Music Library Research Articles

Editors' Column

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Picanto.ca (Database)

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

2022 CAML Conference Report

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Message from the President

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Loud and Clear: A Guide to Levelled Piano Music by Women Composers in the 20th and 21st Centures - by Olivia Adams (Book)

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Musical sources: 70 years of RISM

Celebrating the 70th anniversary of Répertoire International des Sources Musicales (RISM), the international conference ‘Musical sources: past and future’ took place between 7 and 9 October 2022 in the Plenarsaal of the Akademie der Wissenschaften und der Literatur of Mainz, in cooperation with the local Johannes Gutenberg-Universität. The aim of the conference, according to the organizers, was to discuss past, present and future scholarship concerning musical sources, not just focusing on research linked to RISM’s scope but also reflecting on new methodologies, types of sources and geographical locations hitherto overlooked by RISM. The conference opened with messages from officials of the Akademie der Wissenschaften und der Literatur of Mainz, the International Association of Music Libraries, the International Musicological Society, the Schweizerische Akademie der Geistes- und Sozialwissenschaften, and the International RISM Association, who welcomed the delegates and paid tribute to RISM’s 70th anniversary. This was followed by the third edition of the RISM Lecture, which functioned also as the keynote address of the conference. Inaugurated online during the winter of 2021, the RISM Lectures were launched as a forum to promote among musicologists and musicians some of the most interesting collections of sources around the world, during a time when travelling was generally impossible owing to the COVID-19 pandemic. Previous lectures celebrated the Fondo Cappella Sistina of the Biblioteca Apostolica Vaticana and the Bach collections of the Staatsbibliothek zu Berlin. The third one, given at the RISM anniversary conference, moved the focus beyond Europe by being dedicated to the musical sources of Mexico. In their lecture, titled ‘From data, understanding the past, orienting the future’, the three speakers, Lucero Enríquez, Drew Edward Davies and Analía Cherñavsky, reflected on their experience of cataloguing the music archives of Mexico City Cathedral. They debunked the myth of a preponderance of Renaissance sources (stemming from Mexico City’s heritage as part of the early modern colony of New Spain), instead showing how the majority of sources date from the 19th century. The examination of some settings of the Mass Ordinary, in the form of bass lines used by organists, revealed that these were originally from German prints, and offered an extremely interesting starting point for discussing the completeness of these sources. Furthermore, focusing on a location previously considered peripheral by mainstream musicology provided remarkable insights on the ways that scholars treat these sources.

Notes for Notes

Notes for Notes Matthew Testa, James P. Cassaro, David R. Lewis, Samuel Judson Crawford, Rebecca Belford, and Janet McKinney Historic Jean Eichelberger Ivey recordings now online. The Peabody Institute’s Arthur Friedheim Library has digitized 234 rare recordings featuring the music of composer Jean Eichelberger Ivey (1923–2010) and some of her students in the early years of the Peabody Electronic Music Studio, the first such studio in a conservatory, which Ivey founded in 1969. The recordings in the Ivey collection contain important examples of early electronic music from the 1960s and 1970s, such as the experimental short film Pinball and various works by Ivey and her students for tape and live performers. Highlights of the collection include a 1973 television documentary about Ivey filmed at Peabody, a 1984 Ivey retrospective concert at Peabody, and video recordings of anniversary concerts by the Peabody Electronic/Computer Music Studio from the 1980s and 1990s. The Ivey recordings are available through the Friedheim Library’s streaming site at https://streaming.peabody.jhu.edu/collections/1805. For more information on access to the collection, contact peabodyarchives@lists.jhu.edu. This collection was made possible with a grant from the Council on Library and Information Resources Recordings at Risk program. Matthew Testa Peabody Institute, Johns Hopkins University The Emerging Masters Collection, 1954–1989 at the Finney Music Library, University of Pittsburgh has been digitized. Funded by a Grammy Foundation grant of $11,461, the entire collection of 420 reel-to-reel tapes has been reformatted. The core of the recordings focuses on contemporary music by composers affiliated with the University of Pittsburgh, as well as major performers of this repertoire. Works and performances by local musicians are also represented, including vocal recitals by Mildred Miller Posvar; jazz saxophonist/composer, Nathan Davis; jazz pianist, Ulf Johansson; jazz pianist/composer, Geri Allen; pianist William Doppmann; and jazz flutist, Yusef Lateef. Most interesting is the inclusion of recordings by the 415 Players, a local early music ensemble which began performing and recording at the cusp of the early music movement during the late 1960s and the 1970s. Many of the contemporary works, some which have never been commercially released, represent early efforts by composers who have gone on to [End Page 206] major careers. These include David Stock, Reza Vali, Morton Subotnick, Thomas Janson, Dennis Kahle, Dorrance Stalvey, Ingvar Lidholm, and Bo Nilsson. The collection not only codifies the performance history of the Music Department, but also provides a snapshot in time of trends in music composition, performance, and reception. As such, it demonstrates the rich musical heritage of the institution and the City of Pittsburgh, as well as furthers the study of American music. The online collection can be found at https://digital.library.pitt.edu/islandora/object/pitt%3Acollection.306. James P. Cassaro University of Pittsburgh Bowling Green State University’s Music Library and Bill Schurk Sound Archives (MLBSSA) has received a Recordings at Risk grant from the Council on Library and Information Resources (CLIR) to fund a digitization and access project for at-risk filk music materials. The grant program is made possible by funding from the Andrew W. Mellon Foundation. As a musical genre, filk usually revolves around science fiction or fantasy topics. The term filk is used to describe both the musical genre and the active fan community that creates and sustains the music through conventions and gatherings. The project will digitize materials from three interrelated collections that document the filk community in the 1980s, a formative time for filkers as they began record labels, founded many regional filk conventions, and drew new participants to the community. The collections include commercial master recordings from some of the earliest commercial filk record labels in the Wail Songs Collection and Buck and Juanita Coulson Collection as well as field recordings of informal music-making, interviews, and conventions from the Jennifer Donaldson Milewski Collection. The project will allow MLBSSA staff to provide on-site access to the audio materials, to enhance archival description for the collections, and to pursue permissions for wider access. As a result of the grant project, the collections will be more accessible to the filk community, the BGSU...

30 Ağustos Zaferi İçin Bestelenmiş Şarkı ve Marşlara Yönelik Tematik Bir İnceleme

In this study, it is aimed to determine the songs and marches (anthems) composed for the August 30 Victory Day. This research is a thematic case study. The Harmony band repertoire, the Ministry of National Education music lesson library, school music books, and traditional and popular music genres were examined to obtain the data. As a result of the examination a limited number of compositions, which are thought to reflect the themes that can be included in the scope of August 30 Victory Day, have been reached. The compositions are mainly in the popular music genre. It has been determined as a result that the composers who gave works for the themes reflecting national unity and solidarity did not compose musical works within the framework of the 30 August Victory Day theme. In total 8 compositions were reached and 15 thematic words were extracted. It has been determined that these thematic words are used in 8 songs for 160 times in total.With this research it was thought that songs and marches with the theme of August 30 Victory Day must be composed more and take their place in the national celebrations and ceremonies. Because It is thought that more songs with the theme of victory is helping to remind future generations of their history and to feed national feelings up from the right foundations.

The Main Stages of Formation and Development of the 24th Military Band of the Joint Strategic Command of the Southern Military District: Traditions and Modernity

The article considers the formation of Russian military musical performance in the regions of the Russian Federation. The history of the development of the 24th Military Band of the Joint Strategic Command of the Southern Military District is the object of study; traditions and innovations in the military band’s activities are the subject. The article aims to reveal the significance of the traditions of military wind bands for the development of national musical culture. The tasks set in the article included the study of scientific literature, revealing the specifics of the military musical art development in Russia, and archival sources from collections of textual and musical (notated) documents related to the history of military music and the band itself. The history of the band was studied using archival sources from the collection of documents of the 24th military band with the documents from the collection collected by A.Golovin - Head and Artistic Director of the band, Honoured Artist of the Russian Federation, Lieutenant Colonel. In the course of the study, documents from the band's collection of notes, including handwritten, printed and electronic scores of the author's arrangements and transcriptions, were analysed. It is noted that even though the music library began to form after 1962, it includes scores made at an earlier time. The authors determine the date and conditions for the formation of the military band of the headquarters of the Southern Military District: the band was turned into an independent unit as the 15th military band of the headquarters of the North Caucasian Military District with a permanent location in Rostov-on-Don on the basis of the military band of the 106th Communications Regiment on August 2, 1962. In 2012, the band became part of the 175 Luninets-Pinsky Southern Military District Command Brigade (military unit 01957) with the Order of Alexander Nevsky and twice the Order of the Red Star. In 2018, the 24th Military Band of the Joint Strategic Command of the Southern Military District was formed on its basis. It is noted that the band has repeatedly become the winner of the All-Army competitions of military bands, and various festivals, demonstrating the highest professionalism and being one of the best creative teams of the Armed Forces of the Russian Federation. Scientific and practical novelty, as well as the relevance of the study, is determined by a new perspective found in the study of the history of the military band. A comprehensive study of documents made it possible to identify continuity in the collective’s activities and innovations related to the modern band’s functionality expansion.

Asian American Female Composers and Digital Memory

Asian American Female Composers and Digital Memory

Briefs / Feuilletons

Briefs / Feuilletons Deborah Campana, Richard Griscom, Judy Pinnolis, and Sandi-Jo Malmon The Board of Directors of Répertoire International de Littérature Musicale (RILM) is delighted to announce that Tina Frühauf, current Deputy Executive Director of RILM, will become its next Executive Director effective 29 August 2022. She will be the fifth person to lead RILM, succeeding Barry S. Brook (1966–1989), Terrence E. Ford (1989–1991), Adam P. J. O'Connor (1991–1996), and Barbara Dobbs Mackenzie (1996–2022). Following an international search, the Board of Directors unanimously selected Dr. Frühauf as RILM's next Executive Director. 'Tina brings to the position a unique breadth of experience at RILM and in the academic community', said Dr. Mackenzie, RILM's current Executive Director and President of the Board of Directors. 'At RILM she has already worn many hats, all successfully, including as an editor, as head of marketing, and as licensor of full-text content for RILM Abstracts of Music Literature with Full Text and RILM Music Encyclopedias. Tina is also a widely published and active scholar and teacher. What impressed the Board most about Tina is her passion for RILM's global mission and her vision for the organisation and its role in music research of the 21st century'. 'I am thrilled and honored to serve as RILM's next Executive Director and, by extension, all researchers, educators, students, and librarians worldwide who seek to access music literature and scholarship in all its facets and contexts', says Dr. Frühauf. 'Barbara Dobbs Mackenzie created a stable and entrepreneurial work environment, and I am excited to head an organisation that is well prepared to continue its development. As a scholar, teacher, and editor, I have relied on RILM's research tools for over two decades and I strongly believe in their scope, which is driven by the global mission they represent. Expanding RILM's global network and strengthening the appreciation of bibliography and historiography as crucial pillars of solid academic work is at the forefront of RILM's future work. With this, I hope that RILM's resources remain indispensable sources of knowledge that support all those who are engaged in the study of music'. RILM's 2021 Board of Directors served as the search committee: Zdravko Blažeković (RILM), L. Charles Fink (RILM), Elizabeth Davis (Columbia University), Richard Freedman (Haverford College), Barbara Dobbs Mackenzie (RILM), Philippe Vendrix (CNRS), and Richard W. Young (Quarles & Brady, ret.). The committee benefited from the assistance of Mary Gail Biebel, succession consultant, and Sara McWilliams, executive search consultant. Répertoire International de Littérature Musicale (RILM), New York publishes a suite of online reference works for music research, including the German music encyclopedia Die Musik in Geschichte und Gegenwart (as MGG Online) and the lexicographic collection RILM Music Encyclopedias. Its well-known bibliographic database RILM Abstracts of Music Literature with Full Text has some 1.5 million records representing publications concerning all types of music, published in more than 170 languages, coming from some 150 countries, and includes several hundred journals in full text. RILM also published the Index to Printed Music, and the forthcoming online version of Dizionario enciclopedico universale della musica e dei musicisti (as DEUMM Online). RILM functions under the auspices of the International Association of Music Libraries, Archives and Documentation Centres; the International Association for the Study of [End Page 327] Popular Music; the International Musicological Society; the International Council for Traditional Music. RILM is housed at the Graduate Center of the City University of New York in New York City. Tina Frühauf has been a core member of the RILM staff since 2003, working in a number of capacities over the years. She is an active scholar and writer; the study of Jewish music in modernity has been Dr. Frühauf's primary research focus for two decades, culminating in monographs such as Orgel und Orgelmusik in deutsch-jüdischer Kultur and Transcending Dystopia: Music, Mobility, and the Jewish Community in Germany, 1945–1989. Her most recent scholarly work focuses on the historiography of music scholarship and migration, examining the mass dislocation of peoples in the twentieth century and the conditions of globalisation, genocide...

Anne Dawson Her Book (1716) ed. by Jon Baxendale, and: Toccatas, Suites and Preludes for Harpsichord by William Babell ed. by Andrew Woolley

Reviewed by: Anne Dawson Her Book (1716) ed. by Jon Baxendale, and: Toccatas, Suites and Preludes for Harpsichord by William Babell ed. by Andrew Woolley Graydon Beeks Anne Dawson Her Book (1716). Edited by Jon Baxendale. Tynset: Lyrebird Music, 2021. [302 p. ISMN 979-0-796670-14-0. €58.99] Toccatas, Suites and Preludes for Harpsichord. By William Babell, edited by Andrew Woolley. Tynset: Lyrebird Music, 2021. [302 p. ISMN 979-0-706670-16-4. €48.99] Lyrebird Music, the project of harpsichordist and musicologist Jon Baxendale, began publishing in 2020 and has already produced a remarkable body of work—at least twenty-two editions to date. It is not related to Editions L'Oiseau-Lyre, but like that series, is committed to making available practical editions of keyboard music that take advantage of the latest and best scholarship. Repertoire is heavily weighted toward French music of the seventeenth and eighteenth centuries, both familiar and little-known, but there are also volumes of works by Georg Muffat (Apparatus musicoorganisticus) and J. S. Bach (Die Kunst der Fuge), together with a projected edition of the complete organ works of César Franck. All volumes have a detailed critical apparatus with an emphasis on providing supporting information for the performer. The two volumes under review here contain music composed or circulated in England during the first two decades of the eighteenth century. They complement new editions of The Fitzwilliam Virginal Book and My Lady Nevells Book, which contain English music from the previous century. The first to be considered is Anne Dawson Her Book (1716), an edition of manuscript BRM 710.5 CR 71 in the Henry Watson Music Library in Manchester that Baxendale, the editor of the volume, has studied for some twenty years. The contents include keyboard transcriptions of instrumental works, idiomatic keyboard pieces, and songs with basso continuo accompaniment, most with obbligato instrumental lines. It has not been possible to identify the original owner of the book, but the editor suggests that she was likely a young 'cultured gentlewoman' and that it was prepared as part of her musical education, presumably at the behest of an unidentified music master who could possibly have also been the primary scribe. The bulk of the transcriptions are of concertos by Italian composers, primarily Antonio Vivaldi, but also Domenico Alberti and Francesco Manfredini. The overture to Bononcini's popular opera Camilla is included, as are sonatas by Arcangelo Corelli and Johann [End Page 348] Christoph Pepusch, who was active in London at the time, and Jean Baptiste Lully's famous 'Choeur de Cybèle' from his opera Atys. Of the five keyboard toccatas, at least one is by William Babell, while another is attributed to 'Sr. Hendel'. The final toccata is attributed elsewhere to Henry Purcell, Michelangelo Rossi, and J. S. Bach, but Baxendale suggests it is more likely to be by a North German composer, perhaps someone in the circle of Dietrich Buxtehude. Among the shorter pieces by French and German composers, John Weldon's three-movement Suite in F Major is the only piece definitely written by a native English composer. The transcribed arias, some of which have been transposed, are all apt for a soprano or tenor voice and are largely taken from Italian operas that were performed in London in the years preceding 1716. Because the continuo bass is so extensively figured, Baxendale suggests that these transcriptions may have been used to teach Ms. Dawson how to accompany at the keyboard. The second volume, Andrew Woolley's edition of Toccatas, Suites and Preludes for Harpsichord by the harpsichordist, organist, and composer William Babell (1688–1723), connects us with the life of a busy professional musician in early eighteenth-century London. Born in Germany into a family of French musicians, both he and his father acquired positions at the English Court, and both joined the orchestra of the newly established Italian opera in 1707. William presumably continued playing with that orchestra until 1717, but he became better known for his activities in public concerts. He also made keyboard arrangements of opera arias that were published by John Walsh. In later years, he became increasingly active as a church organist and...

London, Royal College of Music Library, MS 2093 (1660s–1670s) ed. by Heather Windram and Terence Charlston, and: London, Lambeth Palace Library, MS 1040 (1650s–1660s) ed. by Andrew Woolley, Heather Windram and Terence Charlston

London, Royal College of Music Library, MS 2093 (1660s–1670s) ed. by Heather Windram and Terence Charlston, and: London, Lambeth Palace Library, MS 1040 (1650s–1660s) ed. by Andrew Woolley, Heather Windram and Terence Charlston

Swede Home Chicago: The Wallin's Svenska Records Story, 1923–27

According to the liner notes of this project, Chicago has the highest Swedish population of any city after Stockholm. Chicago is also “home to the first record label founded by a Nordic immigrant to the United States.” Archeophone Records’ compilation Swede Home Chicago: The Wallin's Svenska Records Story, 1923–27 tells the story of former crofter Gustaf Waldemar Wallin, founder of Wallin's Svenska Records, a record company that came into being as a subsidiary of Wallin's Music Shop. This company issued 56 tracks between 1923 and 1927. Swede Home Chicago encompasses the entire catalog and includes two discs, featuring 28 tracks each, and a robust 76-page CD booklet. The booklet includes introductory material, performers’ biographies, track notes, lyrics and translations, endnotes, and production credits, as well as a rich plethora of archival photos relating to the Wallin family, the record company, the performers, and more.Without any prior knowledge of the folklife of Swedish American immigrants, one can still appreciate the thought and care put into this project. The context provided by the CD booklet is absolutely unmatched by that of any other project I have engaged with, and was the highlight of reviewing this project. As a folklorist focusing on music, with an eye trained on accessibility and transparency, this is particularly meaningful. For a multiplicity of reasons, one cannot and should not separate music from its historical context. The music itself cannot provide this context, especially when songs are being sung in a language one does not understand. Luckily, folklorists Jim Leary and Marcus Cederström, along with Archeophone Records’ Richard Martin, have crafted a fulfilling and multifaceted narrative that includes detailed lyric translations and is guaranteed to address any questions or concerns the listener might have.The music itself—56 tracks spread out over two discs—features piano, piano accordion, violin, and vocals covering the entire spectrum of human emotion and artistic preference and encompassing “earthy comic songs,” “pious hymns and patriotic anthems,” “venerable folk tunes [intermingled] with hot jazz,” and more. It is striking that this collection is so musically diverse despite coming from one company; it utilizes almost every possible sonic avenue within the given musical heritage to create a truly dynamic and entertaining catalog. In a further testament to the importance of these recordings at the time they first appeared, it is worth noting that the 28 10-inch shellac discs originally issued by Wallin's Svenska Records were recorded by Homer Rodeheaver and Orlando Marsh, two venerable giants of the recording industry.Swede Home Chicago is a set that anyone who is interested in music and music history should own. Speaking as a “many-sectored” folklorist, I feel there is great potential for this collection. It is both deeply entertaining and richly engaging. This project could be used in Scandinavian, migration, and music studies courses as an educational tool. Given that the CD booklet is crucial to the understanding of the project as a whole, future creators of similar projects might look to Swede Home Chicago for guidance on creating something that is appropriately contextual. However, this project should not be construed as being solely historical in scope and content. This collection has implications for folkloristics as well. I was particularly struck by the last few words on the back cover asserting that Swede Home Chicago “[illuminates] a vibrant bygone musical scene that expands our understanding of America's perpetual musical pluralism.” This concept is a lesson for folklore as a discipline, not just for those of us who focus on American music.Just as these discs run the gamut musically despite coming from a singular cultural background, American music encompasses thousands of traditions that should be recognized as equally important parts of the whole. The parsing out of these threads is endless but worthy work that yields meaningful discoveries about American folklife. I send my thanks to Jim Leary, Marcus Cederström, Richard Martin, Archeophone Records, the Mills Music Library and the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, the National Endowment for the Humanities, and all other institutions and people involved in this project—a dynamic and powerful step forward in viewing folklife through a musical lens.

Tchaikovsky Music Recommendation Algorithm Based on Deep Learning

In recent years, digital music is becoming more and more popular as mobile Internet and streaming media technology advance. Traditional music indexing technology mainly uses keywords to query. To find their favorite music, people must search through the vast amount of music available on the Internet nowadays, much like hunting for a needle in a haystack. In the era of mobile Internet, people’s pace of life is very fast. Devices can access the network anytime and anywhere. Users have the habit of listening to music in their daily work, study, or sports. Facing the vast music library, personalized music recommendation can help users quickly and accurately find music tracks that meet their interests, which is also the focus of current music recommendation technology. According to the characteristics of Tchaikovsky music, in this paper, we establish and build an approach that can understand situations and recommend by using the additional information of labels to describe Tchaikovsky music and realize a structure on this foundation. Through user involvement, the system can deliver services akin to network radio and complete the evaluation of the Tchaikovsky music recommendation algorithm’s efficacy.

The UCLA Music Library and COVID-19

The UCLA Music Library and COVID-19

A Personalized Recommendation Method for Ethnic Music Teaching Resources Based on Video Tags

In order to improve the effect of ethnic music teaching and improve the recommendation accuracy of teaching resources, this paper proposes a personalized recommendation method for ethnic music teaching resources based on video tags. A national music teaching resource library is constructed as the resource source, and the K-nearest neighbor (KNN) algorithm is used to classify the teaching resources in the resource library. According to the results of resource classification, describe the characteristics of teaching resources, so as to recommend suitable teaching resources to corresponding students to meet individual needs. According to the main characteristics of tags, a tagging system is established, and at the same time, the decay of user interest over time is considered, and weights are assigned to user video interest tags in descending order of time, and the total user interest tag vector is calculated. In this paper, the obtained user total interest label vector is normalized. The vector space model is used to represent teaching resources and user interests, so as to realize personalized recommendation of teaching resources. The experimental results show that the accuracy rate of the proposed method is higher than 90%, the recall rate is more than 97%, and the F1 value is larger, and the convergence is better, reflecting the better recommendation effect of the method.

A Music Librarian’s Guide to Creating Videos and Podcasts by Katie Buehner and Andrew Justice

Reviewed by: A Music Librarian’s Guide to Creating Videos and Podcasts by Katie Buehner and Andrew Justice Anders Tobiason A Music Librarian’s Guide to Creating Videos and Podcasts. By Katie Buehner and Andrew Justice. (Music Library Association Technical Reports Series, vol. 36.) Middleton, WI: Music Library Association and A-R Editions, 2018. [81 p. ISBN 9780895798329 (paperback), $35.] Technical examples, index. While this book will certainly be of use to music librarians, and many of the examples concern music-related topics, the guide can also serve as an excellent resource for any librarian interested in creating multimedia teaching and learning objects. And as such, perhaps one of the only things a little bit off in this excellent guide to creating videos and podcasts is its title. Katie Buehner and Andrew Justice provide a detailed and comprehensive guide with everything from the very basics to more technical and advanced steps toward creating excellent videos and podcasts. The step-by-step instructions and recommendations for software and other products are helpful both to librarians completely unfamiliar with creating videos and podcasts and to those with more advanced skills. The book is organized into two parts, each with four chapters and numerous sections within each chapter. There is no large-scale introduction, which is unfortunate as it would have been interesting to hear the authors’ perspective on the book holistically. And perhaps it could have articulated the importance of using multimedia teaching tools in the library. The introduction to part 1 sums up the reasons to use video: “Video is no longer an expensive, fringe medium produced in hard copy by trained professionals alone; it is now a core method of delivering content used by pros and amateurs alike in a fluid, fast-paced online environment” (p. 1). Part 1 highlights just how easy it is to start making videos [End Page 94] and the possibilities for outreach, instruction, and more that this medium affords. Each of the four chapters of part 1 delves into a different aspect of video creation. The first, an introduction to online video, provides an excellent foray into the first steps one should take when making online videos. These are not technical steps (those come in the following chapters) but rather guidance on how to conceive of video as a medium for instruction and outreach. By emphasizing the conceptual before the technical, the authors make a strong statement about not putting the cart before the horse. And by organizing the creation of videos in this way, they provide the reader with an understanding of the process, which can translate to different software and other new technologies. The “Seven Tips for Making Great Online Videos” (pp. 7–8) continues in this vein, as the emphasis is on learning the creative process and not being afraid to ask questions rather than on the need to be a technical expert prior to beginning the process. This approach certainly helps to demystify the video-creation process for those unfamiliar with it. In chapter 2, the authors explore the purely technical side of making videos, including recommendations for hardware and software, how to use the recommended resources, and other general considerations. They then describe in chapter 3 how to make a video, beginning with preproduction, best practices for storyboarding, and so on. This is again a key pedagogical choice, emphasizing creative process rather than technical skills. Importantly, the authors then go into detail about different types of videos (instructional, promotional, documentary, and live video), addressing both where to use each type and their particular challenges. This section will be particularly helpful to librarians who are just beginning the process of making videos. The production and postproduction sections likewise are detailed and very helpful. Of particular note is the subsection on “Resources for Free or Creative-Commons Licensed” images (pp. 35–36). Buehner and Justice next explore issues related to publishing videos. This final chapter of part 1 discusses far more than the usual simple truths about where and how to publish videos online. Following the general pedagogical bent of the book and thinking in terms of skills that can be used across platforms, the authors include an excellent section on assessment...

Notes for Notes

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...

Making Music Librarianship More Improvisatory: A Musicologist’s Perspective

Making Music Librarianship More Improvisatory: A Musicologist’s Perspective1 Imani Danielle Mosley (bio) “A book is not supposed to be a mirror. It’s supposed to be a door.” – Fran Lebowitz When I was a freshman in college, many moons ago, at Appalachian State University, I was given a task by my bassoon professor. In order to better play the classical era period music I was working on currently, I was to go listen to various performances, on LP, and transcribe various cadenzas. Our music library was modest but well-built, in the music building, with wonderful small listening rooms, set up to do this very task. At this particular time, the LPs were in the stacks. I knew what I was looking for generally—Mozart, Kozeluch, etc.—but the encouraged mode of browsing was to pull out everything that looked interesting and plausible. There was listening, transcribing, reading the liner notes to augment my own notes; hours spent in that tiny little room, surrounded by books, scores, and LPs. It was overwhelming but simultaneously liberating; I loved the possibilities that lay before me. Now perhaps I’m preaching to the choir here, but that potential libraries have has always been something with which I deeply identified. As a kid, my favorite thing to do was to go to the public library, sit in my favorite section (religion and mythology), sit down on the floor, and read every book on the shelf. When I spoke with Dorothy Berry about this plenary, this is the idea that came to me—libraries as sites of improvisation. I thought about the way in which discovery can be improvisatory, the things we find, what can be revealed to us when understood as part of an improvisatory process. But what does it mean to improvise? The non-musical definition revolves around making something out of whatever is available. Usually, this definition denotes a kind of frantic scrambling, a doing the best with what you have. You’ve given it the best that you can, and in the immortal words of Tim Gunn, you’ve made it work. This does not feel like the kind of thing that we want students and researchers to be doing. Sure, there’s [End Page 7] chance in all scholarship but there is a much larger focus on preparation. So how can we think about improvisation as being less of a making do in not ideal circumstances and more about being open to using everything that comes to us in the work of our scholarship? I’ll tell one more personal story before I answer that question and go on to the actual mechanics of this talk. Later in college, no longer at App State but now at Queens College-CUNY, I was given another assignment. I was to write a comparative analysis of the Brahms and Ligeti horn trios. The Ligeti had long been a favorite of mine and I was intrigued by uncovering more uses of mesto in the literature. This meant checking out all the CDs of horn chamber music in our music library among other things. And it was in that process that I discovered Britten and the Serenade for Tenor, Horn, and Strings. That moment changed the trajectory of my life. And yes, it was motivated mostly by curiosity on my part but also by the freedom to let myself discover. I allowed myself the space to go down an unexpected road, and boy did I make it work. But back to improvisation; I believe that thinking about libraries as spaces and sites of and for improvisation is a possible pathway towards a renewed and integrative future for libraries and librarianship. As this talk is from the perspective of a musicologist, I will say that while I hope for that future for libraries, that it also helps my discipline as well. And it is that nexus of need that this talk will examine. Firstly, how can we think about libraries as spaces and sites of and for improvisation? I don’t think that those of us (and I think that’s safe to assume everyone here) who actively engage with libraries think of them...