I hope that all of you reading this column will consider either renewing or joining MLA, a venerable organization that will shortly be celebrating its 75^th anniversary. Membership offers incredible benefits. Of course, kudos to all who have already renewed. You are our lifeblood.

Many of you include donations to MLA's funds at the time that you renew your memberships, or upgrade to the sustaining membership level. Thank you so much for your generosity! I'd also like to remind you of the many benefits of planned giving--either by mentioning MLA in your will or perhaps making MLA a beneficiary of an annuity or retirement plan. This can be a wonderful way of supporting MLA, especially for those who may not be in a position at the present time to make a donation. Questions? Look at the section "Giving to MLA" on our web site or contact either Allie Goudy, chair of our Development Committee, or myself for further details. On a personal note: I found that naming MLA as a beneficiary of a retirement account was incredibly easy, involving only securing a form and filling in a name. So in case you are interested in this type of gift but unsure of how to proceed, let me assure you it's generally not at all cumbersome.

At the time this issue is published, the Board will be hard at work in Middleton, WI, headquarters of our business office, A-R Editions, at our spring Board meeting. We'll be setting next year's budget, considering the many reports submitted by our special officers, editors, committee chairs and others, and discussing upcoming meeting sites and programs. Generally just doing our jobs, working for you--our membership--as is our great privilege. You have paid your dues and now we, the Board, will make sure that you've gotten your money's worth.

Patrice McDermott, Deputy Director of the Office of Public Relations, ALA Washington, focused her presentation on the USA PATRIOT Act. The purpose of this act is to "unite and strengthen America by providing appropriate tools required to intercept and obstruct terrorism." Written and passed in an environment of intense emotional turmoil for our country, now a calm and reasoned approach must prevail while reviewing this far-reaching law. The "Electronic Tap and Trace" provision of the Patriot Act is of particular concern to libraries. Previously, any pen/tap orders had to be authorized; however, the new law permits any "dialing, addressing, or signaling information not including content" to be obtained freely without any authorization. The law is unclear about whether or not an investigating agency can track the online behavior of library patrons without authorization. Libraries must consider whether electronic content can be excluded, and how to do so.

Another provision of concern is the National Security Letters Administrative Subpoena--Section 505. This provision requires the production of "transactional records" of wire or electronic communications, such as e-mails and/or internet usage with no oversight. In addition, a gag order is attached to this law forbidding any one aware of such an investigation to speak about it. Under the new law the FISA court can issue an international terrorism or clandestine intelligence investigation for seizure of any records, including library records. The interpretation of the law is that "any tangible thing" can be seized, including computers and hard drives.

ALA's goals are to support national security while keeping civil liberties and privacy intact. Librarians are being encouraged to take appropriate actions. To start, consult with legal counsel and the local FBI and make sure that they understand the law and the rights of individuals. Library policies should be reviewed in light of the current situation. Library staff needs to be trained to follow institutional policies and to be made aware that a written court order is required for information to be given to an investigator. If such an investigation should occur, all costs incurred in retrieving information that is requested should be documented.

Numerous legislative initiatives are now in the House and Senate. The need for oversight and accountability of investigators and law enforcement officials is paramount. For more information see http://www.bordc.org, the website of the Bill of Rights Defense Committee. Under these circumstances librarians must stay informed and continue the discussion concerning issues of patron privacy and civil rights. A balance must be found between the need to fight terrorism and the constitutional and practical concern for a free and open society.

Mary Alice Baish, who is with the American Association of Law Libraries, presented "Librarians Lobbying IP on Capitol Hill, in State Capitols and Yes, Even Internationally." Recent legislative successes, disappointments, current crises, and upcoming legislation were discussed. Successes were the TEACH Act and the Uniform Computer Information Transactions Act. Disappointments were the Digital Millennium Copyright Act and the Copyright Term Extension Act. Current crises are Database Legislation and Free Trade Agreements.

The "Technology, Education and Copyright Harmonization Act" (the TEACH Act, P.L. 107-274) was the first break in changing copyright law. Under this law, "performances and displays of protected works through the internet in mediate instructional activities" are allowed without having to get permission. Such services must be limited to students officially enrolled in a course. Looking at why the TEACH Act was a success gives some clues for effective lobbying. Support for this law came from unusual sources such as Senators Hatch and Leahy. In addition there was a Report and Recommendation by the Copyright Office and "forced negotiations" by sponsors. Currently, data is needed on who is using TEACH and how it is working within license agreements.

Another success was the defeat of UCITA, the Uniform Computer Information Transactions Act, a proposed law restricting use allowed under copyright law and validating restrictive licenses. Adopted by the National Conference of Commissioners on Uniform State Laws in July 1999, quickly enacted in Virginia and Maryland, it was then defeated in more than twenty states. One factor in successfully defeating UCITA was bringing together allies that might be adversaries on other issues. The importance of finding allies, digging to find common ground where differences abound, and being creative in unearthing support was emphasized.

Legislative disappointments were the Digital Millennium Copyright Act and the Copyright Term Extensions Act. The DMCA (P.L. 106-113) was enacted in 1998 to update U.S. copyright law to conform to WIPO (World Intellectual Property Organization) treaties. DMCA "tilts the historic balance between creators and users in favor of copyright holders and prohibits the circumvention of technological protection measures that controls access." This law prohibits computer scientists from exposing security weaknesses. DMCA contains no provision for Fair Use. The CTEA (P.L. 105-298) is another legislative disappointment. Known as the "Sonny Bono," or "Mickey Mouse Law," CTEA extends the term of copyright to life of the creator plus 70 years. With such continual extensions of copyright protection, the concern is that copyright protection will readily amount to "eternity minus a day."

Database Legislation is an area currently needing attention. Efforts have been made since 1996 to overturn FEIST, the law ensuring that copyright be granted only if there is creativity. If the bill in Congress is passed, protection will be based on the "sweat of the brow" rather than creativity, allowing database producers to own facts contained within databases; such protection would be perpetual. This bill has been reported out of the House Judiciary Committee on February 11^th and referred to the Energy & Commerce Committee. A diverse coalition hopes to stop it.

Copyright IP Provisions in Free Trade Agreements are another area of current concern. Hollywood producers, such as Disney and other companies, arranged for built-in provisions for copyright protection in Free Trade Agreements, enacting the U.S. extended term protection in international trade. However, the United States extended copyright and the DMCA are more stringent than most international laws. Copyright protection included in Free Trade Agreements must be in accord with international copyright laws.

Help is needed now! Database Legislation H.R. 3261 in the House needs to be stopped. Sponsors are needed for H.R. 107, the Digital Media Consumers' Right Act of 2003, and for the "Security and Freedom Ensured Act of 2003" (S. 1709), the "SAFE" Act, amending the Patriot Act. For more information on important legislative issues for librarians from the American Association of Law Libraries see http://www.ll.georgetown.edu/aallwash/.

Kay Guinane, of the Office of Budget and Management Watch, began by discussing legal rules that apply to nonprofits. Nonprofits are permitted to lobby Washington, but lobbying expenditures must stay within a certain prescribed percentage of the institution's budget. Volunteer efforts to influence legislation are permitted, as long as no funds over the specified allotment are spent. Sharing information with other libraries, coalitions, nonprofit groups, and educational institutions is important in increasing grassroots impact. Nonprofits have the right to lobby and to be heard.

Strategic targeting techniques for the federal level were presented. Knowing what each committee does and the committees of your congressional representatives is crucial. Contact your congressperson if he is on a committee making a decision on an important bill. Educate members of Congress about the impact of specific legislation on their constituents. Ask your members of Congress to talk to key committee members and to write them a "Dear Colleague" letter soliciting additional congressional signatures. Visit local offices of congressional representatives and invite them to visit your library. Always remember to give members of Congress thanks when they vote as requested. Announcements can be made in library newsletters whether or not members of Congress vote on your side!

Methods of communication were discussed. "Snail mail" is much too slow to arrive in Congressional offices. E-mail can be problematic because many members of Congress block e-mail from people not in their legislative district. Better methods of contacting members of Congress are fax or telephone.

The discussion that followed involved how MLA can be effective in lobbying. An MLA government policy based on the ALA policy was suggested, as well as involvement at the chapter level. The Legislation Committee will be posting additional information. ALAWON, the ALA newsletter alert service, is important. More information can be found at http://www.ala.org/washoff .

At the national meeting in Arlington, MLA announced the following three research awards for 2004:

Ms. Strader holds an M.L.I.S. from Kent State University and a Ph.D. in music theory from the Ohio State University. She is currently Electronic Resources Manager in the serials and electronic resources department of the Ohio State University Libraries, Columbus, and has had a good deal of other work experience in the Music/Dance Library and other branch libraries at Ohio State.

Kati Agocs is a doctoral candidate in composition at the Juilliard School. Her project is to write an introduction and prepare a critical edition of Leopold Damrosch's Symphony in A Major (1878) for publication in the series Recent Researches in American Music (A-R Editions). The manuscript is housed in Juilliard's Lila Acheson Wallace Library, and the Epstein Award will fund a research trip to work with Damrosch collections at the Library of Congress.

Jane Ellsworth is Lecturer in Music History at the Ohio State University and Instructor of Clarinet at Kenyon College. She will trace the history of the clarinet in early America, from its appearance in the late 1750s to 1820. She is focusing on major east-coast cities of colonial America such as Boston, Philadelphia, New York, Baltimore and Charleston. She has already researched Philadelphia and Baltimore; her Epstein Award will fund archival research at the South Carolina Historical Society and the Charleston Library Society in Charleston, South Carolina.

Catherine Smith is preparing a one-volume biography of William Grant Still to be published by the University of Illinois Press. Smith is a noted Still scholar and an experienced biographer. The Epstein Award will facilitate a research trip to the University of Arkansas, Fayetteville, to use the William Grant Still and Verna Arvey Papers held in the Department of Special Collections.

Jennifer Oates received her M.S. in Information and Library Studies from Florida State University in 2003 and a Ph.D. in Historical Musicology from that same institution in 2001. Her dissertation is titled Opera Traditions and Scottish Nationalism: Hamish MacCunn's Jeanie Deans. After serving as Circulation and Reserves Manager for the Warren D. Allen Music Library at Florida State, she was recently appointed Music Librarian and Assistant Professor at Queens College, CUNY. She is continuing her research on the composer Hamish MacCunn to complete a "life and works" volume and is currently in negotiations with the Ashgate Publishing Company.

Dr. Oates plans to use Gerboth funds to support travel to Scotland and England where resources related to MacCunn (1868-1916) are located. She expects to visit a number of repositories including the Hamish MacCunn collection at the University of Glasgow, the National Library of Scotland, the British Library, and the Victoria and Albert Museum.

D.J. Hoek received his Master of Library Science from Indiana University in December 1998. He also holds Master of Music degrees in Theory and in Composition from Bowling Green State University (1996). He assumed his first professional position in February 1999, as Music and Media Catalog Librarian at Wichita State University Libraries, and is currently serving as Head of the Hugh A. Glaser Music Library and Librarian for the Performing Arts at Kent State University. The Gerboth Award will enable Mr. Hoek to prepare an updated compilation of Arthur Wenk's Analyses of Nineteenth- and Twentieth-Century Music, 1940-1985. This new volume, which will include references to analyses through the year 2000, is under contract with Scarecrow Press and will be published in the MLA Index and Bibliography Series.

While much of Mr. Hoek's research has been conducted at his home institution, he expects to visit several other research libraries in the course of his work. Specifically, he plans to use Gerboth funds to support trips to the music libraries at Indiana University and the Eastman School of Music.

Amber Johnson, Lisa Lazar, Nara Newcomer, and Jaroslaw Szurek were awarded the 2004 Kevin Freeman Travel Grant to attend MLA's national meeting in Arlington, Virgina. This is the eighth year MLA has awarded the Freeman Travel Grant.

Amber Johnson completed her M.A. in Library and Information Science at the University of Iowa in May, 2003; she also holds a B.A. in music from the University of Northern Iowa. In August, 2003 she began her professional career at Mansfield University in Mansfield, Pennsylvania, where she serves the North Hall Library as Humanities Librarian, Music Specialty. While at the University of Iowa she gained diverse experience as a Reference and Instructional Services intern, research assistant to a library and information science faculty member, and student assistant in the Rita Benton Music Library.

Lisa Lazar received her M.L.I.S. from the University of Pittsburgh in August, 2003; she also holds a B.Mus. from Northwestern University. Her library education highlights included a cataloging course with Richard Smiraglia and a music preservation course with Alice Carli. She recently served as music/preservation specialist at Gumberg Library, Duquesne University. Soon after receiving the Freeman award, Ms. Lazar became a Preservation Program Specialist with Preservation Technologies, L.P. Due to travel funding opportunities from this current position, Ms. Lazar graciously returned her portion of the awarded Freeman grant for distribution among the other 2004 recipients.

Nara Newcomer is a graduate student in the music librarianship program at the University at Buffalo, SUNY; she expects to receive her library degree in May, 2004 and her M.A. in music history shortly thereafter. Ms. Newcomer is currently a graduate assistant at the University at Buffalo Music Library and holds a B.A. in music from Bethany College in Lindsborg, Kansas. She notes that she became interested in music librarianship as an undergraduate, and that MLA provided her first connection to the profession.

Jaroslaw Szurek completed his M.S. at the School of Information Science and Policy at the University at Albany, SUNY, in December 2002. Since January, 2003 he has served as music librarian and cataloger at Samford University, Birmingham, Alabama. He also holds a certificate in Information Science and the M.A. in musicology from Jagiellonian University, Krakow, in his native Poland.

At its 2004 national meeting in Arlington, Virginia, MLA announced the appointment of James P. Cassaro as Editor of Notes. He succeeds Linda Solow Blotner. MLA's quarterly journal Notes has been in publication since 1934.

Mr. Cassaro has served MLA in many capacities, most recently as Past-President after two years as President and four years as Treasurer. He is Head of the Theodore M. Finney Music Library at the University of Pittsburgh. Previously he was Assistant Music Librarian for Cornell University, where he received an M.A. in Musicology. Earlier he was Assistant Catalog Librarian for the A.M. Willis Jr. Library at North Texas State University, and Record/Reference Librarian for the Music Library at the University at Buffalo, SUNY, where he received a B.A. in Music and an M.L.S.

His recent publications include a critical edition of Jean-Baptiste Lully's Ballet des Saisons (G. Olms, 2001), Gaetano Donizetti: A Guide to Research (Routledge, 2000), nineteen articles on French Baroque and American composers in The New Grove Dictionary of Music and Musicians (2nd ed., 2001), and thirty-nine articles in Grove Music Online. Additional articles include "The Musical Chadwicks: John M. and George M. of Central New York," Notes 54/2 (Dec. 1997), and "Music Cataloguing and the Future," Fontes Artis Musicae 41/3 (July, 1994). He contributed lists of essential works for full and vocal scores of Choral music and Opera in A Basic Music Library, (3rd ed., ALA, 1997), edited two MLA Technical Reports: Space Utilization in the Music Library (1991) and Planning and Caring for Library Audio Facilities (1989), served as an abstractor for RILM, and published reviews for Notes, Fontes Artis Musicae, and Serials Review.

1. A description of the project and a statement about its significance.
2. A detailed total budget, specifying the amount of funding requested from MLA (to a maximum of $1,000) and its purpose (capital purchases are not eligible.) Indicate any other sources of funding you may have already secured.
3. Two letters of recommendation—one for the project and one for yourself.
4. A curriculum vitae that also names additional references.

If you have any questions about the award, particularly about whether you are qualified to apply for it, you are encouraged to contact the chair of the Gerboth Award Committee, at the address below, or via email to follet@peabody.jhu.edu . Your inquiries are welcome!

Send applications to:

The grant will be awarded to support costs associated with the research process. These may include travel, lodging, meals, supplies, and photocopy or microfilm reproduction of source material. There are no restrictions as to applicant's age, nationality, profession, or institutional affiliation. All proposals will be reviewed entirely on the basis of merit.

Applicants should submit the following documents:

1. A summary of the project
2. A preliminary budget
3. A current vita
4. The names of three references

Applications should be submitted to:

A grant may be awarded to support research in archives or libraries (both nationally and internationally) on any aspect of American music. There are no restrictions as to applicant's age, nationality, profession, or institutional affiliation. All proposals will be reviewed entirely on the basis of merit.

Applicants must submit the following documents:

1. A brief research proposal (under 10 pages) that includes:
   1. a description of the project
   2. a detailed budget for the project, indicating:
      1. the amount of funding requested (capital purchases such as computer equipment and furniture are ineligible.)
      2. justification for the funding
      3. additional sources of funding
   3. a demonstration of how the applicant's research will contribute to the study and understanding of American music.
2. A curriculum vitae of the applicant.
3. Three letters of support from librarians and/or scholars knowledgeable about American music.

Submit applications to:

The deadline for receipt of applications and letters of support is July 1, 2004.

The applicant must be a member of the Music Library Association and be in the first three years of his/her professional career, a graduate student in library school (by the time of the conference in February 2005) aspiring to become a music librarian, or a recent graduate (within one year of degree) of a graduate program in librarianship seeking a professional position as a music librarian. The applicant must not have attended an MLA annual meeting prior to applying for the grant. Previous applicants who still qualify are welcome to re-apply.

Applicants must submit the following by July 15, 2004:

1. Letter of application with an explanation of the reasons for attending the MLA annual meeting, a justification of financial need, and a budget (the double room rate in Vancouver, B.C. is approximately $150 (US) plus tax).
2. Current vita
3. Two letters of support under separate cover (email is acceptable)

Mail application and supporting materials to:

For more information, contact the chair via email.

Recipients will be notified by October 15, 2004 and announced at the MLA annual meeting in Vancouver, B.C., February 2005.

Jonathan Michael Brinley, Bloomington, IN

Rachel Lynn Conrad, New York, NY

Rebecca E McCallum, Sibley Music Library

Kristine E Nelsen, Anchorage, AK

Sandra M Pace, Staten Island, NY

Cynthia B Stockard, Columbia, SC

"Something Old, Something New" was the unstated theme of the well-attended 2004 annual program session of the Music Library Facilities Subcommittee at the MLA meeting in Washington, D.C. Jim Cassaro, in his presentation titled "The One-Room Schoolhouse: Space Utilization in the Theodore M. Finney Music Library, University of Pittsburgh," outlined facilities challenges and solutions in an aging library, and Joyce Clinkscales ("A Special Place: The Marian K. Heilbrun Music and Media Library at Emory University") and Robert Delvin ("The Ames Library at Illinois Wesleyan University: Reflect Tradition, Promote Scholarship, Inspire Excellence") described exciting new library facilities at their respective institutions. Each speaker presented a cornucopia of facts and figures supported by engaging photos.

The Finney Music Library at the University of Pittsburgh, founded in 1966, comprises approximately 4,000 square feet on two levels (main and mezzanine). Forty-five percent of the collection is currently in storage. Cassaro described various challenges including shelving arrangement, space issues in the reference collection, and lack of adequate security. Several renovations to address facilities problems were completed in 2000–01: installation of a security gate, addition of an elevator, and expansion of the listening center from 11 to 22 listening stations, along with consolidation of a CD-ROM PC and microforms into the listening area to create a Media Center. In addition, compact shelving was installed in 2001 and again in 2002. Even with these modifications, the library currently can accommodate only 2-3 more years of collection growth before reaching capacity, and there are no plans for a new facility or major expansion.

The Heilbrun Music and Media Library at Emory University, located on the fourth floor in the main library's 1997 addition, was designed by Shepley Bulfinch Richardson and Abbott of Boston. The fourth (top) floor, originally constructed as shell space due to budget limitations, was completed in 2001, with the S/L/A/M Collaborative of Atlanta as architects for the interior spaces. The Heilbrun Library shares the floor with a language lab, language classroom, and the control room for the University's cable TV operation. Complementing the modified circular shape of the building, the central area features a dramatic curved ceiling in three tiers and a curved interior glass wall on one side. Expansive windows at the perimeter offer views of the creek running under the building and the ravine landscaped with native trees and plants. Compact shelving in both public and staff areas houses the collections of approximately 41,000 books and scores, 29,000 sound recordings, and 13,000 motion pictures in various formats; though the electronically operated shelving initially tended to malfunction when direct sunlight struck the safety sensors, the shelving now functions well, thanks to filters installed by the manufacturer, Spacesaver. (Due to a relatively small user population, patrons do not typically vie for aisle space.) The library houses forty-four individual carrels equipped with internet connections and audiovisual or computer equipment, and internet connections are also available at the study tables. Computing equipment for users currently consists of eight Information Commons workstations and two catalog-lookup stations. A group viewing room for class use features a Crestron system for integrated operation of audio and video equipment as well as cable television. The floor also houses three group-study rooms, two faculty studies, and a conference room. Work space for staff includes a digitizing room, where streamed audio files are created.

The Ames Library, the third library building built on the campus of Illinois Wesleyan University in Bloomington, Illinois, opened its doors on January 9, 2001. The $26 million dollar structure, inspired by the Arts and Crafts movement, was designed by the architectural firm of Shepley, Bulfinch, Richardson & Abbot of Boston. The library comprises 103,000 square feet, distributed over five levels. The library's motto, "Reflect tradition, promote scholarship, inspire excellence," is realized through an environment that integrates the traditional values of an undergraduate, liberal arts university with state-of-the-art information technology. The Thorpe Music and Media Center, located on the third floor and housing approximately 15,000 recordings, includes two MIDI-computer workstations and three fully equipped group listening rooms. Adjacent to the Center is the library's collection of 35,000 music books and scores.

At its 2004 annual business meeting, the subcommittee focused especially on effective ways to disseminate to MLA members information on music library construction and renovation projects. In the coming year, subcommittee members will consider some specific ideas developed at the meeting for providing easier submission of, and access to, information in the Music Library Facilities Register. We will also be seeking two new members, to begin their terms following the 2005 annual meeting. Anyone who might be interested in joining is welcome to submit a statement to that effect to the chair, Eunice Schroeder (schroeder@library.ucsb.edu).

The Personnel Subcommittee had a very productive--and enjoyable--time in Washington, D.C. Work centered on our continuing efforts to find new ways of serving the MLA membership. At this year's annual meeting, the brand new resume review service was a definite success. Participants on both sides (reviewees and reviewers) reported it as a helpful and positive service. It will be offered again at next year's annual meeting, with some logistical improvements and a hopefully coinciding article on resumes for music librarians in Music Reference Services Quarterly. Many thanks go to Paula Elliot for coordinating the service and to our reviewers Ned Quist, Sheri Stormes, Jeanette Casey, Paula Elliot and Jennifer Ottervik, who kindly offered the Placement Desk as the central service point.

Another new service, a career-mentoring program, is being planned to launch at next year's annual meeting. This program is envisioned as a one-year commitment between a matched mentor and mentee, open to any MLA member. There are a great many details to be worked out, in coordination with the Membership Committee, the New Members' Forum and the MLA Board, who have all been positive and supportive of this idea.

Finally, the subcommittee was delighted that this year's annual meeting saw the publication of Careers in Music Librarianship II, edited by Paula Elliot and Linda Blair. The subcommittee acted in an advisory capacity for this important work, with a number of subcommittee members making contributions to it.

The Statistics Subcommittee met for a business meeting during the Washington D.C. meeting. The business meeting was held on Feb. 12 at 3:00 p.m. In attendance at the business meeting were: Co-Chairs, David Hursh (East Carolina University) and Diane Napert (Hartt School); Administration Committee Chair, Robert Acker (DePaul University); and committee members, Antonio Calvo (University of California, Northridge), Guy Leach (Georgia State University) and Stephen Luttmann (University of Northern Colorado).

The meeting opened with a discussion of the 2001–02 survey, for which analysis is currently taking place. We received 124 responses to the survey this year. This is down 19 responses from the previous year. Of note, this year we had a sizeable number of new respondents. However, the number of repeat respondents was down nearly twice that amount resulting in an overall lower response rate. Our discussion centered on how we might encourage respondents to participate on a recurring basis. One possibility was to have the MLA Board support the survey from the first announcement, even going so far as to having the MLA president announce the survey. Our feeling was that if the board communicated the importance of gathering statistics, the membership would recognize the importance as well.

Survey workflow issues were also discussed. The co-chairs reported on the results for some of the questions which impact other subcommittees within the administration committee. Chair of the Administration Committee, Bob Acker, brought a request from the MLA Board to the subcommittee. The Board has asked that we oversee the administration of an MLA member satisfaction survey developed from last year's town meeting. A decision with regard to this request was not reached prior to the end of the meeting. We thanked Jean Finks and Steve Luttmann for their service to the committee and we welcomed new member Guy Leach. Subsequent to the meeting, two additional MLA members accepted an appointment to the committee. They were Bruce Evans (Baylor University) and Kirstin Dougan (Duke University).

Copyright is a central issue confronting preservation librarians, who often must stretch copyright law to meet the demands of responsible preservation. The law necessarily lags behind the practice from which it springs, especially in the rapidly developing field of digital preservation. The four speakers at the session grappled with the conflicting responsibilities of preservation librarians to protect the materials under their care, the institutions for which they work, and their own professional careers. A full summary is posted on the MLA web site, in the Preservation and Legislation committees' pages.

If we follow the spirit, rather than the letter of the law, we will be upholding our professional responsibility to preserve these materials as well as moving in a positive direction toward expanding the scope of permissible preservation. Laws evolve through test and practice. If we do nothing, preserving the law at all costs (to our materials) the laws will never change, but important cultural collections will be placed at risk. If everybody collaborates in "breaking" the law, it may change. Don't ask before preserving your collections, just preserve them. It is our responsibility to do so.

After further research into the relations between preservation and access and copyright law, CLIR and the National Recording Preservation Board will be able to review existing laws and policies which may inhibit preservation and access to preserved masters. The Librarian of Congress is directed by law to report to Congress on the state of audio preservation and make recommendations for any changes in the law required to promote the preservation of our audio heritage. It is hoped that in the coming years the board's work will clarify the now-murky policies and laws which guide audio preservation and access, and help to chart a course to guide libraries and archives in the development of legal, as well as effective, programs to preserve their holdings.

1. Take every opportunity to help educate our university administrations and legal counsels. Seeing how we are handling things collectively might lead us to new paths of progress.
2. Work to create more commercial reissues of recordings. Seek permissions to print recordings "on demand," so that music record publishers will be aware there is a market.
3. Preserve metadata and provenance of creation for music school/department recitals to make it easier to get permissions from the creators. Communicate with boards, administration, and faculty concerning copyright issues.
4. Learn institutional policy concerning copyright; ask for its creation if there is nothing firm in place.
5. Don't assume that Fair Use makes it okay to reproduce or use a sound recording without seeking copyright permission.
6. Overcome our fear of copyright and define a proactive course of action. Might we collectively determine when and where to initiate legal action designed to force clear and specific rulings that will clear up the muddy waters concerning copyright? While this is a hard sell to institutions seeking to avoid legal controversy, it could be effective to choose the battles carefully and then as a community to support the initiatives.

The impetus to include Dspace in this presentation, given that the central topic is copyright issues in preservation, comes from the fact that Dspace represents the type of collegiate co-ownership that makes the electronic world so intractable to copyright law, and so compelling to librarians! Copyright management is possible in Dspace, and recent postings to the tech mailing list include discussion of the development and implementation of licenses. However it is clear that the organization's central focus is on preserving materials, which is made as simple and painless as possible for the content producer, while restricting access in accordance with copyright requirements is a complex chore for the technical administration.

The Small Academic Libraries Roundtable collaborated with the Musical Theatre Roundtable on Thursday, February 12, 2004 at the annual MLA meeting in Arlington, Virginia.

Nancy Zavac is Head Librarian of the Albert Pick Music Library at the University of Miami, Coral Gables, Florida. Additionally, she oversees the Larry Taylor--Billy Matthews Musical Theater Archive at the University of Miami. The university acquired the archive partly via a gift and partly by purchase in 1991. It is a comprehensive collection of recordings and music focusing primarily on American musical theater and popular music. The collection includes 15,000 long-playing records, 2500 compact discs, several hundred video and audio cassettes, and 20,000 pieces of sheet music. There are more than 1,000 piano-conductor scores, vocal scores and volumes of vocal selections, fifty of the piano-conductor scores being special presentation editions produced by the Chelsea Music Service. Also in the collection are 3,000 playbills and programs.

Larry Taylor, who died in March 1991, was printing coordinator and office manager for the Chelsea Music Service, Inc. In this position he handled the music for such popular shows as The Phantom of the Opera, Cats, Les Miserables, and many others. He also served as music librarian for such artists as Liza Minnelli, Chita Rivera, Dolly Dawn and Roberta Peters. In his early career he was a singer, touring with Dorothy Collins, Gig Young and others, and he was one of Judy Garland's backup singers during her last New York appearance.

Billy Matthews, while a student at the University of Texas, was associated with several musical comedy productions there. In 1946 Mr. Matthews produced and directed historical pageants for the Texas and New Mexico State Centennial Committees. He was a successful director and production stage manager with Broadway and National companies, as well as a broad range of university, stock and dinner theaters. A highlight of his career was his production of Oklahoma for the White House during Lyndon Johnson's presidency. He died in January 1997.

Students use this collection for classes, auditions, juries, research, and program notes. Faculty members use it in courses to review new works in the various formats and to present musical theater workshops. Outside campus usage includes materials for radio programs, requests for songs, and photos of playbill covers for the Today Show. The website address is: http://www.library.miami.edu/music/mustheat.html. There are three separate databases for searching playbills, scores, or recordings.

Before concluding, Nancy played sound recordings of "The Rain in Spain" performed in various languages from the archive collection, and had attendees guess the language. Please visit this site, which is a useful and important musical theatre reference source.

Our second presenter was Raymond A. White, Senior Music Specialist, from The Library of Congress Music Division. He is the curator of the George and Ira Gershwin Collection. His lecture was imaginatively entitled: "There's a Manuscript I'm Longing to See: The George and Ira Gershwin Collection at the Library of Congress."

The Gershwin Room is a tribute to the Gershwin brothers and is a permanent exhibition area for materials from the Library's George and Ira Gershwin Collection. This exhibition includes George's piano and desk, Ira's typing table, a self-portrait oil painting of each brother, and other documents that chronicle their lives and careers. The exhibit opened in 1998.

Ray described the series of music materials: music from shows, concert music, song files, miscellaneous music, music notebooks, lyric sheets (170 unused lyrics by Ira), music owned by George; correspondence, chiefly letters to and from George and Ira; biographical materials, including several radio broadcast scripts, essays about the Gershwins, newspaper clippings, and screenplays for the film Rhapsody in Blue; scrapbooks (34 volumes); iconography, featuring 23 photographs taken by George, 125 of George and Ira, paintings and drawings; publicity materials which include 2 boxes and oversized posters; program materials; financial documents including royalties and estate materials; and legal documents relating to shows, publications, and George's estate.

Ray read from a number of published and unpublished Gershwin letters. His expressive style brought to life Gershwin's true personality, character, interests and imagination. Excerpts included the following:

• His first London review in 1932
• Preparations for An American in Paris in 1928, and on the phenomenon of having several shows running at the same time on Broadway
• Advice to aspiring songwriters that included providing producers' addresses, revealing of George's generosity
• His new apartment on West 77th Street, his Mercedes, and his new butler
• A marathon run of 32 performances by Gershwin and Paul Whiteman of Rhapsody in Blue, followed by another run featuring the Piano Concerto
• His and Ira's 1936 move to California, intended as a short visit, but in fact a move from which George never returned
• Hollywood parties, including one given by the Gershwin's for Moss Hart's new teeth, followed by another letter on recovering from the party
• His liking of California, but missing his New York friends
• Generally, on colorful and strange Hollywood types, on his music for an Astaire movie, and on a dinner party that included Stravinsky, of which George wrote "Stravinsky and Mother got along famously. Isn't Hollywood wonderful?"
• His last letter to his mother on June 10, 1937 mentions feeling a slight dizziness, and not feeling well in general, and reports on his plans to return home to New York soon.
• Twenty-four-year-old George (1898-1937) writes to Ira (1896-1983) from London on his first trip abroad: "When I reached shore, a woman reporter came up to me and asked for a few words. I felt like I was [composer Jerome] Kern or somebody."
• To longtime friend Mabel Schirmer in 1936, George reports: "Of course, there are depressing moments too, when talk of Hitler and his gang creep into the conversation. For some reason or other the feeling out here [in California] is even more acute than in the East."

George Gershwin died on July 11, 1937 of a brain tumor.

Raymond White closed by saying that February 12, 2004, the date of this presentation, was the 80th anniversary of the premier of Rhapsody in Blue, the orchestral manuscript of which is held in the Ferde Grofe collection at the Library of Congress.

For more information on the George and Ira Gershwin Collection, visit http://www.loc.gov/exhibits/ex-current.html.

There was no business meeting at this session. Pamela Bristah will no longer co-chair SALRT. She has been appointed to the Board as Member-at-Large and is not permitted to hold two posts. We thank Pam for her attention and commitment in chairing our roundtable. Barbara Walzer will continue as chair.

At our recent national MLA Meeting in Washington, D.C., the Video and (new) Performing Arts Roundtables met jointly on February 13, 2004, with approximately 25 in attendance. Betty Woerner (Video Roundtable coordinator) presented on the topic of "Sources for Finding Videos on Dance and Theatre." As media librarian at Reed College, Ms. Woerner has much experience dealing with vendors and acquisitions issues. Her very practical and useful presentation included an annotated list of websites and vendors (contact us for a copy if desired). This practical handout provides a quite comprehensive list ranging from company and artist websites to well and lesser known vendors, distributors and broadcast sites. Her discussion also touched on issues of interest such as hard to find performances and broadcasts (some not available commercially due to union regulations, copyright, and many other reasons). Some dance companies hold archival or in-house film footage of performances that may or may not be available for sale. If librarians acquire such copies, making preservation copies is advisable along with routine maintenance and care. Other helpful pointers included tips on finding releases and re-releases from vendors such as Insight Media (good source for hard to find videos but often more expensive and the titles are not consistent). She recommended using Google or WorldCat to locate proper cataloging and less expensive versions.

Other issues touched on in the discussion portion of the roundtable included database software (for cataloging, distributor, and clip information). Mention of DVD formats brought up several topics such as DVD preservation (more vulnerable to damage, lack of ability to copy) and copyright for videos in general (PAL, NTSC, copying of portions okay in special instances with appropriate permissions). Also, the obvious questions of how quickly libraries and departments will transition to DVDs, with new equipment, zones, technology and attendant issues.

We would like to coordinate another joint session at next year's Vancouver meeting, so please send any ideas or suggestions to Liza Vick (Performing Arts, lvick@lib.uci.edu ) or Betty Woerner (Video, Betty.Woerner@directory.reed.edu ).

In announcing the registry, the Librarian called the selection of the National Recording Registry "a difficult, but absorbing task. The number and range of recordings to consider is great--and a tribute to our extraordinarily rich and varied sonic history. This year's list attests to the diversity of significant recorded sound in our lives--not only music of many types, but political addresses, comedy, sports, poetry, sermons, and machinery."

Like the inaugural selections, those for 2003 celebrate many milestones in the history of sound recording in America:

• The first Bubble Book (the first children's book bound with recordings);
• The best-selling Okeh Laughing Record of 1922, a comic novelty recording;
• Guy B. Johnson's field recordings of African Americans in the 1920s;
• The set of recordings that represent a full day of radio broadcasting from station WJSV in Washington, D.C. (the first time a complete day of broadcasting was recorded);
• Anne Brown and Todd Duncan as original cast members of "Porgy and Bess";
• The first broadcast of "A Prairie Home Companion";
• The radio broadcast of fourth game of the 1941 World Series;
• The first "foreign" selections named to the registry, including the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" and Richard Wagner's "Ring" cycle, conducted by Georg Solti to celebrate their influences on American culture and the global recording industry;
• The work of two prominent audio documentarians - the recordings of steam locomotives by O. Winston Link and "New York Taxi Driver" by Tony Schwartz.

The creation of the National Recording Registry is one part of the National Recording Preservation Act of 2000, legislation that promotes and supports audio preservation. The registry celebrates the richness and variety of the nation's audio legacy and underscores the responsibility to assure the long-term preservation of that legacy so that it may be appreciated and studied by generations to come.

The Library of Congress is identifying and preserving the best existing versions of the recordings on the registry. These efforts have received support from record companies and archives that own the best available elements and editions of registry recordings. A number of major record labels have located the best surviving elements of their recordings--from master tapes to metal parts--and duplicated them at no expense to the Library, ensuring that the best existing version is added to the National Recording Registry Collection at the Library of Congress.

The NRPB welcomes suggestions from the public about potential recordings to include on the National Recordings Registry. Suggestions can be made anonymously via a form at the NRPB website ( http://www.loc.gov/nrpb), or by sending the information to MLA's representatives, Jim Farrington or Barbara Sawka (alternate).

The deadline for public nominations for the 2004 National Recording Registry is July 15, 2004.

An annotated list of the 2003 Registry is available at: http://www.loc.gov/rr/record/nrpb/nrpb-2003reg.html.

1. Emile Berliner. "The Lord's Prayer" and "Twinkle Twinkle Little Star." (ca. 1888)
2. Vess Ossman. "Honolulu Cake Walk." (1898)
3. Bert Williams and George Walker. Victor Releases. (1901)
4. Billy Murray. "You're a Grand Old Rag [Flag]." (1906)
5. Frances Densmore Chippewa/Ojibwe Cylinder Collection. (1907-1910)
6. The first Bubble Book. (1917)
7. William Jennings Bryan. "Cross of Gold." Speech re-enactment by Bryan. (1921)
8. Guy B. Johnson Cylinder Recordings of African American Music. (1920s)
9. Okeh Laughing Record. (1922)
10. Associated Glee Clubs of America. "Adeste Fideles." (1925)
11. Amade Ardoin and Dennis McGee. Cajun-Creole Columbia releases. (1929)
12. Leadbelly. "Goodnight Irene." (1933)
13. Huey P. Long. "Every Man a King" speech. (1935)
14. Marian Anderson. "He's Got the Whole World in His Hands." (1936)
15. Robert Johnson. The Complete Recordings. (1936-1937)
16. Jelly Roll Morton. Interviews conducted by Alan Lomax. (1938)
17. Benny Goodman. Carnegie Hall Jazz Concert. (1938)
18. WJSV (Washington, D.C.) Complete Day of Radio Broadcasting. (September 21, 1939)
19. Bob Wills & his Texas Playboys. "New San Antonio Rose." (1940)
20. 1941 World Series Game Four - New York Yankees vs Brooklyn Dodgers
21. Robert Shaw Chorale. Bach B-Minor Mass. (1947)
22. Budapest Quartet. Beethoven String Quartets. (1940-1950)
23. George Gershwin. Porgy and Bess. Original Cast. (1940, 1942)
24. Rodgers and Hammerstein. Oklahoma! Original Cast. (1943)
25. Paul Robeson, Uta Hagen, Jose Férrer and others. Othello. (1943)
26. Louis Kaufman and the Concert Hall String Orchestra. Vivaldi Four Seasons. (1947)
27. John Kirkpatrick. Ives Piano Sonata No. 2, "Concord." (1948)
28. O. Winston Link. Steam Locomotive Recordings. (6 vol.: 1957-1977)
29. Rafael Kubelik conducting the Chicago Symphony Orchestra. Modest Mussorgsky Pictures at an Exhibition. (1951)
30. Billy Graham. Problems of the American Home. (1954)
31. Glenn Gould. Bach Goldberg Variations. (1955)
32. Ella Fitzgerald Sings the Cole Porter Song Book. (1956)
33. Chuck Berry. "Roll Over Beethoven." (1956)
34. Thelonius Monk. Brilliant Corners. (1956)
35. Georg Solti and the Vienna Philharmonic Orchestra. Wagner's Complete Ring Cycle. (1958-1965)
36. Eastman Wind Ensemble with Frederick Fennell. Winds in Hi-Fi. (1958)
37. Charles Mingus. Mingus Ah-Um. (1959)
38. Tony Schwartz. New York Taxi Driver. (1959)
39. Patsy Cline. "Crazy." (1961)
40. John Fitzgerald Kennedy, Robert Frost and others. Kennedy Inaugural Ceremony. (1961)
41. Judy Garland. Judy at Carnegie Hall. (1961)
42. Otis Redding. "I've Been Loving You Too Long. (To Stop Now)" (1965)
43. The Beatles. Sgt. Pepper's Lonely Hearts Club Band. (1967)
44. Johnny Cash. At Folsom Prison. (1968)
45. Ali Akbar College of Music Archive Selections. (1960s-1970s)
46. Marvin Gaye. What's Goin' On. (1971)
47. Carole King. Tapestry. (1971)
48. Garrison Keillor. A Prairie Home Companion. (First broadcast of the variety show, July 6, 1974)
49. Bruce Springsteen. Born to Run. (1975)
50. Fania All-Stars. Live at Yankee Stadium. (1975)

We welcome proposals involving any aspect of American music or music in the Americas, but especially welcome ideas for papers and sessions inspired by any of the following:

Pauline Oliveros (the SAM honorary member of 2005) and related topics such as philosophies of composing or audience in American experimental music

Centennial of the births of :
   Harold Arlen (15 Feb 1905– 23 April 1986)
   Marc Blitzstein (2 March 1905 – 22 Jan 1964)
   Jule Stein (31 Dec 1905 – 20 Sept 1994)
   Meade Lux Lewis (4 Sep 1905 – 7 June 1964)

Topics inspired by the Pacific Northwest (i.e., Native American styles of the West or Northwest; Jimi Hendrix; grunge; Quincy Jones; Microsoft).

Guidelines
Individual or joint papers should be no longer than twenty minutes. Performances should be no longer than thirty minutes and may include a short lecture component. Presenters do not need to be members of the Society, but are required to register for the entire conference. Performances are not remunerated. The committee encourages proposals from persons who did not present at the 2004 meeting in Cleveland, but all proposals will be considered and judged primarily on merit.

For the specifics of how to submit a proposal, please consult the Society for American Music website ( http://www.american-music.org/conferences/Eugene/Callforpapers.htm).

All materials must be electronically date-stamped or postmarked by July 15, 2004, and should be sent to:

This award has been established to recognize and honor a librarian who has made significant professional contributions to music users of OCLC. The MOUG Executive Board selects a recipient based on nominations received from the MOUG membership.

Jay's nomination was the collective work of eight music librarians, and speaks for itself: "Jay has been active in MOUG since he assumed the position of Quality Control Librarian in OCLC's Online Data Quality Control Section in 1982. Anyone who has had anything to do with cataloging music on OCLC during the past 20 years, either knows Jay Weitz, and/or has been affected by Jay. Since he began his regular "Correspondence from OCLC" columns in the MOUG Newsletter in November 1982, up to his present "Questions and Answers" contributions to the newsletter, Jay has unselfishly shared his music cataloging knowledge and wisdom with the world. He has been instrumental in improving the quality of music cataloging in the OCLC database for over 20 years by: a) direct database maintenance; b) presentation of countless workshops on music and A-V cataloging rules and MARC tagging; c) participation in national and international conferences and committees; d) cordial, humorous, and informative responses to thousands of inquiries submitted to him by mail and e-mail; e) direct involvement in OCLC's Enhance program. Since 1989, Jay has provided invaluable service to MOUG through his work as MOUG's OCLC liaison. Over the years, Jay's constant efforts to improve the quality of music cataloging have been invaluable, not only to OCLC users, but to the entire music library community." While the Executive Board received nominations for a number of well-deserving candidates, in the end Jay's oft-spoken admonition, "Don't agonize," guided the Board to its decision. The Executive Board, along with the entire MOUG membership, is proud to recognize Jay Weitz's exemplary accomplishments in the world of music cataloging.

Before going to OCLC in 1982, Jay was a music cataloger at Capital University in Columbus, Ohio. He received his B.A in English from the University of Pennsylvania, M.L.S. from Rutgers University, and M.A. in Education from Ohio State University. In addition to his liaison role from OCLC to MOUG, Jay serves a similar role for the Bibliographic Control Committee of the Music Library Association, and for committees within the American Library Association and the International Federation of Library Associations (IFLA).

Michelle Cronquist, Music Cataloger, Northwestern University

Hyeyoon Cho, Music Cataloger, Southern Methodist University

Emily Guthrie, Customer Service Representative, Music Library Services Company

Jon Haupt, Fine and Performing Arts Librarian, Iowa State University

Sarah Ziebell Mann, Librarian III, New York Public Library, Theatre on Film and Tape Archive

Winifred Fordham Metz, Media Resources Librarian, University of North Carolina-Chapel Hill

Alyssa Resnick, Senior Library Supervisor, Brand Library & Art Center

Atlantic Chapter

Officers:
Carl Rahkonen (Indiana University of Pennsylvania), Chair
Steve Landstreet (Free Library of Philadelphia), Vice Chair/Chair Elect
Mary Prendergast (University of Virginia), Secretary/Treasurer.

8-13 August 2004
IAML-IASA Joint Congress
Oslo, Norway

16 August 2004
Submissions Due
MLA Newsletter No. 138