Sibley Music Library Research Articles

Binding and Care of Printed Music. Revised Edition by Alice Carli

Reviewed by: Binding and Care of Printed Music. Revised Edition by Alice Carli Sandi-Jo Malmon, Colin Coleman, and Treshani Perera Binding and Care of Printed Music. Revised Edition. By Alice Carli. (Music Library Association Basic Manual Series, Vol. 12.) Middleton, WI: A-R Editions, 2021. [xxvi, 309 p. ISBN 978-0-89579-889-3. $100] Alice Carli’s revised edition of Binding and Care of Printed Music addresses numerous twenty-first century music preservation issues since the publication of the first edition in 2003. The previous edition has served as an essential manual for music librarians, conservators, and binding specialists working with physical music collections. Carli, a veteran conservator at the Sibley Music Library of the Eastman School of Music, regularly provides conservation training in music binding and preservation techniques and is renowned within music librarianship and the greater book conservation profession as an expert on the subject matter. With updated step-by-step instructions and new content appropriate for twenty-first century library collections, the volume expects to succeed its predecessor as a goto resource for all things related to music preservation. Similar to the 2003 edition, Carli includes detailed workflows and instructions in this revised edition so that the volume continues to serve as an introductory manual for staff with little to no previous experience in music binding, conservation, and preservation techniques, while offering updated guidance for experienced conservators working with twenty-first century music collections. The chapter structure has greatly expanded to include additional content under previous topics such as pamphlet binding, custom enclosures, and conservation techniques and procedures. In the 2003 edition, the chapter on brittle score preservation was primarily focused on photocopy access for fragile material, but the chapter in the revised edition introduces the reader to other practical and timely approaches such as scanning, file reformatting, and digital file access in compliance with copyright. Carli also recognises that microfilm is no longer a preservation consideration in the twenty-first century, and therefore has eliminated related content in the revised edition. The addition of two introductory chapters provides extensive content on music binding and formats as well as materials and supplies for in-house binding. Materials were listed in a separate appendix in the 2003 edition. In the revised edition, the author has moved that content from an appendix into a chapter and presents it alongside photographs for better illustration. This approach is successful for introducing tools and materials used in preservation to amateurs but may not be as useful to the experienced conservator or preservation librarian, who may prefer a curated list for reference. The revised edition’s organisation is similar to the first edition, but includes new content related to digital scores and other twenty-first century collection needs. Line drawings (from the 2003 edition) have been replaced by photographs illustrating binding and repair techniques to convey a hands-on approach to the volume. The list of figures preceding chapters clearly defines illustrations and photographs used throughout the [End Page 359] book and is followed by introductions to the first edition as well as the revised edition for comparison. Chapters cover an overview of music binding techniques, considerations for in-house binding operations, creating pamphlet binders in-house, folio printing and formatting workflows, step-by-step processes for pamphlet binding and creating pockets for parts, types of enclosures for books and media, paper and book conservation techniques, deacidification and mold remediation, in-house binding and repair of bound scores, brittle score preservation, scanning and digitisation for access, digital file reformatting for printing, and guidelines for items sent to a commercial bindery. Several subsections are covered within each of these areas. For example, the chapter on pamphlet binding (Chapter 4) includes separate workflows for simple pamphlet binding using sew-in and glue-in techniques, adding pockets, and types of binding (sewn, signatures, staple binding, and gluing). Furthermore, each topical area is covered in detail with step-by-step instructions and illustrations and is often accompanied by a list of related materials and equipment. Carli’s writing style is very much one that is of a practitioner with decades of experience doing the work, and rarely uses a theoretical approach to content covered in...

“For the Good of Our Country”: Ruth Watanabe and the “Good that is in Music” at the Santa Anita Detention Center

Japanese Americans were involuntarily confined en masse during World War II. They were heavily scrutinized: their senses of belonging and identification were interrogated, contested, always fraught, and often ambiguous. During this tumultuous time, an American-born daughter of Japanese emigrants Ruth Watanabe (1916–2005), who would later become a notable and influential music librarian, head of the Sibley Music Library at the Eastman School of Music, corresponded extensively with a former teacher. In these letters, Watanabe provides an imaginative soundtrack for her daily life at the detention center at the Santa Anita Racetrack in California, while demonstrating ways that she drew on the European classical music tradition, in which she was highly trained, in order to maintain a sense of self and purpose amidst the confusion and indignity of mass confinement. This article briefly introduces some of Watanabe’s select activities at Santa Anita, contextualizing her work in the music department there against a backdrop of confusion and transience. The article includes large sections of text quoted directly from her letters in order to demonstrate that the sense of self and purpose expressed by Watanabe, and the resultant order and educational structures that she enacted in Santa Anita, can be understood to have been intrinsically aligned with her sense of belonging to her country—to “our country”—even as that very belonging was placed at risk by her involuntary confinement.

Review: Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria by Alexander J. Fisher

Book Review| August 01 2015 Review: Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria by Alexander J. Fisher Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria, by Alexander J. Fisher. The New Cultural History of Music. Oxford and New York: Oxford University Press, 2014. xvii, 359 pp. Daniel Zager Daniel Zager DANIEL ZAGER is Associate Dean and Head of Sibley Music Library at the Eastman School of Music, University of Rochester. He works primarily on music of the sixteenth-century Reformation movements. He is currently collaborating with Robin A. Leaver on a series of volumes entitled “Organ Accompaniment of Congregational Song: Historical Documents and Settings,” to be published by Wayne Leupold Editions. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2015) 68 (2): 435–439. https://doi.org/10.1525/jams.2015.68.2.435 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Daniel Zager; Review: Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria by Alexander J. Fisher. Journal of the American Musicological Society 1 August 2015; 68 (2): 435–439. doi: https://doi.org/10.1525/jams.2015.68.2.435 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search Having previously focused on the music of Counter-Reformation Augsburg,1 Alexander Fisher here widens the scholarly lens to explore the city of Munich and, more broadly, the territory—urban and rural—of Bavaria. The biconfessional (Catholic and Protestant) nature of sixteenth-century Augsburg is well known, while Bavaria is usually considered a strongly Catholic territory. But Fisher notes that the religious complexion of Bavaria is more varied than is customarily assumed: “the duchy of Bavaria was in many respects a confessional borderland in which the triumph of Counter-Reformation Catholicism was hardly assured” (p. 3). Thus, the purpose of this book is to explore “how music in Bavaria articulated religious identity and difference,” his methodology being “to join purely ‘musicological’ concerns with the study of soundscapes … and of space and identity” (p. 4). In considering the possibilities and implications of imagining historical soundscapes, Fisher defines the soundscape as “the totality of perceived sounds... You do not currently have access to this content.

In Memoriam Mary Wallace Davidson

In Memoriam Mary Wallace Davidson Daniel Zager, Librarian of Sibley Music Library and Philip Ponella, Director With the passing of Mary Wallace Davidson on 11 October 2012, the music library and musicology communities lost a beloved and influential leader, scholar, mentor, and friend. Given her long tenure and influence on the profession we thought it suitable to publish a special tribute, and invited the current directors of the libraries with which she was most closely associated—Eastman and Indiana—to compose this memorial feature article for Notes—Ed. Mary Wallace Davidson: The Eastman Years The June 1984 issue of The Sibley Muse reported: "On July 1 Mary Wallace Davidson becomes Librarian of the Sibley Music Library. She succeeds Ruth Watanabe, who steps down after 37 years as Librarian. . . . We extend a hearty welcome to Mary, and we all hope that this will be the beginning of a long, happy, and fruitful tenure for her as our Librarian." In fact, it was a long tenure—Mary worked at the Eastman School of Music through 1999, before taking on the leadership of another of this country's most significant academic music libraries, the William and Gayle Cook Music Library at Indiana University, Bloomington. And by all accounts Mary's tenure at Eastman was an exceedingly fruitful one, notably in the areas of conservation of the extensive collections of Sibley Music Library, overseeing the interior design of a new building for Sibley, and in shared leadership for a national collaborative program of retrospective conversion of bibliographic records for music. Ruth Watanabe's tenure as librarian (1947-84) was noteworthy particularly for expansive development of the circulating collections of Sibley Music Library. Thus, Mary inherited a situation where the sheer extent of the collections had long since outstripped the capacity of the 1937 building on Swan Street, which was designed and built especially for the Sibley Music Library. Further, because the library had been founded in 1904, there was an inevitable problem with the deterioration of older printed materials, due to the highly acidic paper characteristic of the late nineteenth and twentieth centuries, i.e., "brittle" materials. Thus, in the September 1984 issue of The Sibley Muse, Mary acknowledged both of these issues and stated her initial agenda publicly: [End Page 242] That there is a space problem is a tribute to the comprehensive acquisition policy which Ruth Watanabe developed and pursued in the hardest of times. . . . The challenge of any larger library, particularly at this time when so many of our materials are deteriorating, is to preserve them for future use while still making them available to those who need them now. These are the issues upon which we will concentrate our immediate energies. Mary wasted no time. Already in October 1984 she engaged a well-known library conservation consultant, George Cunha, to examine the collections and evaluate the library's conservation practices and procedures. She also appointed a Conservation Committee that would put the consultant's recommendations to work, develop a five-year plan for conservation, develop a plan for dealing with potential disaster scenarios, and, finally, develop plans for dealing with brittle and damaged items in the Sibley collections. The December 1984 issue of The Sibley Muse that reported these developments on the conservation front also noted that Sibley had received a small grant "with which to begin our enormous task of retrospective conversion (RECON) of our bibliographic records." Characteristically, Mary was quick to assess priorities, identify resources such as a consultant or grant funding, and then work collaboratively with staff members to make progress in these areas. Simultaneous with these demanding early months at Eastman and her ambitious agenda setting, Mary was serving as president of the Music Library Association from 1983 to 1985. Being a leader in MLA positioned her well for further national leadership work with the Associated Music Libraries Group (Eastman School of Music, Indiana University, University of Illinois, University of California at Berkeley, Harvard University, Yale University, and Stanford University), this group of music libraries having been formed in large part to collaborate on retrospective conversion of music bibliographic records. A United States Depart ment of Education grant of $233,000 provided funding for an initial...

Notes for Notes

Notes for Notes John H. Roberts, David Peter Coppen, and Darwin Scott Kostas Ostrauskas (1926-2012). Few readers of Notes will know the name of Kostas Ostrauskas. Few, I suspect, would have known him during the twenty-five years he served as music librarian at the University of Pennsylvania from 1958 until 1982. He did not attend MLA meetings or participate in professional activities outside the library or write articles about librarianship. Instead he wrote avant-garde plays in his native Lithuanian, plays that could not be published or performed in the Soviet Union and had a very limited readership in this country. Yet he kept on writing. Since Lithuania regained its independence in 1990 he has been widely recognized as one of the major figures in postwar Lithuanian drama. As a young man Kostas studied to be a singer, but after leaving Lithuania in 1944 to escape the advancing Soviet army, he turned to literature. Emigrating to the United States in 1949, he received a Ph.D. in Slavic and Baltic Studies from the University of Pennsylvania in 1958. As music librarian, he was a dedicated and discerning selector, systematically perusing the reviews and lists of recent publications in every music journal in search of potential purchases, and choosing titles solely on the basis of scholarly importance, regardless of language. It is to him above all that Penn's music collection owes its remarkable consistency and strength. When I arrived as his successor in 1982, I found numerous slips in the card catalog for orders placed up to the previous day, not because Kostas was reluctant to relinquish control but because he wanted to ensure the integrity of the collection. Until just before his death on 9 January at the age of eighty-five, long after retirement, he was still selecting titles in Lithuanian for the Penn libraries. Surely one of the most extraordinary members of our profession, Kostas Ostrauskas was also one of its unsung heroes. John H. Roberts The Sibley Music Library (Eastman School of Music) is now receiving the papers of the late Rolande Falcinelli (1920-2006), French organist, composer, and pedagogue. Madame Falcinelli's papers are the gift of her daughter, musicologist Dr. Sylviane Falcinelli, whose generous consideration of the gift followed the Eastman School-hosted premiere performance in March 2011 of Rolande Falcinelli's composition for organ and orchestra, Mausolée "à la gloire de Marcel Dupré," opus 47. Altogether, [End Page 59] the Rolande Falcinelli Archive, residing within the library's Ruth T. Watanabe Special Collections Department, will be comprised of manuscripts of original compositions, including works for organ, for vocal and choral forces, and for piano, as well as orchestrations of other composers' works and transcriptions of works by J. S. Bach; professional correspondence; and pedagogical works and other writings. Of special interest are those documents reflecting Mme Falcinelli's tutelage under, and lasting professional association with, organist-composer Marcel Dupré, including several original manuscripts given by Dupré to Mme Falcinelli. As of March 2012 the Library has received three installments of the archive, with one final installment, comprising the bulk of the archive, yet pending. Completion of processing is anticipated in the winter of 2012-13. David Peter Coppen Eastman School of Music The Princeton University Library is presently cataloging a large, recently acquired collection of over 500 rare music items published in Cuba after 1959 that includes around 470 scores (mostly sheet music) and 60 monographs on Cuban and Latin American music. As of late March 2012, individual bibliographic records for approximately half of the publications appear in the library catalog (http://catalog.princeton.edu) with the searchable collection description "Cuban post-revolutionary music imprints." The entire collection should be bibliographically accessible before the end of 2012. Darwin Scott Arthur Mendel Music Library Princeton University From the Editor: More Anniversary Keepers. This issue continues the tradition of publishing bibliographic tributes to composers in their anniversary years with Deborah Campana's essay on John Cage, "Happy New Ears! In Celebration of 100 Years: The State of Research on John Cage," which fittingly appears in time for what would have been his hundredth birthday on 5 September. Please add Campana's Cage essay...

Audio and Video Equipment Basics for Libraries (review)

AUDIO LIBRARIES Audio and Video Equipment Basics for Libraries. By Jim Farrington. (Music Library Association Basic Manual Series, No. 5.) Lanham, MD: Scarecrow Press, 2006. [viii, 144 p. ISBN 0-8108-5716-2; ISBN-13 978-08108-5716-2. $45.] Illustrations, index, bibliography, sources for equipment reviews, glossary. The need for audio and visual playback equipment has existed since libraries began collecting media early in the twentieth century. As streaming media and portable MP3 and video players change how patrons experience music and film, many libraries are reexamining their audiovisual formats, equipment, and listening spaces. Audio and Video Equipment Basics for Libraries, with its focus on past, present, and future playback technologies, offers relevant and insightful information for those involved with or interested in listening and viewing logistics in the library setting. While most books on the market are geared towards the audiophile, sound archivist, or home theater enthusiast, this welcome publication presents information and advice specific to a library's needs, collections, and budgets. Farrington is an eminently qualified author. Formerly the music librarian and director of the World Music Archives at Wesleyan University, he is currently the head of public services of the Sibley Music Library at the Eastman School of Music. He teaches a seminar on the history and aesthetics of sound recordings at the Eastman School of Music and wrote the article Preventive Maintenance for Audio Discs and Tapes (Notes 48, no. 2 [December 1991]: 437-45). A past president of the Association of Recorded Sound Collections (ARSC), Farrington remains involved in the association and currently serves as the Music Library Association's liaison to both ARSC and the International Association of Sound and Audiovisual Archives (IASA). His writing demonstrates that he is conversant with current trends and practices and possesses a thorough understanding of both audio and video. The breadth of this volume is impressive. It addresses most of the challenges one might encounter when designing or redesigning listening areas, ordering and maintaining equipment, or developing a circulation policy for audio equipment. The book is divided into six chapters on the following topics: the listening environment, source components, video, electronics, sound producers, and miscellaneous. Farrington presents brief histories of the various formats, explains how they function, discusses desirable features in playback equipment, and provides tips to improve sound and prolong equipment life. He reviews all of the current and some older audio and video technologies, as well as some that will appear in the next few years. Farrington mentions commercial streaming audio services such as Naxos and Classical Music Library, but the focus in this volume is clearly on audio and video equipment in the library. …

Eastman's Ruth Watanabe

Strange as it may seem, Ruth Watanabe struggled with her career decision until age thirty-one, when Uncle Howard made it for her. During high school she considered social work to help the struggling Spanish-speaking people in Southern California. Then, in her early years at Rochester, when she was head resident of the women's dormitories, she investigated the counseling curriculum at Columbia University. In 1947, she decided upon a teaching career at the Eastman School of Music and met with Director Hanson to discuss it. The upshot of that encounter was Ruth's appointment as librarian of Eastman's Sibley Music Library. More about that later. Ruth Taiko Watanabe was born in Los Angeles on 12 May 1916. Her father, Kohei, was an importer of Asian art materials. Her mother, Iwa (Watanabe) Watanabe (1) was a graduate of the Toyko conservatory now called the National Institute for the Arts. Because of her mother's frail health--she had a tubercular infection on her spine--the family moved frequently in search of a house with lots of sunshine, good air, and a garden in which her mother could work. By favorable living conditions, her mother almost doubled her life expectancy. The frequent moves meant school changes for Ruth who was always pushed ahead in a new school so that she reached both high school and college very young. (2) Ruth enrolled at the University of Southern California for a bachelor of music degree with a major in piano. By the time she graduated she had become interested in theory and had nearly a second major in theory. Beginning in her sophomore year she taught piano students: It was clear I wanted to be a teacher. (3) About the time of her graduation with the B.Mus. in 1937 (4), a chance remark by a faculty member led her to consider continuing her education, this time as an English major. I never had so much fun in my life! I really was very, very happy there.... Also, the thing that made it more interesting for me and more enjoyable was that I was with people my own age. Previous to that I had been so much younger than the others that I did not have the kind of confidence one would have socially if one were in company with one's peers. (5) After the A.B. in English, 1939, she completed a master's in English, studying music in Elizabethan dramaturgy excluding Shakespeare. She became interested in musicology and the historical study of music and took the seminars offered by Pauline Alderman at USC. Ruth completed the M.A. in English in 1941, and the M.Mus. in musicology in 1942. She decided to pursue a Ph.D. in English. That plan was interrupted in April of 1942 when she and her parents were evacuated from the West Coast because of the war with Japan. First, the Watanabes were sent to a reception center hastily constructed at the Santa Anita Racetrack. Some evacuees were housed in the stables, which were very crowded. The Watanabes were billetted in rough barracks built on the parking lot of the racetrack. There they lived behind barbed wire awaiting relocation to permanent quarters for the duration of the war. The Watanabes had enough warning of the relocation to put a lot of their furnishings into storage--they could take with them only what they could carry. Ruth's father did not have time to sell his business; he simply had to abandon it, his assets frozen. At their last meeting before the evacuation, Pauline Alderman, Ruth's professor at USC, offered advice she hoped Ruth would never need: As long as you're alive, there's nothing you can't live without. Many years later Ruth said it was Pauline's influence that kept her spirit alive. (6) The grandstand at Santa Anita was equipped with a sound system so that events could be held. Sunday afternoons, after all the religious services were over, Ruth offered musical programs for four to five thousand attendees. Speaking extemporaneously without books or notes, she played records--brought to her by non-Japanese friends--on equipment provided by the Army. …

Suite for Horn and Piano, and: Suite (Twelve Duets) for Horn and Tuba, and: Horn Sonata, and: Horn! for Horn in F and Piano, and: Sonata for Horn and Piano (review)

Alec Wilder. Suite for Horn and Piano [1956]. Newton Centre, MA: Margun Music, c1964. [About the composer, 1 p.; score, p. 3-20; and part. Pub. no. MM111. Duration, 11 min. $16.] Alec Wilder. Suite (Twelve Duets) for Horn and Tuba [1978]. Newton Centre, MA: Margun Music, c1996. [About the composer, 1 p.; score, p. 2-25; and 2d score. Pub. no. MM113. Duration, 10 min. $15.] Robert Baksa. Horn Sonata [1983; rev. 1993]. Bryn Mawr, PA: Composers Library Editions; sole agent: Theodore Presser Co., c1996. [Score, 30 p.; and part. Pub. no. CLE-26; 494-02045. $21.65.] Thomas Benjamin. Horn! for Horn in F and Piano. San Antonio, TX: Southern Music Co., c1997. [Performance notes, composer biography, 1 p.; score, p. 3-20; and part. Pub. no. SU343. $10.] Margaret Brouwer. Sonata for Horn and Piano. New York: Pembroke Music Co., c2000. [Performance notes, 1 p.; score, p. 3-21; composer biography, p. 22; music of M. Brouwer, p. 23; and part. ISBN 0-8258-0767-0; pub. no. PCB139. Duration, 15 min. $19.95.] The French horn holds an important place in orchestral and chamber music, where composers consistently exploit its particular expressive qualities to great effect. The solo repertoire for the horn, however, remains small and of generally un-even quality, with only a few works (notably by Wolfgang Amadeus Mozart, Robert Schumann, Richard Strauss, and Paul Hindemith) that engage musicians and audiences at large. In an aggressive attempt to increase the quality and quantity of solo horn writing, the International Horn Society (IHS) commissions works, maintains an assistance fund to help hornists fund their own commissions, and holds composition competitions. These initiatives, along with the more personal endeavors of a few enterprising composers, have greatly increased the number of high-quality works written for the horn in recent years, including the five works collected in this review. The American composer and songwriter Alec Wilder (1907-1980) has become a favorite among brass players for his melodic gifts and eccentric syntheses of jazz, classical, and popular elements. Until recently, the extent and variety of Wilder's output was underappreciated, largely because many of his manuscripts were dispersed among friends and acquaintances. Today, however, the Alec Wilder Archive at the Sibley Music Library (Rochester, NY) and books by Desmond Stone (Alec Wilder in Spite of Himself: A Life of the Composer [New York: Oxford University Press, 1996]) and David Demsey and Ronald Prather (Alec Wilder: A Bit-Bibliography, Bit-Bibliographies in Music, 45 [Westport, CT: Greenwood Press, 1993]) afford new insights into Wilder's personality, compositional process, and influences. In addition, his friend and advocate Gunther Schuller, who founded Margun Music (now under the auspices of the Music Sales Group), has made much of Wilder's work commercially available. Wilder willingly embraced what Schuller calls underdog instruments (Stone, 112), producing a large and interesting corpus of works for brass instruments that still has parallel. His great reputation among horn players largely stems from his close friendship with renowned hornist John R. Barrows (1913-1974), a distinguished performer and teacher who held posts with the Minneapolis Symphony, the Army Air Forces Band, the New York City Opera, the New York City Ballet, and the Casals Festival Orchestra, as well as teaching positions at Yale University, New York University, and the University of Wisconsin, Madison. Barrows, who championed both classical and jazz horn, pressed Wilder to produce new works for his instrument--a demand to which Wilder, of course, acquiesced. Over the ensuing years, Barrows received many new horn works, including three large sonatas and a wide variety of shorter pieces that have become standard repertoire for the horn, and essential to any serious horn performance collection. For his part, Wilder was also profoundly influenced by the partnership, noting no matter what the circumstances or for whom I was ostensibly composing, everything I've ever written since I met John Barrows was written for him (In Memoriam: John R. …

Indiana University's William & Gayle Cook Music Library: An Introduction

has been said that great oaks from little acorns grow, and so it is with the William & Gayle Cook Music Library. The acorn first appeared about 1918, in the form of Victrola, player piano with plenty of rolls (then standard in supporting music appreciation courses), and few books and scores gathered into what the first head of the Music Department, Charles Diven Campbell, liked to call 'musical reading room.' (1) Three years later Dean Winfred Merrill moved the collection into glass cases in his office, under the supervision of his secretary. The cataloged collections now consist of total of some 560,686 items: 83,140 books and bound journals, 100,620 scores plus 222,377 performance parts, 134,640 sound recordings, 1,956 videocassettes or discs, and 17,953 microforms--but no player-piano rolls. Its growth has of course paralleled the similar burgeoning of what is now the School of Music, founded as department in 1910, and as school in 1921. EARLY DEVELOPMENT The growth of the library during its first twenty years slow. By 1938, the first year in the new music building (now Merrill Hall), the collection numbered only 1,500 volumes, supplemented by collections of scores and (2) Dean Robert L. Sanders wrote in his first annual report in June 1939 that the library was little more than beginning and without effective supervision. (3) On 1 July of that year, the first full-time librarian, Ethel Louise Lyman (1893-1974), arrived to take up her position after nearly seventeen years as music librarian at Smith College in Northampton, Massachusetts. Some of Lyman's success that followed no doubt due to her long years of experience, and previous analytical visits to major collections elsewhere, beginning with the Sibley Music Library at the Eastman School of Music in Rochester in 1923. During sabbatical leave in 1936 she had undertaken survey of fifty-three American libraries, including the Library of Congress, and completed this study during the year after she left Smith College. While Sanders doubled the size of the School of Music faculty during the World War II years, Lyman increased the size of the library's collections within her first five years by nearly ten-fold, to 15,000 volumes and 3,000 sound recordings. Between 1948 and her retirement in 1959, she more than doubled the collection again, to 35,000 books, 80 sets of periodicals, more than 137,840 items of printed music, and in the Record Library 12,000 recordings plus 1,000 study scores. (4) Lyman must have been influenced and supported in her second decade at Indiana by the legendary Wilfred Bain, dean of the School of Music from 1947 to 1973. In his view, there were three foundations, or posts, on which great music school must rest. The first splendid orchestra, the second good department of theory, and the third, a library, especially of scores and (5) Bain particularly conscious of the isolated position of the university, in the midwestern section of the United States, fifty miles from the nearest city (Indianapolis), and two hundred miles from metropolis (Chicago) with major orchestra and an opera company. His strategy to assure quality by quantity. Frequently he heard to repeat his favorite aphorism: It takes an awful lot of milk to get to the cream. (6) By 1960 total student enrollment had passed 700, and still growing at rate consistently higher than the university as whole. (7) Lyman, too, shared that strategy in building the l ibrary's collections to support the growing faculty, student body, and curriculum. Musicologist Carol MacClintock oversaw operations in the library on an interim basis after Lyman's retirement in 1959 until the appointment later that year of Dorothy Ann Eckstrom, who had B.M. from Northwestern University, and pursuing an M.A. in library science at Indiana University. …

Handel's Messiah: The New Interactive Edition

(European Composers Series.) Interactive CD-ROM for IBM PC and compatibles. Sunhawk Corporation, 1997. $49.95. Requires multimedia PC or compatible, Windows 95 or Windows NT 4.0, 16 MB RAM, 3 MB free hard-disk space, MIDI/WAVE sound card (MIDI wave-table sound card recommended), 486/66 DX2 (32-bit) processor (Pentium recommended), double-speed CD-ROM drive, VGA+ display (256 colors; SVGA 1024 x 768 with 65,536 colors recommended), headphones or speakers, mouse, and keyboard; a laser printer is optional but recommended. Previous applications of multimedia technology for music, such as the pioneering Voyager series (of which Robert Winter's treatment of Ludwig van Beethoven's Symphony no. 9 led the way), have emphasized instruction and study. Now that access to computer technology and the Internet have become ubiquitous, a new trend geared toward the performer has emerged. Sunhawk Corporation, based in Seattle and founded by former Microsoft software engineers, is attempting to carve a major niche in this market. In addition to providing sheet music, Sunhawk has developed a player that allows the user to manipulate the playback and the display of the music. The product under review represents a major undertaking of this nature on CD-ROM. One has to admire the choice of Handel's Messiah for this treatment, for it is probably the most popular and most frequently performed of all classical choral works. In addition to the numerous performances and sing-alongs each year, excerpts are often performed by amateur church choirs and choral societies, creating a large potential audience for the product. The program consists of four major sections: a foreword by Kenneth Nott of the University of Hartford, a music list and score selection menu, text and sources (which can be exported to a file for printed programs and other purposes), and the Solero viewer that provides the playback and display of the music. Kenneth Nott's brief foreword offers informative historical background on the circumstances surrounding the composition and first performance of Messiah but does not provide detailed analysis. Since the product is geared toward performers, this lack of detail is understandable, but some notes on performance practice (e.g., treatment of appoggiaturas, trills, and dynamics) would have been desirable, especially considering that older editions (ones in the public domain) have been chosen for the onscreen display. The heart of the program is clearly the Music menu. Here one can select individual movements from the music list, determine the type of score to be displayed (vocal, orchestral, autograph, or the 1767 Randall & Abell edition), and add selections to a play list. One can then either play the selected pieces or view/play them using the built-in Solero viewer. Individual movements may be sorted sequentially, alphabetically, or by genre (arias, choruses, recitatives, etc.). It is also possible to play the music selections while the entire program is minimized so that the user can use the computer for other tasks while listening to the music. Vocal and orchestral scores were scanned and then engraved using music editing software; this process allowed Sunhawk to add MIDI files for simultaneous playback and display. The Randall & Abell edition was photographed from the copy in the Sibley Music Library of the Eastman School of Music, digitized, and then compressed to fit on the CD-ROM. The vocal score used for this product is the Max Spicker edition, which provides no clues for the naive performer on the placement of appoggiaturas. The introduction to the printed edition provides some instruction, but unfortunately the introduction was not reproduced for this CD-ROM. The orchestral score is a reproduction of the Ebenezer Prout edition, which retains some of the instrumentation added by Mozart, including clarinets and horns. The autograph and Randall & Abell scores allow some comparisons to be made with the other editions available on the CD-ROM. …

Preservation at the Sibley Music Library of the Eastman School of Music

Ideas, styles, and motifs of the past may lose their appeal in a certain period or climate of opinion, but this must not be final, for they may regain their validity at another time and under different conditions. It is therefore important to preserve in libraries and museums the monuments of past thought and productive activity. They should always be studied by specialists, for antiquarian purposes, if you wish, but they may also regain their life and relevance, it were, at any time, and what was dead or unknown to one generation may suddenly and unexpectedly become important for the next.(1) Preservation is directed toward retention of the products of human for a conscious the library becoming an instrument of this activity. Human embraces not merely what the word culture conveys when used in its narrow sense, but rather refers potentially to the whole activity of human life and endeavor. Its Latin source, cultus, perhaps reveals this better than does our English derivative. Cultus is (1) the action of dwelling or inhabiting, (2) tilling the ground and raising animals, (3) training and education, (4) personal care and domestic maintenance. Among its other meanings are adornment, rhetorical elegance, standard or mode of living, worship, and pursuit of interest. Only late in the list comes something like our narrower sense of culture, the state of being refined.(2) Thus, the library's mission for the documentation of human covers a wide area, but one traditionally concerned with the document, whereas the museum has largely assumed responsibility for the artifact. This is an orientation pregnant with significance for preservation. The term today is, on the contrary, a much broader term than its ancient Latin source. No longer is it simply the written word; both categories have expanded. The means of writing may be by hand, press, photographic apparatus, electronic instruments, or a combination of these; and the thing recorded may be the word written or spoken, unspoken sound, or image. At times the document may even be what we more traditionally consider an artifact itself, thus breaking down the barrier of neat categories, at which point the library meets the museum. All this the library endeavors to preserve for even historically conscious posterity, for in that qualifier lies an implication of the human intellect coming to grips with, acting upon, becoming involved with, and struggling to interpret, understand, and communicate the data that constitute the record of its own activity, data that possess a latent significance. At the beginning of his history of the Peloponnesian wars, Thucydides outlines his method and states his purpose, expressing the hope that his work will become a ktema es aiei, an everlasting possession. It is a phrase unfortunate in its translation, and one that calls to mind a beautifully bound folio volume lying cherished in some protective corner while gathering dust through habitual disuse. Thucydides himself makes clear that this is precisely not what he means, it is not to be an anognisma es to parachrema, a trophy for the moment. He intends that it be ophelima, for as many wish to study clearly what has happened and will happen again sometime, is the way with the human condition.(3) In attempting this small work I am not so foolish, or megalomaniac, to compare it with Thucydides' history except in two respects: the desire that it prove useful, and the belief that human experience is to some degree common and thus valuable for and capable of communication. Implicit in both is an important philosophical premise that, though disputed in some corners today, is the foundation on which the purpose of preservation rests. Indeed, it is the foundation on which the concept of the library is erected. It is essential consciously to make that link between the practical and the philosophical, lest in future years we lose sight of our goal, its purpose, and its significance to human life. …

The Research Collections of the Sibley Music Library of the Eastman School of Music, University of Rochester

The Research Collections of the Sibley Music Library of the Eastman School of Music, University of Rochester

American Music Libraries and Librarianship: Challenges for the Nineties

Access, not ownership have become the buzz-words of the ninetiesoften too uncritically, but perhaps less so in music libraries, which circulate performance materials protected not only by sections 107 and 108 of the Copyright Law, but also by section 110. This slogan will nevertheless create a false sense of security about our ability to locate and acquire older editions of music for our clients until we begin to pay more attention, not to our own institutional libraries, but to what might be called our logical national music collection. A recent informal survey, undertaken by Sibley Music Library Conservator Ted Honea, suggests that none of the academic research libraries questioned had the time or the money to do anything but discard brittle or worn-out performance editions of the late nineteenth and early twentieth centuries. If these libraries no longer own such editions, where will we be able to access this

The Sibley Music Library of the Eastman School of Music, University of Rochester

The Sibley Music Library of the Eastman School of Music is a major full-service library. Together with the Rush Rhees Library serving the colleg s on the River Campus and the Edward G. Miner Library serving the Sch ol of Medicine and Den istry, it is an i tegral part of the University of Rochester Library System. Occupyi g on of the buildings of the Eastman School complex in downtown Rochester, New York, it has a primary goal to serve the students, faculty, and staff of the Sc ool. Secondarily, it acts as a music reference resource or the community. This dual role may be understood in th light of the library's history, which antedat s by two decades the founding of the School with which it is now associated.

Howard Hanson's Autographs in the Sibley Music Library

When, on November 19, 1949, Dr. Howard Hanson was honored by the faculty and alumni of the Eastman School of Music for his first quarter-century as Director of the school, he presented a number of his compositions in manuscript to the Sibley Music Library. * Probably the largest collection of contemporary American holographs to be given at one time to the library, the music is a significant addition to the Americana already housed in the Treasure Room. The following list will be divided into three parts, starting with the works with opus number, and with subsequent sections devoted to works without opus number, and manuscripts already in possession of the Library at the time of the November presentation.

A Renaissance Manuscript in the Sibley Music Library

A Renaissance Manuscript in the Sibley Music Library

A Renaissance Manuscript in the Sibley Music Library

A Renaissance Manuscript in the Sibley Music Library