casey Mullin, Nancy Lorimer (Stanford University); Kevin Kishimoto (University of Chicago); Beth Iseminger (Harvard University); Thomas Pease, Janis Young (Library of Congress)
The release of two new music vocabularies, Library of Congress Medium of Performance Thesaurus for Music (LCMPT) and the music portion of Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT), signals a new chapter in access to music scores and recordings through library discovery systems. This is the vocabulary that musicians, musicologists, music theorists, and music librarians have been waiting for.
This workshop will provide music metadata creators with essential training in the application of medium of performance and music genre terms, and it will also cover strategies for taking advantage of the new vocabularies in their local systems. Some specific topics included in the workshop will be: best practice guidelines for LCMPT and LCGFT; points to use with local systems and OPAC groups to make use of these vocabularies; plans for the dispensation of existing subject headings; the relation of LCMPT and LCGFT to faceted access, and the relationship between LCMPT and medium of performance guidelines in RDA.
The workshop will include two two-hour sessions. The first session will focus on application of the vocabularies and how they fit into the Library of Congress genre projects overall. The second session will cover implementation and use of genre and medium vocabularies in library catalogs, the vocabularies and RDA, and existing headings.
Colin Bitter (University of North Texas); Paul Cauthen (University of Cincinnati); Jean Harden (University of North Texas); Mark Scharff (Washington University in St. Louis)
A number of factors have caused technical services units in academic music libraries to make more sophisticated use of student workers than has normally been the custom in the past. Budgets and numbers of professional catalogers have declined over the years, but the amount of work expected from such units has continued to increase. At the same time, the increasing capabilities of online catalogs and the rise in use of offsite storage facilities have led to a desire for more extensive data than were needed some years ago.
Music librarians from University of Cincinnati, University of North Texas, and Washington University in St. Louis, along with a student cataloger from North Texas will discuss how assistance from students is incorporated into cataloging workflows at these highly diverse institutions, to the mutual benefit of both student and library. Topics covered will include who is hired for such positions, how they are trained, and what types of cataloging work they can do successfully.
Chris Diamond (Baylor University); Michelle Hahn (Southern Methodist University); Alan Ringwood (University of Texas at Austin)
Academic and other institutions generally produce recordings of student and faculty recitals and ensemble concerts. Collections of such recordings fall under the purview of a variety of curators, including music departments, universities or institutions at large, and libraries. Quite often, they are not cared for or forgotten, leaving them inaccessible. Libraries are often the most logical curators given their built-in abilities to collect, care for, and disseminate related materials, but many logistical hurdles can stand in the way of making that happen.
Using examples from a range of institutions in Texas, the panel will share their experiences and practices for gathering and providing access to these recordings.
Thomas Riis (American Music Research Center, University of Colorado, Boulder); Laurie Sampsel (University of Colorado, Boulder); Petra Meyer-Frazier (University of Denver)
This plenary session highlights music of Colorado and the Rocky Mountain region as well as the collections preserving this cultural legacy.
First, Thomas Riis, Director of the American Music Research Center at the University of Colorado at Boulder, will describe the highlights of the Center's wide-ranging collections. Examples include the world famous Glenn Miller Archive, Don Campbell papers, Perry Como Archive, and many more.
Next, Laurie Sampsel will present a paper focused on the rich history of songs inspired by Colorado. While many know the story of Katharine Lee Bates writing the lyrics to "America, The Beautiful" atop Pikes Peak in 1893 and John Denver's "Rocky Mountain High," this paper will provide many more examples of songs about the Centennial state.
A paper by University of Denver musicology faculty member, Petra Meyer-Frazier, rounds out the plenary. Meyer-Frazier will explore the history of opera in Denver and the Colorado Rockies during the silver rush of the late 19th century. She will focus on the Silver Circuit of opera houses, Horace and Baby Doe Tabor, and the interesting dichotomy between mining town and urban center. Denver’s reputation was that of a rough-and-tumble Western frontier town, but its self-identification was of a cultural and urban center. Throughout the late 19th century Denver took many strategic steps to make the latter identity a reality.
Michelle Hahn, Kristen Heider, Sara Outhier (Southern Methodist University)
The statistics are staggering when considering how many new MLS graduates are entering the workforce versus the number of professional librarian positions available. Budget constraints impede hiring at higher salary levels, librarian workflows are transitioning to paraprofessional positions, and professionals are forced into a bleak market, making the numbers even more austere. So, how can we as hiring institutions handle the influx of professionals in an increasingly paraprofessional world?
Presenters will share their experiences with incorporating professional interests in paraprofessional positions at one institution, to varied outcomes. They will convey statistics regarding the graduates, job market, applicant pools, and loan debt. Strategies for engaging and retaining MLS carriers in non-professional positions and implications for the persons and profession will also be discussed, with attention to both the institutional and employee standpoints. Finally, the presenters will offer solutions to library schools, hiring institutions, and graduates for more effectively navigating the crisis.
Kerry Masteller (Harvard University); Pamela Pagels (Southern Methodist University); Alyssa Resnick (Glendale Library); Steve Henry (University of Maryland); Francesca Giannetti (Rutgers University); Kimmy Szeto (Baruch College); Anne Shelley (Illinois State University); Jonathan Manton (Stanford University); Elizabeth Berndt Morris (Boston Public Library)
Presenters will describe and share their experiences with new services being offered by music libraries. These emerging services may or may not also involve emerging technologies. New services to be discussed will include: citation workshops for outlier resources in the arts; mobile equipment lending; an automated system for handling, documenting, and delivering patron-initiated digitization requests; QR codes as a service access tool, BIBFRAME as a service; plus a few surprises.
Timothy Sestrick (West Chester University); Lina Sheahan (Belmont University)
Library internships can be valuable learning opportunities for undergraduate students and excellent examples of the rich learning environment of college and university campuses. They are also an effective way for libraries to raise their visibility and demonstrate their value to the campus. Music internships extend the teaching mission of the library while providing engaging, high impact educational experiences. This presentation will discuss why and how to start an internship program, from the point of view of a music internship coordinator and a former intern. Library internships really can change lives, by giving students a ‘real world’ opportunity to learn the theory and practice of music librarianship, and to make new connections between the library and their academic curriculum.
Authors presenting are: Kathy Abromeit, Spirituals: A Bibliography for Research and Performance; Lisa Hooper and Donald C. Force, Keeping Time: An Introduction to Archival Best Practices for Music Librarians; and Peter H. Lisius and Richard Griscom, Directions in Music Cataloging | Editors presenting are: Deborah Campana, Richard Griscom, Mark McKnight, and Peter Munstedt
When looking for a publisher for a prospective book, music librarians can be overwhelmed by the options. Often the best place to start is the Music Library Association, which publishes three book series in collaboration with A-R Editions. MLA publishes practical guides, bibliographies, thematic catalogs, and technical reports that are used by librarians, scholars, and performers worldwide. Publishing in one of MLA's series can both advance an individual’s career and generate revenue for the association. In this session, we will explore how music librarians can enhance their careers, guide and assist the music community, and serve MLA through publication in its monographic series.
Joe Clark (Kent State University)
Performing arts students typically make use of a variety of materials, both in electronic and physical forms. A number of factors are making the selection process more difficult for librarians, including additional content formats, shrinking collection budgets, and more online courses and programs to support. Based on the results of two studies, I will examine student needs and preferences and their implications on future library material purchases and the acquisitions budget.
Maristella Feustle (University of North Texas)
Charles B. Ward (1864-1917) was a composer and vaudeville performer who is mainly remembered today for two tunes: "The Band Played On," and to a lesser extent, "Strike Up the Band, Here Comes a Sailor" (not to be confused with Irving Berlin's "Strike Up the Band"). Attempts to write a brief biography of Ward for the Grove Dictionary of American Music, 2nd ed. initially became a circular tour through the same scant information in multiple sources, but less conventional resources slowly pieced together the life and career of a moderately successful figure in his day who has been virtually forgotten by history. This presentation includes a reconstructed biography of Ward, and discusses the digital humanities resources and methods used to gather and assemble information; without them, this research would have been virtually impossible due to costs of time and travel. Those resources include digital sheet music collections, census records, historical newspaper archives, and the use of Google Fusion Tables to plot geographical data on Ward’s travels.
Kent Underwood; Robin Preiss (New York University)
Websites have enormous potential research value to history yet are extremely unstable and vulnerable to loss. Web archiving captures snapshots of a website at periodic intervals and saves those copies to a digital repository, building a legacy of primary sources for posterity. Along with the unique challenges inherent to the nature of the Internet, web archiving affords many opportunities to adapt and apply established curatorial practices with respect to scoping, organization, provenance, description, and access.
Andrew Justice (University of North Texas)
In this sequel to a presentation given at the 2013 San Jose conference, the world of digital recordings and sound quality will be explored: the histories and attributes of digital sound platforms (Compact Discs, digital tape and various file formats) will be discussed, along with side-by-side comparisons of different ‘major’ platforms to consider the listener’s experience. Special attention will be paid to compression, how it affects popular services like Naxos, Alexander Street, Spotify and Pandora, as well as the recent movement toward high definition formats, including HDtracks and Neil Young’s recently-unveiled Pono music service. The goal of the presentation will be to enhance attendees’ understanding of the various issues at play in the current (and potential future) climate of sound recordings and how they relate to our work with collections and patrons’ usage, as well as afford us the opportunity to test our own listening skills.
Judy Tsou (University of Washington); Eric Harbeson (University of Colorado, Boulder); Pamela Pagels (Southern Methodist University)
Today¹s music industry is increasingly favoring online-only, direct-to-consumer music distribution. These online-only sound files come with license agreements that prohibit the lending and sharing of these files. The inability of libraries to purchase, own, and lend these online-only audio files is placing a growing limitation on their traditional role of providing broad and enduring access to a wide swath of cultural heritage materials. This will mean that students, scholars, and the public will be limited in their ability to explore the sound world more widely. The University of Washington and the Music Library Association jointly applied for and received grant funding from the Institute of Museum and Library Services to explore and discuss possible strategies to handle this issue, including standard language for a more balanced end-user license agreement. The grant project will culminate in a summit with stakeholders and industry representatives in the fall of 2014 to discuss the issue and strategize possible solutions to both the access and preservation of these files.
Kathleen DeLaurenti (College of William and Mary); Erin Conor (Reed College)
Assessment is often viewed as an instructional add-on, used to demonstrate value to others. In this session, we will offer suggestions for rethinking assessment and discuss ideas and strategies for meaningful assessment that can be applied in many instructional scenarios. We will introduce attendees to various assessment methods, from in class-assignments that can be completed during a one-shot to authentic assessment that relies on strategic collaboration between librarians and faculty. Two case studies demonstrating strategies for using assessment to connect with students and faculty will be shared. One case will address a typical one-shot library instruction scenario, in this instance for an undergraduate ethnomusicology course. Our second case study will introduce authentic assessment, a method of designing activities and assessments that happen in open environments and interact with external stakeholders.
Alyssa Resnick & Blair Whittington (Glendale Library, Glendale, CA); Michelle Oswell & Emily Butler (Curtis Institute of Music); Joe Clark (Kent State University, Kent, OH); David Hursh (East Carolina University)
Music Library Renovation Revelations will share lessons learned during recent renovations at a public library, two academic libraries and a music school library. The program will address the hurdles of planning a renovation, the operational and public service impacts, fiscal realities and lessons learned.
Each renovation project involved unique challenges. The Brand Library & Art Center’s renovation took into consideration the historic nature of the library, an expanded programming space, and limited collections space. East Carolina University is planning a renovation utilizing an ethnographic study of how patrons use the current library space. Kent State University was closed for a two year renovation and since re-opening they have implemented further renovations due to inadequate planning and based on user surveys, focus groups, and ethnographic data. Curtis Institute of Music’s renovation had to balance the constraints of a historical building and the architect’s vision versus library usage.
Jerry McBride; Jonathan Manton (Stanford University)
Player pianos and rolls pose unique challenges for libraries and archives. The Denis Condon Collection of Reproducing Pianos and Rolls and other roll collections were recently acquired by Stanford to explore this neglected area of musicological study. The session will cover the importance of piano and organ rolls for musical scholarship, plans for collection development, preservation, cataloging, and digitization of the rolls, and restoration of the instruments.
Nara Newcomer (University of Missouri, Kansas City)
UMKC Libraries use participatory design methods to envision library spaces optimally supporting music and dance students’ work. In a photo elicitation study, students photographed twenty places, items, and situations in their daily lives, followed by a one-hour interview. This presentation reports study findings and discusses techniques and methods other libraries can apply whether designing new spaces or optimizing current facilities.
Frances Barulich (The Morgan Library & Museum); Bonna J. Boettcher (Cornell University) and Elizabeth Davis (Columbia University); Darwin F. Scott (Princeton University); Sarah J. Adams (Harvard University); Jane Gottlieb (The Juilliard School) and Susan Vita (Library of Congress)
Digital humanities increasingly pervade scholarly discourse. While digitally based projects, driven largely by individual or limited institutional efforts, are no stranger to musicology and music theory, several recent projects, notable for their diversity and scope of coverage, reflect new collaborative currents involving music library collections. Moreover, these innovative and cooperative ventures between librarians, often at multiple institutions, frequently involve cross- and interdisciplinary partnerships. In this panel session, we will highlight key features of the projects and their impact on musicology, focusing not only on new and updated digital content freely available to scholars, but also on enhanced functionalities and interactions that will particularly benefit the future study of music.
Presentations will address the Contemporary Composers Web Archive under the aegis of the Borrow Direct Music Librarians Group and Columbia University (Boettcher / Davis), Princeton University's Blue Mountain Project: Historic Avant-Garde Periodicals for Digital Research (Scott), updates and enhancements to the RISM OPAC (Adams), and the Music Treasures Consortium hosted by the Library of Congress (Gottlieb / Vita).
Mallory Sajewski (Kent State University)
When music libraries acquire collections of sheet music for chamber and large ensembles, they may elect to create a separate catalog for those collections using non-MARC cataloging software so that non-librarians (ensemble directors, graduate assistants, etc.) may assist in its maintenance. A variety of factors must be considered when selecting an appropriate software program, including the overall scope of the program, the detail one wishes to include in item records, software purchase and implementation costs, and more. This poster will present and compare several different software programs in order to assist librarians who may take on similar projects in the future.
Terra Merkey and Bridget Euliano (Duquesne University)
The Gumberg Library at Duquesne University was discussing starting a patron driven acquisition (PDA) plan for e-books. However, some librarians had expressed concerns about the costs for PDA and loading such a large number of MARC records into the catalog. The Music Librarian proposed piloting a small PDA project for Music e-books. A budget of $2,000 was set aside from a small music library endowment for the pilot. The library avoided purchasing titles that were available in e-book form. This poster will show the methods used to pilot a PDA project for Music e-books and its results after 6 months.
Johanna Groh (University of Denver)
The coursework required to obtain a Masters in Library and Information Science (MLIS) is often geared towards three main areas of study: academic, archives and public librarianship. The Music Library Association states in their mission statement and their Core Competencies (2002) that music librarians are to be highly educated and trained in music as well as library science. The development of a curriculum specializing in music librarianship is investigated by means of a Delphi Study. The results of this study support a curriculum which provides a specialization in Music Librarianship within an ALA accredited MLIS program.
Angela Pratesi (University of Northern Iowa)
Providing visual and performing arts programming in academic libraries can increase patron counts, strengthen relationships with academic departments, extend outreach efforts to communities, and foster a creative and vibrant learning environment. Bringing visual and performing arts to the library is not without its challenges. While advice for the exhibition of visual art in libraries exists in the scholarly literature, similar guidance for staging the performing arts is scare to nonexistent. Through the example of art exhibits and performances of music, theatre, and performance art held in Rod Library, this poster session will highlight those challenges and offer potential solutions.
Anna Alfeld (Indiana University)
Indiana University’s Cook Music Library has a Frontlog of some 35000 titles. Through 2014 we conducted an assessment to determine the availability of catalog copy, identify items that can be quickly and immediately cataloged, estimate the resources required to bind the items, allow for focused cataloging, and determine unique resources. It also monitors the rate of scores going into and out of the Frontlog as part of a larger effort to shrink and eventually eliminate the Frontlog. This poster reveals some of our findings and our possibly unique methodology in approaching one of the largest catalog backlogs in the country.
Joe Clark, Amanda Evans (Kent State University)
Years ago students flocked to libraries to access required class listening. With today’s profusion of online media resources, are students still relying on libraries as a source for assigned class listening? This poster presents the data from a recent survey with students that had assigned class listening, and explores their practices and preferences for listening. Both music and non-music majors participated, and the results reveal which non-library resources are most commonly used by students and factors that influence their choice of accessing audio.
Kristina Shanton (Ithaca College)
The Ithaca College Library initially adopted ebrary’s DASH!™ module to host the public domain portion of our under-used, non-circulating sheet music collection; we later began digitizing theses and concert programs as well. With no institutional repository, and a budget unable to support hosted services, DASH!™ —free to subscribers of the ebrary database—has served as an easy solution for hosting our digital content without the cost of other fee-based repositories. I will highlight the creation of these three open-access collections, from initial planning, through bumps in the road, to concerns of preservation and storage.
David Lesniaski (St. Catherine University)
This poster will examine indexing terms for sample sets of records pertaining to 1) classical music, 2) popular music, and 3) contemporary “art” music to suggest areas of overlap and discontinuity between the scholarly treatment of music in each of these categories. These results will be displayed both textually and graphically as motivation for continued exploration of this topic.
Laurie Sampsel (University of Colorado, Boulder); Laura Snyder (Mount Allison University); Lesley Famer (California State University, Long Beach); Andrea Beckendorf (Luther College); Jon Sauceda (Rutgers University)
ACRL's Information Literacy Competency Standards for Higher Education (2000), the foundation of 21st-century library instruction, is undergoing a radical revision. By December 2014 a new framework based on the pedagogical model of threshold concepts should replace the current standards. What will be the impact on music information literacy instruction? Members of MLA and ACRL will explore the framework and its rationale and consider the future of music information literacy, including a rethinking of MLA's Information Literacy Instructional Objectives for Undergraduate Music Students (2005).
Remi Castonguay, Francesca Livermore, Suzanne Lovejoy (Yale University); Maristella Feustle, Andrew Justice (University of North Texas)
When a donor contacts you and says "My father had one of the largest collections of Benny Goodman recordings", what do you do? If your institution won't allow you to receive the entire donation, you use the power of cooperation and share the wealth! This panel presentation will discuss the media preservation practices at the Yale University and University of North Texas (UNT) music libraries, utilizing a recently-donated collection of Benny Goodman materials from the estate of Michael Romano (a Connecticut-based Goodman enthusiast) as context for examination. Yale's component of this session will concentrate on film and video preservation, whereas UNT's portion will focus on audio formats (discs and tapes). By using the Romano collection as a point of departure, we hope this panel will show what can be possible when music libraries partner to preserve and enable access to important media-specific special collections.
Drew Beisswenger (Middle Tennessee State University); Grover Baker (Middle Tennessee State University)
Over 350 early American music manuscripts ca. 1730-1910 are being digitized, cataloged, and made available to view on the web by the Center for Popular Music in collaboration with the American Antiquarian Society. The project, funded through a grant from National Endowment for the Humanities, will allow broad public access to these manuscripts, which typically contain handwritten musical notation of music ranging from fiddle/fife dance tunes and folk songs to sacred and keyboard pieces. Because these manuscripts were written to suit specific musical activities and interests, they offer special windows into the musical practices of earlier times. Two librarians involved in the project, Drew Beisswenger and Grover Baker, will present a program that includes: (1) a description of the project, its development, and its mission, (2) a sampling of the scanned documents with commentary, and (3) discussions about the challenges related to working with, cataloging, and digitizing these manuscripts.
Greg Wilsbacher (University of South Carolina); Morgen Stevens-Garmon (Theater Collections Archivist Museum of the City of New York); Marlene Wong (Smith College)
Chris Schiff (Bates College)
A persistent question facing today’s music librarianship educators is how best to make the courses that we offer fit the expectations of students, and of potential employers. Students naturally will choose to take courses that best suit their requirements; and, given today’s job market, it may well be that contemporary courses in music librarianship need to move towards a broader, “performing arts” approach that, in addition to music, would include some information on dance, theatre, and cinema studies librarianship, and a grounding in archives and special collections work. Our session in Denver will bring together practitioners in theatre, dance, and film studies librarianship. In addition to providing some information on the digital and print library tools that they use in their own work, our speakers will suggest ways in which their area of librarianship might appropriately be incorporated into a two-hour instruction session within a course at library school. Following these formal presentations you will be invited to share your own opinions on the merits, or otherwise, or moving away from library school courses devoted solely to music librarianship towards a more broadly based “performing arts” curriculum.
Sonia Archer-Capuzzo (University of North Carolina, Greensboro)
This presentation will focus on the digitization of a portion of the collection of cellist, teacher, and composer Lev Aronson, held in the Cello Collection at UNC-Greensboro. I will investigate the unique challenges of the various components of this project: the digitization portion of the project, the born-digital resources created by our interviews, and how we handle our digital items (whether born or adopted to the digital environment) for preservation, cataloging, and access.
Lisa Hooper (Tulane University); Darwin Scott (Princeton University); Houman Behzadi (University of Toronto)
While the realm of possibilities for text-based exploration and research in the digital humanities has steadily burgeoned in the last decade, the comparable world for digital scores seems fractured, stuck in nascent and divergent stages of development that frustrate music librarians and patrons alike. Four models dominate, each produced with largely different clientele and end-uses in mind: commercial (pursuing interactive functionality and convenience), academic (licensed, proprietary content), scholarly research (institution-sponsored), and open access. Rather than working to integrate the best features of each model for optimal user experience, each progresses in a vacuum, moving farther afield from compatibility and creating niche markets. As our clientele increasingly adopts and expects digital score formats, librarians struggle to cope with complicated access issues driven by the digital providers over which they have little control. We need urgent intervention. At this still-early stage of development and adoption, the music library community is poised to become the leading advocate for the integration of accessibility, quality, functionality, and authenticity for digital score content. This session addresses systemic issues and problems for collecting digital scores, proposing avenues of advocacy so that rather than incessantly adapting to technological machinations, we press and redirect the technology providers to adapt to our expectations for digital music.
Thom Pease (Library of Congress); Sandy Rodriguez (University of Missouri, Kansas City)
Many collections of unpublished material include audio recordings which haven’t been identified even after decades in an archive. Sometimes they can be identified by using scores, program notes, reference works, and informed guess-work. There often isn't time or resources to perform this work on the job. We’ll play snippets of unidentified, under-identified, and/or misidentified audio recordings you send us. This session provides an opportunity for attendees to bring their unique recordings and play them for an audience of experienced, knowledgeable music librarians who may be able to answer questions like: Who wrote that? What was that tune? Whose voice was that? And other questions you want solved. Attendees are encouraged to submit digital (and digitized) audio (in the form of common-format audio files) and to come with a set of inquisitive ears. Contact Thomas Pease (firstname.lastname@example.org) or Sandy Rodriguez (email@example.com) for more details.
Misti Shaw (DePauw University)
In this session, Misti Shaw (Music Librarian, DePauw) will discuss recent collaborations with studio and performance-based professors to create in-class instructional activities aimed at student performers. The presentation will include descriptions of the activities, and will offer tips for those who have limited experience in delivering classroom instruction aimed at the student performer.
Kimmy Szeto (Baruch College, City University of New York); Nancy Lorimer, Casey Mullin (Stanford University); Michael Colby (University of California, Davis)
One recommendation made in conjunction with the adoption of RDA was that the library community develop a replacement for MARC to allow for the full use of linked data elements. Subsequently, the Bibliographic Framework Initiative, better known as BIBFRAME, was established and has been in rapid development. Early Experimenters are actively working with the BIBFRAME model and have developed tools to aid in community experimentation. In addition, some institutions are working on projects exploring the use of linked data (the foundation of BIBFRAME) in library contexts.
This session will provide a brief overview of the effort to replace MARC as well as an update from a Mellon Foundation grant-funded project at Stanford University Libraries and an IMLS grant-funded project at the University of California, Davis Libraries. Stanford (in collaboration with Cornell and Harvard) is focused on exploring Linked Data and the Semantic Web to improve discovery and access of scholarly information, and as part of that effort, they are working to refine the Library of Congress’ MARC-to-BIBFRAME converter. The UC-Davis project is focused on a practical approach to how the library community might adapt and plan for changes in the resource description landscape, including a look at technical services workflows related to the feasibility and success of adopting the BIBFRAME model in research libraries. An overview of the work of the newly-formed BCC BIBFRAME Task Force will also be part of this session.
Beth Iseminger (Harvard University)
This BCC program meeting will serve as an opportunity for conference attendees to find out about recent cataloging-related developments. It will be a forum for open discussion and information distribution on cataloging hot topics. Topics will include use of relationship designators in bibliographic records, updates on RDA revisions, and news about the BCC reorganization. Additional updates will be given by chairs of the BCC subcommittees.
Kelly Darr (GRAMMY Foundation); Jesse Johnston (National Endowment for the Humanities); Mark Puente (Association of Research Libraries)
As we all face diminishing budgets, we, as music librarians, often must turn to external funding to get support for projects beyond simply keeping the doors open. At the same time, most of us received little, if any, training and education on successfully applying for grants. Kelly Darr from the GRAMMY Foundation and Jesse Johnston from the National Endowment for the Humanities will provide overviews of their grant programs relevant to music libraries and the sorts of projects they’re hoping to fund. They’ll also provide tips on writing successful applications. Mark Puente of the Association for Research Libraries, a successful grant-writer himself, will moderate. We will close with a question-and-answer session when attendees will have the opportunity to ask the program officers for further guidance with this difficult and often-confusing process.
Stephanie Lewin-Lane (University of Houston); Drew Morell (University of Colorado, Denver); David Tenenholtz (University of Richmond)
Home to the Five Points Neighborhood, also referred to as the "Harlem of the West," and many jazz festivals and clubs, Denver, CO is a landmark for jazz in the Western United States. The city has played host to such jazz royalty as Ella Fitzgerald, Duke Ellington, and Charlie Parker. More importantly, Denver has cultivated many jazz greats of its own in musicians like Jimmie Lunceford, Dianne Reeves, Bill Frisell, Ron Miles, Rudy Royston, and numerous others. Join members of the MLA Jazz and Popular Music Round Table as they present a survey of jazz music in Denver, with guest speaker Drew Morell (University of Colorado Denver), who will provide his perspective on the local jazz scene, past, present, and future. This discussion session will explore the rich tradition of jazz in Denver, with video and audio supplements.
Houman Behzadi (University of Toronto)
This presentation will discuss the process of building a collection of Persian music at the University of Toronto Libraries (UTL). The growing involvement of Toronto’s Persian community in Iranian studies makes the UTL a logical host for this collection. Recent journeys to Iran enhanced my understanding and appreciation of the current efforts and output of Iranian musicians and music scholars—and underscored how much of their work is absent from North American research libraries.
Hermine Vermeij (UCLA); Nancy Lorimer (Stanford University); Kevin Kishimoto (University of Chicago); Beth Iseminger (Harvard University)
With the release of Library of Congress Medium of Performance Thesaurus for Music (LCMPT) and the music portion of Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT), a new chapter in the endeavor to provide access to resources that are music (not about music) begins. Attendees will learn what they need to know to find and select music resources that will no longer be assigned "subject headings." More specifically, the following topics will be discussed: description of post-coordinated, faceted access for music; development and update on the genre and medium projects for music; use of the music vocabularies in library catalogs; the future of legacy “subject” headings for materials that are music; and information on how to take full advantage of the new vocabulary environment at individual institutions. This session is intended for a broad audience.
Tom Moore (Florida International University); Joe Clark (Kent State University); Liza Vick (Harvard University)
This session is based on the presenters' research to compile lists of recordings for the world music section of the revised edition of A Basic Music Library: Essential Scores and Recordings. The speakers will discuss major musical traditions of Latin America, and how librarians might acquire music materials based on or published within the countries in this area. This is the second in a yearly series on building world music collections from various geo-cultural regions of the world.
Brandon Butler, Peter Jaszi (American University);
In a digital environment, librarians are being tasked with gaining an ever increasing understanding of copyright law. Because of its complicated legal history, music and sound recording collections present unique challenges in regards to following current copyright law. A lack of resources and continuing education programs directed specifically at music copyright issues also complicate informed decision making. In this session, Brandon Butler and Peter Jaszi will preview a forthcoming report published by CLIR outlining strategies and resources for making Fair Use decisions with music collections. This report draws on interviews from professionals managing music collections to identify some of the most common Fair Use issues faced they face and how those issues might be addressed by existing Codes for Best Practices of Fair Use and established case law.
Patrick Fulton, Sara Nodine (Florida State University)
In the rigorous academic environment surrounding a music library at a major university, reaching the majority of music students is extremely difficult. To broaden awareness of library resources and services, we developed a reference series focusing on various topics. Despite the positive reception, attendance remained a challenge. The solution was to creatively integrate digital reference services into their classroom experience. This presentation discusses our evolution of reference services from traditional sessions to digital, on-demand kits.
Sonia Archer-Capuzzo (University of North Carolina, Greensboro)
Many classes in MLIS/MLS programs are moving online to mixed reviews from students, faculty, and librarians. This presentation will explore the unique challenges and benefits of online instruction in Music Librarianship. I will discuss techniques for lectures, discussions, assignments, technical/technological support, and student involvement. I will also provide suggestions for designing and teaching a successful Music Librarianship course that can be translated to any institution and teaching style.
Matt Ertz (University of Louisville); Greg MacAyeal (Northwestern University); Elizabeth M. Hogue (Old Dominion University)
Amidst the wealth of special collections that focus on music of the past there are a handful that exist that aim to preserve and advocate for the music of the present. Three special collections that focus on contemporary music will be featured: The Grawemeyer Collection at the University of Louisville (celebrating its 30th anniversary this year), the Contemporary Music Research Collection and the New Music Performance Collection at Old Dominion University, and the John Cage Notations Collection at Northwestern University. These unique collections, each arising from different circumstances, promote contemporary music in different ways while offering faculty and students the opportunity to use primary sources to aid in performance practice, score study, discovery, classroom activities, and other unique experiences. Each panelist will touch on their respective collection’s origins, acquisition, philosophy, and use.
Joy Doan; David Gilbert; Simon Lee (UCLA)
Video game orchestras are a growing trend on college campuses. Founded on a shared enthusiasm for video games and music, these organizations are creating new opportunities for diverse communities to collaborate in novel ways. We will be presenting on how the founding of the Video Game Orchestra & Choir at UCLA generated a fertile collaboration between libraries and students, how the UCLA Library contributed to the creation of the orchestra and collaborated on their performances. This in turn provided opportunities to broaden the library’s collections and created new relationships between students and the library. Our project clearly illustrates the new roles that librarians are playing on campus, and the non-traditional ways that libraries are serving students in academic institutions while continuing the traditions of supporting campus learning and research.
Erin Conor (Reed College); Kathleen DeLaurenti (The College of William and Mary); Lisa Hooper (Tulane University)
Many music librarians must take on subject areas outside of our academic and professional training. What is the best way to quickly learn a new discipline and stay one step ahead of students and patrons? This session will provide guidance for music librarians who might be new to, or curious about, art and film. At the end of this session, attendees will have new resources and strategies for handling reference questions in these disciplines. They will also glean valuable tips for maintaining current subject knowledge.
Steve Kemple (Public Library of Cincinnati & Hamilton County)
Since August 2012 this monthly series has blown patrons' minds and garnished regional and national attention. I'll talk about how the series began, what I've learned, and offer practical advice for starting your own experimental music series. Plus I'll talk about some of the stranger moments, like when our ATM became an instrument, a dog that played guitar (for a standing ovation!), and more. I'll also present a short video of highlights from the series.