Notes for Notes

Abstract

Notes for Notes Misti Shaw, Melissa A. Weber, Maristella Feustle, Kristina Krämer, Jane Gottlieb, and Jonathan Sauceda During the 2022 Music Library Association virtual annual meeting, the following awards were given: The Diversity Scholarship offers candidates from under-represented groups the opportunity to pursue a master’s degree in library and information science with financial support. The goal of the scholarship is to recruit students from historically underrepresented racial and ethnic groups into music librarianship by providing support for master’s-level LIS education. The first is Michelle Rivera. The second is Jade Vaughan. The Kevin Freeman Travel Grant supports travel and hotel expenses to attend the Music Library Association's annual meeting along with gratis registration. This year’s recipients will be permitted to apply their travel grants to the next in-person conference. The four recipients are as follows: Margaret Cuddihy, George (Geo) Flores, Jackson Harmeyer, and Mia Watts. This year we are gratified to be offering a brand new award, for Paraprofessionals and Public Librarians. As with the Freeman award, our five recipients will use their travel grants for the next in-person conference, and we heartily welcome them now. Our five recipients are: Rita Alfaro, Abigail Bass, Jennifer Eltringham, Kathryn Kuntz, and Amanda Steadman. The Walter Gerboth Award and the Carol June Bradley Award were combined into one award committee last year, while maintaining two separate awards to support research. No Gerboth award was chosen this year. We do have two Bradley award recipients for research in the history of music library collections and they are: Carolyn Doi for her project, “Sounds of Home,” documenting local music collections across Canada. Patricia Sasser for her project, “Documenting Music among Russian Jewish Kharbinsty, 1910–1929,” with research at the New York Public Library. The Dena Epstein Award supports research in archives or libraries internationally on any aspect of American music. This year’s recipients include Michael Cooper, for his book-length biography project about [End Page 50] Margaret Allison Bonds (for the Master Musicians series of Oxford University Press), Michael Kramer, for his book project, “This Machine Kills Fascists: What the Folk Music Revival Can Teach Us About the Digital Age,” David Rugger, for his book project, “Simple Man: Klaus Nomi’s Life and Art,” and Emmalouise St. Amand, for her dissertation on semi-professional and amateur Black girl groups in New York City between 1950 and 1965. The Vincent H. Duckles Award is the Music Library Association’s annual prize for the best book-length bibliography or reference work in music. This year’s recipient is Alexander Sanchez-Behar, for John Adams: A Research and Information Guide (Routledge, 2020). The Richard S. Hill Award is an annual award for the best article on music librarianship or article of a music-bibliographic nature. This year’s Hill Award goes to Elizabeth Berndt-Morris and Sandi-Jo Malmon for their article, “Surveying Composers: Methods of Distribution, Discoverability and Accessibility of their Works and the Corresponding Impact on Library Collections,” which appeared in Fontes Artis Musicae. The Eva Judd O’Meara Award honors the best review published in Notes. This year’s recipient is K. Dawn Grapes for her review of The Norton Guide to Teaching Music History. The MLA Citation, the Association’s tribute for lifetime achievement, is awarded in recognition of distinguished service to music librarian-ship over a career. It is the highest honor we bestow. This year, we have one recipient of the MLA Citation. As a true champion of the music of African Americans and of paraprofessionals in music libraries, she has positively contributed to the work of MLA’s members and their patrons. Her decades-long, groundbreaking work has produced a multifaceted body of research and performances of African-American vocal music. Her websites, including “Afrocentric Voices in ‘Classical’ Music,” “The Spirituals Database,” and “Afrocentric Sounds Radio,” document the work of Black musicians and increase access to oft-neglected bodies of literature. Her published articles, presentations at many national and regional conferences, and her first book, “So You Want to Sing Spirituals,” demonstrate the breadth of her authority, as do recognitions of her expertise, such as grants and requests for interviews. She is...