The Board met from 22-25 September in Iowa City, Iowa. Ruthann McTyre was a wonderful host, and arrangements could not have been better. University Libraries paid for a university van during our meeting, and in trips to and from the airport, Ruthann even pointed out to Board members several places where I had lived while in Iowa City.

We had a substantial agenda, and you can review the draft minutes on the MLA Web site. Two significant discussions included how MLA might help those of our colleagues affected by the fall hurricanes and communication between committees. As you probably have already read on MLA-L, the Board approved offering a reduced registration fee for the 2006 annual meeting to members affected by the hurricanes. The Information Sharing Subcommittee quickly assembled a blog to help provide a clearinghouse for information about those affected, and Jennifer Ottervik, our Placement Officer, offered to provide whatever assistance she could for those who may need to find new employment.

Several Board members have commented on committees and subcommittees who are working toward similar goals, yet may not be aware of similar activity. After discussions at the June and September meetings, the Board approved establishing a committee and subcommittee chair listserv to try to promote year-round communication. Ruthann McTyre and Amanda Maple, the Board reports gatherers, along with past president, Laura Dankner, offered to work on the initial implementation, and Ralph Papakhian generously agreed to host the listserv at Indiana University.

At the Iowa City meeting we also learned about progress in planning for MLA’s upcoming 75^th anniversary meeting. Lois Kuyper-Rushing and the Program Committee have planned an excellent program. The Local Arrangements Committee, chaired by Anna Neal, has also been busy (check out their great Web site at http://exlibris.memphis.edu/music/mla/); fundraising, coordinated by Laurel Whisler, has been remarkably successful, and the special touches provided by the 75^th Anniversary Committee, chaired by Roberta Chodacki Ford, will help make this a memorable meeting. In addition, we look forward to the premiere of a composition by Augusta Read Thomas, a joint commission of MLA and the Memphis Symphony. Registration information will be mailed in early November. Please make plans to attend this anniversary celebration!

Finally, by the time you read this report, all members in good standing should have received the annual ballot mailing. If you haven’t already done so, please review the documentation included with the mailing and participate in your association by voting.

I look forward to seeing all of you in Memphis!

The first residents in the area were the Chickasaw Indians, who settled on the bluffs of the Mississippi River. Hernando de Soto became the first of the European explorers and settlers when his expedition came to the area in 1541. Both France and England claimed it at later times before the territory was finally ceded to the United States. The town was then named Memphis (“a place of good abode”) after Memphis, Egypt, because the founders thought the Mississippi River resembled the Nile.

Memphis is still a river town, with significant shipping traffic through the port, but shipping and transportation now include the world headquarters of FedEx and the Memphis International Airport. All combine with a large trucking industry to make Memphis a prime national distribution center. It is also a medical center, home to St. Jude Children’s Hospital and the University of Tennessee Center for the Health Sciences. Higher education is another major segment of the city’s identity, with the University of Memphis, Rhodes College, and Christian Brothers University all located in Memphis.

All that aside, the heart of Memphis is found in its music. Blues, gospel, soul, rock ‘n’ roll, rhythm and blues. Names like W.C. Handy, Elvis, Isaac Hayes, Memphis Minnie, Jerry Lee Lewis, the Memphis Horns, Rufus Thomas, Booker T and the M. G.’s, Furry Lewis. Or Stax Records, Sun Studio, Hi Records, Beale Street. It’s difficult to imagine what the city would be without that legacy.

Tours offered for the MLA conference will focus heavily on the music side of Memphis: Graceland Tour; Memphis Music Tour (Stax, Sun, Rock ‘n’ Soul Museum); and the Organ Crawl. The Heritage Tour will cover more of Memphis’ general history with river commerce, the cotton trade, slave auctions, the underground railroad, and important civil rights era events such as the Sanitation Workers Strike and the assassination of Martin Luther King, Jr.

Topping off the musical events will be the premiere of an MLA/Memphis Symphony Orchestra jointly commissioned work by Augusta Read Thomas, Shakin’. The Local Arrangements Committee opted to sponsor the commission to honor MLA’s 75^th anniversary rather than have a reception. The work will be performed on an MSO concert Friday night during the conference, and MLA attendees will receive a discounted ticket price and be seated together at the concert.

The conference hotel is the Peabody Memphis, a meticulously renovated historic hotel conveniently located in downtown Memphis, a couple of blocks from Beale Street in one direction and the Mississippi River in the other. It is often said that the Mississippi Delta begins in the lobby of the Peabody. And there are the Peabody Ducks, making their red carpet march to the lobby fountain every morning to the sound of Sousa marches. MLA guests will have access to the pool and fitness center and will enjoy the many amenities of a large and gracious hotel —complimentary newspaper, toiletries, hair dryer, iron and ironing board, overnight shoe shine, and morning coffee service in the lobby. Wireless Internet service is available throughout the hotel.

So head on down/over/up to Memphis. You know you won’t want to miss the celebration!

The conference will begin with a plenary session exhibiting the extraordinary early years of the organization while featuring its phenomenal future. “MLA’ers: Past, Present, and Into Our Future,” is sponsored by the Joint Committee for the MLA Archives and its Oral History Subcommittee. Internationally renowned composer Augusta Read Thomas has been commissioned to write a symphonic piece to celebrate this anniversary; it will be premiered by the Memphis Symphony Orchestra (MSO) on Friday evening while we are in Memphis. Ms. Thomas and David Loebel, conductor of the MSO, will be at our conference for two sessions on Friday, including “Ask MOLA” (Major Orchestra Librarians Association) and the Friday afternoon plenary session entitled, “Collaborations: An Interview with Augusta Read Thomas, Maestro David Loebel and MLA’s Don Roberts.” This session is sponsored by the Women in Music Roundtable, the American Music Roundtable and the MLA Archives Committee. The last plenary session of our 75^th year, “Collection Development: Techniques, Resources, and Perspectives for the Music Librarian,” is brought to you by the Resource Sharing and Collection Development Committee.

Maestro David Loebel and the Memphis Symphony Orchestra
will be premiering Augusta Read Thomas' piece, Shakin'

New to the program this year are several “member-proposed” programs. For example, attendees will hear Phillip Ponella discuss Indiana University’s trend-setting digital music program in his session, “Ten Years of Variations . . . and the Beat Goes On,” and they’ll hear Laurie Sampsel in her session entitled, “I Didn’t Know that Was Available Online.”

Whether you want to be “Harvesting Digital Ditties” or answering the question, “How’d They Do That? Technological Solutions to Traditional Public Services Problems,” the 2006 MLA Annual Meeting is the place for you. And if nothing else tickles your fancy, one hidden conference gem that you won’t want to miss is MLA’s business meeting on Saturday afternoon.

Be There or Be Square!

Jane Nowakowski will again be coordinating a roommate clearinghouse for those attending the annual meeting. If you need a roommate for the meeting and wish to utilize this valuable service, contact Jane by email (nowakows@rider.edu), or by phone at work (609-921-7100, x8305).

She needs the following information:

• your name
• how you can be reached
• dates for which you need a roommate

• you are a smoker/non-smoker and prefer/need to room with the same
• you are willing to consider a triple(or not)
• you cannot share with someone who snores, wears perfume, etc.

Are you planning a digitization project at your music library? Are you in the midst of a project and feeling overwhelmed by the project scope and complicated technology?

Please join us on Wednesday, February 22, for the MLA preconference, “Digitizing Music.” Participants will learn how to plan a digital project, how to identify preservation problems for archival recordings, step-by-step how to digitize a musical score and a sound recording, and how to deal with copyright issues specifically relating to digitized music projects.

Presenters include Amy Maroso-Hatcher (Visiting Professor and Project Coordinator at the University of Illinois at Urbana-Champaign), Mike Casey (Coordinator of Recording Services for the Archives of Traditional Music at Indiana University), Brandon Goff (Professor of Music Technology at Rhodes College), and Maureen Whalen (Associate General Counsel for the J. Paul Getty Trust).

Other courses in digital project management, such as NEDCC’s School for Scanning, may require several days of instruction, hundreds of dollars in enrollment fees, and additional travel expenses. MLA's "Digitizing Music" preconference condenses the most essential information about managing a digital project into a one-day workshop, with nationally known experts in the field of digitization, conveniently located at the MLA conference hotel in Memphis, all for just $85 (for MLA members).

Look for registration details to be announced on the MLA mailing list and included in your conference registration packets.

At the 1984 annual conference in Austin, MLA presented citations to two early members of the association: Richard Sloane Angell and Carleton Sprague Smith. The comments of the two recipients, printed in part in the May-June 1984 newsletter, are a fitting preface to the anniversary festivities of next February. They are reprinted here, edited for length:

The citation awarded to Carleton Sprague Smith, “flutist, scholar, librarian, administrator, and friend to all who cared for music” continues: “His imagination has inspired the achievements of three generations, and his vision of the performing arts has been realized in the structure of librarianship and scholarship today.”

Smith commented:

Fifty-three years have elapsed since I sent a circular letter to a number of music librarians, musicologists, and collectors suggesting that we meet in New Haven, Connecticut, during the annual American Library Association convention of 1931. As luck would have it, the signs of the zodiac were propitious and fortune smiled on our plans. It was indeed ‘a convenient occasion for a gathering of those interested in the special problems of music libraries.’ My letter also asked the recipients to mail back a list of topics considered ‘most pressing’ and I would forward them to those planning to attend. ‘In this way we shall have a pretty general idea beforehand of what everyone is thinking about and what some of the problems really are.’

Let me cite a few of the topics which came in: 1) an index of periodicals, 2) an analysis of the Denkmaler, 3) aids for dating early music editions, 4) standardization of music cataloging and especially conventional titles, 5) music bibliographies and, 6) cooperative acquisition.

Our initial meeting was a little like organizing a baseball team with first class players available, willing to be signed up for specific tasks. The key figures were Carl Engel (then still Chief of the Music Division of the Library of Congress while spending half his time as President of G. Schirmer in New York—a tri-lingual author, talented composer and scholar who sometimes took fellow librarians to fancy French restaurants which served delectable meals and choice wines); Otto Kinkeldey (formerly of the New York Public but then director of the Cornell University Libraries—completely bilingual, a pupil of Kretzschmar and Johannes Wolf and a teacher ever conscious of the inductive method); Eva J. O’Meara of Yale (an unassuming, Emily Dickinson figure with a hidden capacity for work—later [1934] the first editor of Notes); Oliver Strunk (Assistant Chief of Music at the Library of Congress, an able musicologist and painstaking scholar ‘who wrote very, very good English’ and didn’t let ‘anything loose or sloppy’ get through); George Sherman Dickinson (mathematical brain from Vassar interested in the minutest details of librarianship); Barbara Duncan (down-to-earth administrator of the Eastman School of Music); Margaret McNamara Mott (smiling optimist and helpful colleague from the Grovenor Library in Buffalo); Richard Appel (effective practitioner of understatement in Boston); and myself. That makes nine—and team-work did the trick. Before one was aware of it—we were off and running.

Richard Angell’s citation recognizes him as “the inventor of the conventional title, developer of new concepts in cataloging and classification and pioneer in education for music librarians.”

Not able to attend the 1984 Austin meeting, Angell sent comments to be read, which included the following:

Looking back, I am aware that my dozen years as music librarian and participant in MLA affairs fall within the first fifteen years of the [association] . . . We were a small group then; but we were busy on important enterprises, we enjoyed each others’ company, and we knew how to celebrate at meetings.

It is not surprising that MLA remains the same in these respects. But it would have been impossible for us to imagine in those early days the extent of the Association’s growth, in size and scope; the excellence of its journal . . . ; the number and value of its contributions to programs of national and international importance. Least of all could we have foreseen the rapid development of new technologies and their enlistment in the accomplishment of the Association’s objectives.

Popular Radio shows:
Bing Crosby
Amos ‘n’ Andy
Sherlock Holmes
The Shadow
Little Orphan Annie

Died:
Thomas Edison
Knute Rockne

Afraid that you’ve missed the deadline for the MLA 75^th ANNIVERSARY BLUES LYRIC CONTEST? Or perhaps you write better on a cold December night when you’re feeling that after-the-holiday funk and the deadline is approaching. Regardless, there is still time to submit your blues lyric, if you are a member-in-good-standing of MLA and not a member of : a) the panel of judges; b) the Ad hoc Committee on MLA’s 75th Anniversary; and c) MLA’s Board of Directors.

Entries must be emailed, or sent and postmarked via postal mail, on or by 13 January 2006.

Your panel of expert judges is: Edward Komara (SUNY Potsdam), chair; Suzanne Flandreau (Center for Black Music Research, Columbia College Chicago); and George Boziwick (New York Public Library for the Performing Arts).

Winners will have their blues performed by members of the MLA Big Band during the pre-banquet cocktail hour in Memphis. Our first-prize winner will take home a 4-CD set from JSP Records entitled Masters of Memphis Blues, which has generously been donated by Dana Jaunzemis and Music Library Service Company, of Wilmington, North Carolina—thank you, Dana & MLSC!

CONTEST RULES

1. Lyrics must somehow reflect or involve music librarians and/or music librarianship.
2. Lyrics must be humorous.
3. Lyrics must fit a standard, 12-bar blues of one type or another.
4. A submission may contain lyrics for one, two, or three 12-bar blues chorus stanzas. (Contestants need not submit three stanzas; three is just the maximum.)
5. Contestants should be prepared to offer an example of an existing, recorded blues to which their lyrics could be performed, to assist the Big Band in preparation. “To be sung to the tune of ‘Move It On Over’ as recorded by George Thorogood” is an acceptable direction. Contestants should also be prepared to clarify by phone any rhythmic ambiguities or “text underlay issues.”
6. Only one entry per person.
7. Entries must be emailed, or sent and postmarked via postal mail, on or by 13 January 2006, to the MLA blues lyric contest chair Edward Komara, P.O. Box 984, Potsdam NY 13676, or to the email address komaraem@potsdam.edu. Please include your name, institution name, preferred email address, preferred postal address, and preferred voice phone no. by which the judges might contact you.
8. The decisions of the judges (subject to approval by the MLA Board) are final.
9. A maximum of three entries will be selected for performance during the pre-MLA-banquet cocktail hour, with the first prize winner to be featured last.

Check out the Blues Lyric Tips and some Cultural Guidelines in the September-October issue of the newsletter for further inspiration.

Richard J. Belford, University of Saskatchewan

Sara Jane Beutter, Vanderbilt University

David Allan Bryant, Lexington, KY

Lee Barrett Bryars, Berklee College of Music

Ruth D. Bryskier, Milwaukee, WI

Kathy Michelle Carbone, California Institute of the Arts

MeiJu Chen, Music Conservatory of UMKC

Chris L. Hampton Durman, University of Tennessee Libraries

Mark J. Froelich, Florida State University

David Z. Galper, Brookline, MA

Crystal A. McElhiney, Stockton, CA

Amy Ruth Pennington, Washington University

Zoë A. Rath, Berklee College of Music

Sandra Schmitz, Berkeley Public Library

Dorothee Schubel, Arlington, VA

Kathleen Ann Turner, Schenectady, NY

Ingrid O. Williams, Mendham, NJ

Lisa Woznicki, Phoenix, MD

Corporate Patrons and Corporate Members are a valued segment of the MLA membership. We appreciate their support of MLA, music libraries and music librarianship.

Join us in thanking them for being a part of MLA!

Description: The Treasurer/Executive Secretary oversees the financial and administrative functions of the Association. The Treasurer/Executive Secretary works closely with A-R Editions, the Association's business office, which performs day-to-day accounting, maintains the membership database and secure server, and provides membership services such as renewals, mailings, and conference registration. The Treasurer/Executive Secretary reviews all requests for payment and signs all checks; prepares and distributes various reports and the annual calendar; and serves as a liaison between A-R Editions staff, the Board and the membership of the Association on relevant matters. The Treasurer/Executive Secretary is a non-voting member of the Board of Directors and an ex-officio voting member of the Development, Finance, Membership, and Publications Committees, as well as the Marketing Subcommittee, and an ex-officio, non-voting member of the Investments Subcommittee. The Treasurer/Executive Secretary works closely with these committees, the Association's administrative office, the President, and the Board to carry out the mission of the Association.

Qualifications: The position requires a dynamic, well-organized and detail-oriented individual with at least five years of experience as a music librarian; administrative experience and knowledge of management principles (including fiscal operations); experience in editing or the production of publications; electronic mail and computer access and literacy; and familiarity with the Music Library Association and other professional organizations. Experience with Microsoft Access, Microsoft Excel, and QuickBooks (or other standard bookkeeping/accounting software) is preferred. Membership in MLA is required. The Treasurer/Executive Secretary receives an honorarium of $5,500 per year and support for expenses necessary to carry out the responsibilities of the position (travel, telephone, postage, supplies, etc.)

Term: The duration of appointment is one year, with reappointment possible for a total of four years. The Board reviews the performance of the Treasurer/Executive Secretary annually. The President reappoints upon successful review and the desire of the incumbent to continue. The successful candidate will be appointed at the February 2006 annual meeting and will work closely with the current Treasurer/Executive Secretary until the annual meeting in Pittsburgh, Pennsylvania, in February 2007, taking over all responsibilities at that time.

Deadline: December 15, 2005.

Application: Please send a letter of application and resume with a list of three professional references by mail or e-mail attachment to:

Recommendations for candidacy are welcome. The Search Committee will hold interviews in Memphis, Tennessee, in conjunction with the Association's annual meeting, scheduled for 22-26 February 2006. Members of the Search Committee are: Patrick Wall, Nancy Nuzzo, Ken Calkins, Daniel Boomhower, and Paula Matthews, chair.

Position Description: The Convention Manager (CM) and Assistant Convention Manager (ACM) are authorized by the President and the Board to coordinate and oversee the planning and execution of national conventions of the association. The CM oversees all convention details and is responsible for onsite management of national conventions. The CM serves as liaison among the Program Committee chair, the chair of the Local Arrangements Committee and its budget officer, the Publicity Officer, the chair of the Education Committee (if a preconference workshop is being planned), the Treasurer/Executive Secretary, the MLA Board, the MLA Business Office, and other affiliated groups planning events in conjunction with MLA's annual conference. The CM negotiates with hotels for future conventions, signs contracts (countersigned by the President) to secure accommodations for meeting and sleeping rooms and makes all solicitations and arrangements concerning exhibitors whose publications, products and services are displayed at conventions. The position demands heavy involvement, especially in the early fall when the Convention Budget is prepared and exhibitors/advertisers are solicited, and during the two months prior to the annual convention, with lesser involvement throughout the year. The ACM accompanies the CM on site inspection/hotel negotiation trips and manages all facets of exhibits and advertising for the convention.

Specific Duties
CM duties include: site inspection, reporting findings and making recommendations to the Board, and hotel contract negotiations, communicating with the hotel's sales staff, coordinating the work of the Program Committee and Local Arrangements Committee, assigning meeting rooms; communications with the hotel's catering/banquet service, the A-V service, the photocopy service, and other services, as necessary. The CM prepares the convention budget, works with the Program Committee and the Local Arrangements Committee, and attends the fall meeting of the MLA Board. The CM has final responsibility for on-site management of all facets of the convention, reports to the membership at the annual convention on recent, current and future national conventions, and confirms and submits all bills to the MLA Treasurer. In addition, the CM is responsible for maintaining, revising and updating, and distributing MLA's Convention Manual. The ACM and CM serve as ex-officio members of both the Program Committee and the Local Arrangements Committee.

ACM duties include: solicitation of exhibitors and program advertisers for the annual convention, maintaining a master list of exhibitors/ advertisers, fund-raising among exhibitors, and overseeing all aspects of exhibits for the convention. This includes communications/negotiations with decorating/drayage firms, security firms, and telephone/internet/electrical services, and on-site management of the exhibit area during the convention. The ACM works closely with the CM, consulting, whenever necessary, to become familiar with the duties and responsibilities of the position.

Qualifications: Five years experience as a music librarian; membership in the Music Library Association, with a solid understanding of its organizational and annual convention structure; administrative experience with good organizational and management skills; ability to set and meet deadlines; budgeting experience; effective communication skills in person, on the phone and in writing; availability for business trips of 2-3 days duration 3-5 times per year; availability to attend all annual conventions for a full week; good computer skills including word processing software and spreadsheet management with access to a high quality printer, modem, fax machine, and electronic mail. Skills in database management are highly desirable.

Benefits: The CM and ACM receive support for expenses required to carry out the responsibilities of the position (travel, telephone, postage, etc.) and honoraria. Honoraria are determined annually by the Executive Board. For FY 2005-2006 the honoraria are: CM $4500; ACM $3000.

Duration of Appointment: The ACM's term begins July 1, 2006. Initial appointment is one year, with reappointment possible up to a total of four years. The first two years are spent as ACM; the third and fourth years are spent as CM.

Application: Send five copies of letters of application, résumés and names of three professional references to: Ned Quist, Orwig Music Library, Box A, Brown University, Providence, RI 02912

Deadline: December 15, 2005

Recommendations for candidacy are welcome and should be sent to Ned Quist at the address above or by email at Edwin_Quist@brown.edu. Interviews will be held at the annual meeting in Memphis. Members of the Search Committee are: James L. Zychowicz, Christine Clark, James Farrington, Brad Short and Ned Quist, chair.

Description: As a special officer of the Music Library Association (MLA), the Advertising Manager serves the organization on two separate but equally important fronts: working with its Board to maximize revenue, and coordinating efforts with the Notes editor to maintain or surpass the quality and timeliness of the advertisements for each issue of the journal. As such, the duties of the Advertising Manager include, but are not limited to the following: (1) provides advertising copy per specifications used with MLA publications (http://www.areditions.com/journals/info/AdSpec.html) to the MLA Business Office for each MLA publication (four quarterly issues of Notes and the annual Membership Handbook, and others, if necessary); (2) maintains and updates at least annually the advertising rate card for Notes and other Association advertising venues; (3) reviews all advertisements when received and advises on optimal format, including size, layout, resolution, file format, and content; (4) determines if advertisement as submitted meets the establish specifications, or suggests revisions to the advertiser, or has the MLA Business Office create advertisements for a fee, if necessary; (5) submits material in an organized and timely way; (6) prepares invoices for the MLA Business Office after submitting ad copy for publication. This position reports to the MLA Board on financial matters, and coordinates efforts with the Notes editor to maintain the journal’s production schedule. The Advertising Manager is required to attend the annual meeting of the Association in order to meet with advertisers, review processes with the Notes editor and A-R staff, and to meet with the Board. The Advertising Manager is a voting member of the MLA Publications Committee, and works closely with the Notes Editor, the Association's Business Office, the President, and the Board to carry out the mission of the Association.

Qualifications: The position requires a dynamic, well-organized and detail-oriented individual with at least five years of experience as a music librarian; administrative experience and knowledge of advertising principles; experience in editing or the production of publications; electronic mail and computer access and literacy; a working knowledge of graphics and graphics formats associated with MLA publication, including but not limited to TIFF, JPEG, EPS and PDF; and familiarity with the Music Library Association and other professional organizations. Experience with Microsoft Office technology and its applications, as well as Adobe Acrobat for handling PDF files (ad submissions and page proofs). Membership in MLA is required. The Advertising Manager receives a percentage of the income gained on advertisements sold for the Association and its journal paid out as an honorarium (currently at 17%).

Term: The duration of appointment is one year, with reappointment possible for a total of four years. The Board reviews the performance of the Advertising Manager annually with input from the Notes editor. The President reappoints upon successful review and the desire of the incumbent to continue. The successful candidate will be appointed at the February 2006 annual meeting and will work closely with the current incumbent (or interim advertising manager) to ensure a smooth transition.

Deadline: December 15, 2005.

Application: Please send a letter of application and resume with a list of three professional references by mail or e-mail attachment to: Jim Cassaro, University of Pittsburgh, Music Library, B30 Music Bldg, Pittsburgh, PA 15260. E-mail: cassaro@pitt.edu.

Recommendations for candidacy are welcome. The Search Committee will hold interviews in Memphis, Tennessee, in conjunction with the Association's annual meeting, scheduled for 22-26 February 2006. Members of the Search Committee are: Karen Little, Michael Rogan, Jim Zychowicz, and Jim Cassaro, chair.

The MLA Preservation Committee is in its final stage of data collection about library needs and preferences regarding the binding of music scores. The committee will be using the information to pursue two projects. First, we will be participating in the formulation of standards (requirements for all binders accredited by the Library Binding Institute) and guidelines (explications of those standards useful both to binders and to libraries) for the library binding of music. Second, we are working directly with music publishers and distributors to develop and promote binding practices that make it easier for music libraries to bind newly acquired scores, or have them bound by library binders.

We urge everyone who works with library music to fill out a survey that can be found linked to the Preservation Committee page on the MLA Web site. We are especially looking for input from library support personnel who are unable to attend MLA meetings, and therefore did not fill out a paper survey in Vancouver, and from people who use library-bound music regardless of whether they are involved in the binding process themselves. Please bring the survey to the attention of any supervisees or other colleagues who you think might be interested.

The survey will be available through mid-January, and the results will be posted on the Preservation Committee page after the spring conference.

Deadlines are as follows:
Programmatic papers and presentations: April 30, 2006.
Business/non-program meeting requests: May 31, 2006.

The committee is coordinating closely with the SAM Program Committee to develop a conference that will include a rich variety of sessions dealing with issues relevant and of interest to both groups. We will be encouraging, as much as possible, joint presentations, especially among roundtables and interest groups of the two organizations, as well as papers from individuals.

Following procedures established with the 2006 program, proposals will be submitted via an online form, to be made accessible on the MLA Web site shortly after the 2006 Memphis conference in February.

Program chair is Mark McKnight, University of North Texas (mmcknigh@library.unt.edu). . Voting members of the committee include Linda Solow Blotner, University of Hartford (blotner@hartford.edu); Richard Boursy, Yale University (richard.boursy@yale.edu); D.J. Hoek, Northwestern University (djhoek@northwestern.edu); and Eunice Schroeder, University of California, Santa Barbara (schroeder@library.ucsb.edu); George Boziwick, New York Public Library (gboziwick@nypl.org), is the program chair for SAM. If you have questions, please contact any of these members.

Carol Tolliver Bennett, Administrator and Project Manager, Archives of African American Music and Culture, Indiana University

Bonna Boettcher, Music Librarian, Cornell University (effective Jan. 06)

Scott Dutkiewicz, Special Formats Cataloger, Clemson University

Martin Fisher, Manager of Recorded Sound Collections, Center for Popular Music

Kathy Glennan, Music Cataloger, University of Maryland

Kim Martincic, Music Cataloger, Queens College-City University of New York

Renée McBride, Cataloging & Technical Services Librarian, Hollins University

Josh Moorman, Music Librarian, Musicians Institute

Joan O'Connor, Coordinator of the Music Library, University of Houston

David Snow, Cataloger and Archival Processor, The Juilliard School

Nick Tustin, National Librarian, Canadian Music Centre

Jeanette Zyko, Circulation Manager, Manhattan School of Music

Ida Reed, former Music Librarian at the University of North Carolina at Chapel Hill, passed away on November 9, 2005, after a long battle with cancer.

Ida was born in Chester, SC on July 11, 1942. She received a B.A. in musicology from Florida Presbyterian College (now Eckerd University), followed by Master’s degrees in musicology (1966) and library science (1968) from the University of Pittsburgh. In 1968 she began work in the Carnegie Library of Pittsburgh, serving as the head of the Music and Art Department from 1974-1984. Ida came to the University of North Carolina in 1984, administering the music library and teaching music librarianship courses until her retirement in 1997.

For many in MLA, Ida is best known as the editor of the fifth edition of the classic reference work, Vincent H. Duckles’ Music Reference and Research Materials (1997). A former Board member of MLA and an early organizer of the Pennsylvania Chapter, Ida received in 1997 the Music Library Association’s citation for distinguished service to music librarianship. The award stated, in part, “In her many contributions as reference librarian, advisor, author, and teacher, but most especially as mentor to new, young professionals, she has had a profound and enduring influence on a generation of music librarians, guiding many of them down hidden paths they would otherwise never have suspected were there. Her determination, leadership, wise counsel, and generous spirit serve as an inspiration to us all.”

The ARSC Grants Program supports scholarship and publication in the fields of sound recording research and audio preservation. Project categories eligible for consideration include: discography, bibliography, historical studies of the sound recording industry and its products, and any other subject likely to increase the public's understanding and appreciation of the lasting importance of recorded sound. ARSC encourages applications from individuals whose research forms part of an academic program at the master's or doctoral level.

ARSC members and non-members alike are eligible for grants in amounts up to $1000. Grant funds can be used to underwrite clerical, editorial, and travel expenses. Funds may not be used to purchase capital equipment or recordings, to reimburse applicants for work already performed, or to support projects that form part of a paid job. Grant recipients must submit documentation of their expenses, and all grant funds must be disbursed within eighteen months of the grant award.

Grant recipients are required to submit brief descriptions of their projects (for publication in the ARSC Journal), and are encouraged to submit articles about their projects, for possible publication in the Journal.

ARSC Grant Applications shall include:

• a summary of the project (one page maximum), with samples of the work, if possible;
• a budget covering the entire project, highlighting the expenses the ARSC Grant will cover (one page maximum);
• a curriculum vitae; and
• an indication of the prospects for publication or other public dissemination of the project results.

Send applications to: Richard Warren, ARSC Grants Committee Chair, Historical Sound Recordings, Yale University Library, PO Box 208240, New Haven, CT 06520-8240, USA. Applications for the next grant cycle must be received by February 28, 2006.

Questions about the Grants Program should be directed to Mr. Warren at richard.warren@yale.edu .

You are invited to propose candidates for the 2006 ARSC Awards for Excellence in Historical Recorded Sound Research. Nominations may be made by anyone, ARSC member or not. The deadline for nominations is January 31, 2006.

Eligible publications include any original printed work—book, monograph, article, liner notes, etc.—first published during 2005. The work may treat any subject related to recorded sound, but must embody the highest research standards. It should deal primarily with historical subjects, pertaining to periods at least ten years prior to the year of publication, with the exception of works related to modern preservation or playback technology.

The Awards Committee especially welcomes information concerning eligible journal articles, as well as foreign and small-press publications that might otherwise be overlooked.

The ARSC Lifetime Achievement Award is presented annually to an individual, in recognition of a life's work in research and publication.

The ARSC Award for Distinguished Service to Historic Recordings honors a person who has made outstanding contributions to the field, outside of published works or discographic research.

Nominations for either of these awards must be received by January 31, 2006.

SUBMISSIONS: Nominations for the ARSC Awards for Excellence must include the name of each nominee, together with the names of co-authors, the publication title, and the publisher's name and address. Please submit nominations to:

Robert Iannapollo, Sibley Music Library, Eastman School of Music, 27 Gibbs St., Rochester, NY 14604-2504 (Email: riannapollo@esm.rochester.edu)

Moore, Tom (University of Rio de Janeiro)
   Tom Moore, “Sources for Brazilian Music in the United States.” Flute Talk 24:5 (January 2005): 20-21.