The Chatfield Brass Band Music Lending Library (CBBMLL) is a non-profit organization in southeastern Minnesota. Home to more than 30,000 pieces of band sheet music, this library is a truly unique resource for band directors and musicians from around the world. The Community Libraries as Online Partners project is an LSTA grant-funded initiative to enable the CBBMLL to become a SELCO Online Library. SELCO (Southeastern Libraries Cooperating) in Rochester, Minnesota is an organization which fosters cooperation among public, academic, school, and special libraries in the 11 southeastern counties of Minnesota. By including the CBBMLL under SELCO's umbrella of library and technological support, the library will be able to publicize and share its resources on an entirely new scale.

Prior to its inclusion in SELCO, the CBBMLL maintained its collection through out-of-date software which did not meet the needs of either the library patrons or its staff. Migration of this data to SELCO's Horizon system has posed numerous challenges for catalogers and administration alike. Because of the unique holdings and lending system of the CBBMLL, both policy and catalog content have been shaped to meet the unique needs of an actively lending sheet music archive. This poster explores these challenges and hurdles of incorporating the CBBMLL holdings into the SELCO integrated library system, as well as the future of this ongoing project.

What follows is a multi-slide representation of the poster presented at MLA. Please click on any of the slides below to view it in more detail. At the end of the set of slides, a full version of the poster is available as well.

Full Poster (click for detail):

Raya Garbousova: Dedications to the World-Renowned Cellist

Photographs courtesy of Christie Moore. Poster design by Charles Larry.

Music Library Association Poster Session, February 20, 2009

Lynne M. Thomas, Head, Rare Books and Special Collections
Michael J. Duffy IV, Music Librarian

Northern Illinois University Libraries

Abstract
Raya Garbousova, an active performer throughout her extensive and celebrated cello career, was a professor of cello at Northern Illinois University from 1979-1991. Olin Downes, the music critic for the New York Times, once called her music “delightful […], charmingly discoursed, by the one woman ’cellist of whom we know has a sovereign right to her mastery of this instrument.” The Raya Garbousova papers, as an archive of a world-renowned performer in her prime, document her methods, practices, and connections in the music world through annotations, dedications, and correspondence. The Garbousova papers include copies of works by composers who wrote works for her, such as Samuel Barber, Vittorio Rieti and Karol Rathaus, as well as works she premiered by Sergey Prokofiev, Paul Creston, Bohuslav Martinů, and others. The papers also include materials related to Nikolai Lopatnikoff, Diran Alexanian, and the World Cello Congress. This poster session will demonstrate her reputation as a cellist, through an exploration of dedicatory materials included in the archive.

Highlights

Diran Alexanian (1881-1954) was an enormous influence on Garbousova’s craft. She studied with him in Paris during the late 1920s, at Casals’ suggestion.

Samuel Barber (1910-1981) wrote his Cello Concerto on Garbousova’s commission. She premiered the work with the Boston Symphony Orchestra and Koussevitsky in 1946, and recorded it in 1966. She also edited the cello part for its publication.

Nikolai Lopatnikoff (1903-1976) asked Garbousova to premiere his Variations and Epilogue, published in 1948.

Karol Rathaus (1895-1954) dedicated his Rapsodia Notturna (1950) to Garbousova.

Vittorio Rieti (1898-1994) wrote a concerto for Garbousova in 1953.

In 1990, Garbousova was honored by the Fourth American Cello Congress, which named her Honorary President. At the event, Gunther Schuller’s Hommage a Rayechka was premiered, with Schuller conducting his own work.

The Raya Garbousova Collection is held by the Rare Books and Special Collections Department of the Northern Illinois University Libraries. A finding aid is available on the Web at http://archon.lib.niu.edu/?p=collections/controlcard&id=899.

Bibliography

Campbell, Margaret. “Obituaries: Raya Garbousova” The Independent (London). February 1, 1997, p. 18.

Critser, William and Lester Trimble. "Lopatnikoff, Nikolai." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/16963 (accessed January 16, 2009).

Downes, Olin. "Raya Garbousova, 'Cellist, In Recital." New York Times, 1 December 1943.

Heyman, Barbara B. "Barber, Samuel." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/01994 (accessed January 16, 2009). (The New Grove article on Samuel Barber indicates that the cello concerto was written for Garbousova.)

Pratt, Dorothy C. "Alexanian, Diran." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/00542 (accessed January 16, 2009).

Schwarz, Boris, and Donald Pirone. "Rathaus, Karol." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/22929 (accessed January 16, 2009).

Schwarz, Boris, and F.C. Ricci. "Rieti, Vittorio." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/23448 (accessed January 16, 2009).

Schwarz, Boris, and Margaret Campbell. "Garbousova, Raya." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/10641 (accessed January 16, 2009).

For further reading:

Bonta, Stephen, et al. “Violoncello.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/44041 (accessed November 4, 2008). (Her mention in the New Grove article on the cello demonstrates her influence on the field of the instrument’s performance.)

Downes, Olin. “Bostonians Play 2 American Works.” New York Times, 14 April 1946. (Article documents the premiere of Barber’s cello concerto the day before.)

________. “Raya Garbousova Gives 2 New Works.” New York Times, 18 January 1947. (Documents the premiere of Martinů’s first sonata and Lopatnikoff’s Variations and Epilogue, op. 31.)

Heyman, Barbara B. “Barber, Samuel.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/01994 (accessed November 4, 2008).

Brother, Can You Spare a Few Thousand? Raising Money With a Library Newsletter

MIT Lewis Music Library – Peter Munstedt, Christie Moore – February 20, 2009

As the use of blogs and web sites grows, is it still cost-effective to publish a print newsletter? And how can a newsletter actually generate a return on the investment in labor, paper, ink, and postage? If done well, the print newsletter can be a viable and effective way to raise money.

The MIT Lewis Music Library’s What’s the Score? newsletter evolved from a photocopied news sheet, designed to inform music faculty about library news and recent acquisitions, to an attractive fundraising tool published twice per year in paper and web formats (see timeline on reverse). Over the years, the newsletter mailing list has expanded to include all donors and other friends of the library, increasing from around 50 names to nearly 500. Donations to the library have grown steadily as well, due in large part to the newsletter. Primarily the newsletter serves as a means to engage with MIT alumni who make up most of the library’s donors. In addition, library blogs and e-mails supplement the newletter to communicate timely news to MIT students, faculty and staff.

It takes considerable staff time to produce an issue of the newsletter. The Music Librarian writes and edits material while the Library Assistant edits, oversees the layout and distribution, and maintains the mailing list. Student assistants also help in this production. Because of the newsletter’s emphasis on fundraising, the music library stays in close touch with the development officer and communication officer, both of whom proofread the text for content and style.

The financial returns have justified the effort it takes to produce this newsletter. The work is viewed as a long-term process with a payoff that is not always immediate. It takes time to build a core of loyal donors. Donations supplement the Lewis Music Library collections budget and make possible special projects that would not otherwise have received funding.

Other music libraries might benefit financially by producing their own library newsletter if it is designed with a fundraising focus. The newsletter reminds alumni that the music library plays an active role on campus and that their donations are appreciated and put to good use. News items can feature major gifts as well as library activities of interest to alumni.

The web version of the newsletter is linked from the Lewis Music Library home page, libraries.mit.edu/music [click on “What’s the Score?”].

Links:

Abstract with timeline (pdf)

Bullet points (pdf)

Gifts chart (pdf)

Mailing & donor charts (pdf)

Preprinted blank newsletter shell (pdf)

2008 newsletter (pdf)

For more information: Peter Munstedt, pmunsted@mit.edu; Christie Moore, csmoore@mit.edu

Movin' and Groovin': The Student and Supervisor Viewpoints of Original Cataloging of Popular Music CDs

Abstract:







After more than twenty years of collecting popular music on compact disc in the Music Library and Sound Recordings Archives (MLSRA) at Bowling Green State University (BGSU), the staff have begun the daunting task of cataloging this 30,000+ collection. With the help of technical services catalogers and numerous students, the cataloging began in earnest in July 2007. New cataloging and processing procedures were established in order to minimize errors, use music catalogers’ time more efficiently, and utilize all student staff to full potential. Overall, the project has run very smoothly in the past year. We were able to catalog around 11,000 CDs. In this poster session, we will present the procedures and tasks involved, along with the viewpoint from a student worker and a cataloging supervisor and show how we have been able to undertake the challenge of eliminating this backlog.

Presenters: Patricia Falk, Special Collections Cataloger, BGSU
John Cook, Graduate Student (Kent State)

Presentation:







Movin’ and Groovin: The Student and Supervisor Viewpoints of Original Cataloging of Popular Music CDs
Previous Procedures:
· Recordings searched by cataloger in OCLC for copy records
· Cataloger wrote out workform for originals and wrote out edits for copy cataloging, including authority work
· Recordings were processed on typewriter by students and shelved after processing
· Workforms were typed in OCLC by student assistants and checked by catalogers before being exported into local online catalog
Cons of Previous Procedures:
· Recordings were not included with workforms to check for accuracy
· Student typos due to catalogers’ handwriting
· Inconsistencies in call numbers
· Frequent errors in authority work

New Procedures:
· Materials are processed first, using a new Excel label program with laser printing
· Records are searched on OCLC for copy
· Copy edits go to cataloger and then to student assistants to add changes and check authority records and create authority records when necessary
· CDs requiring original cataloging are typed directly into OCLC by student assistants with CD in hand using a constant data template overlayed on a sound recording format workform; students also check authority records and create authority records when necessary
· Original workforms and CDs are checked by the Sound Recordings Archivist who also adds subjects and other pertinent information not provided by the student assistants
· Original workforms and CDs are then passed on to the Special Collections Cataloger for NACO additions and exporting to local catalog
Pros:
· Faster processing and cataloging of CDs
· Uses Sound Recordings Archivist’s time more efficiently
· Uses all student staff to full potential
Cons:
· CDs go through many processes and handling before being shelved
· Requires training of many students on various procedures by Special Collections Cataloger
· Creates a need to keep work flowing even when catalogers are busy with other materials as well



Training of Student Assistants:
· Training in OCLC Connexion is much more efficient and is usually complete in 4 hours with most students
· Students are shown how to type forms for various types of albums including single artist, remixes, and compilation albums
· Students are shown how to check authority file and create new authority records in OCLC Connexion and put into save file for Special Collections Cataloger to add later
· Students are given a cheat sheet that they can add to as needed and are provided with sample records
Pros:
· Students can catalog items faster and more accurately with CD in hand
· Students feel more invested when they realize the importance of getting CDs cataloged
· Students are allowed to pick which albums they want to catalog, with some exceptions

The Student Viewpoint
Pros:
· Being involved with the various stages of the project (processing, cataloging, labeling, shelving, etc.) provided me with a comprehensive understanding of how the different tasks related to one another
· The compartmentalization of the different tasks provided me with the perspective to see how my individual work related to the overall goals of the project
· I received firsthand experience working in an academic library with a highly specialized collection
· I was given the opportunity to work closely with the BGSU MLSRA staff and had access to the extensive sound recordings archives
· I was thoroughly trained and I was able (and encouraged) to ask questions when I needed clarification
· I was exposed to a plethora of new popular music and genres
· Working at the BGSU MLSRA on this project was the catalyst to my enrollment in the Library and Information Science program at Kent State University
Cons:
· The lack of full Internet access at the student workstations made cataloging problematic sound recordings difficult (i.e. not having full access to useful website such as record labels, artists, allmusic.com, etc.)
· It was not until I had been working on the project for several months that I began to understand how the different tasks related to one another
· Having a complete and thorough understanding of how the project functioned at an earlier stage may have helped alleviate some of the confusion I had when I first started working on the project

The Supervisor’s Viewpoint
Pros:
· Good work and progress we are achieving in this project
· Creating a close working relationship with more of our student staff and using all of their skills and abilities to get more accomplished
· Allows students at service window and reference desk to see more of our collection and the work involved in adding materials to our collection
· Creating a group effort
· Creating more accurate OCLC records and NACO records
· Making more efficient use of catalogers’ time
· Cataloged over 11,000 CDs in one year (This includes CDs cataloged in Technical Services as well as in the MLSRA)

Cons:
· Dealing with student turnover on a regular basis
· Making sure project keeps an even workflow between processing and cataloging
· Keeping up with shelving and shifting to make room for newly cataloged CDs
· Keeping track of supplies and making sure everyone has what they need in order to keep the project moving
· Being available to answer questions on a regular basis from student assistants and staff
· Taking on additional student tasks when student assistants are on break or unavailable

Conclusion
Overall, this has been the biggest project I have overseen at BGSU since I began in 1997 as a library faculty member. It has been a learning experience and a true balancing act which I continue to perfect and amend as necessary. The project will probably take another two to three years to complete, not including the box sets, which will create other issues we will need to handle. I have enjoyed working with all of our students and hope to continue to move forward and finish this project as quickly as possible with help from students like John and others. As a supervisor, I truly value students that are willing to learn and contribute to our library and institution.

The following photos represent examples of authority records created by students from bibliographic records they have typed in OCLC and a bibliographic record with the cataloger's additions in red.

>

OCLC guide:

Log on:

Password:

New work form: CTRL + Shift + r

Constant data: CTRL=u

Select: sracd and "both"

Country codes: England=enk; Germany=gw; France=fr; Austria=au; Australia=at

DtSt: s=single; r=reissue

AccM: d=lyrics; f=biographical notes; i=program notes

024: UPC bar code

0241=United States

0243=European

028:Publisher number-02800=on container; 02802=on disc or other primary source; 02812=from matrix area

099:Local call number, separated by a

100: Author field 1000=no surname; 1001=surname, first name

1102: Corporate author

24500: For compilation albums (or 24502, 24503, 24504 for titles with initial articles)

24510: For albums with 100/110 field, always ends in period

5050: Contents, always ends in period

74002: Indivdual song titles from contents

Lending CDs through Interlibrary Loan: A Success Story

In most libraries, compact discs are exempt from interlibrary loan. Despite their early promotion as an “indestructible format,” the discs and their packaging are too fragile to be sent using traditional methods. Even local loans come with a certain amount of risk: broken cases, missing CDs, missing liner notes, etc. The fear that these precious resources would be damaged or lost at an even higher rate than in local loans has led most libraries refuse to lend CDs through interlibrary loan. But is this fear justified? Ball State University’s experience suggests it isn’t.

Another common fear is that the collection will be decimated, with so many CDs going out on loan that local listeners will be deprived. But because of reciprocity arrangements, these libraries are unable to offer their listeners access to a wider collection. At Ball State, far more CDs were borrowed than loaned. Ball State University began lending compact discs in 2007, and after about eighteen months the data show that with proper handling and judicious policies, loss rates have been minimal. In fact, only one CD liner was lost. The number of loans was 380, while BSU borrowers gained access to over 2,000 CDs borrowed from other libraries.

This session presents the methods BSU has used to protect its materials while still making them available to the “outside” world. Data show that interlibrary loans spanned genres and were divided between university and public libraries. All loans were to other Indiana libraries, most of which participated in a courier service. Even when UPS or USPS were used BSU’s packaging system protected the CDs. In contrast, CDs packaged in cardboard mailers and sent by other institutions often arrived damaged. This type of packaging also adds an expense for the receiving library because it is not reusable. BSU’s interlibrary loan department requires borrowing institutions to return CDs in the same packaging that was used for shipping, saving an expense for both institutions.

Examples of packaging material used by BSU and commercial CD “mailers” used by other libraries were on hand for inspection. Only the BSU examples are pictured below.


Amy Edmonds Ball State University
Music Library Association, Chicago 2009

More than a Melody: Poster Session Abstract

Presented by: Garth L. Tardy, Library Information Specialist II, Univeristy of Missouri-Kansas City

Many libraries are now beginning to provice access to their sheet music collections. Sheet music contains so much more besides the song itself, namely the artwork of its covers. There is much to interest researchers across a broad spectrum of disciplines, from history to fashion to anthropology that the cataloger needs to be willing to consider more than just the musical aspects of the piece.

What the artwork says is often just as important to researchers and that non-verbal information can and should be incorporated in the bibliographic record. Sheet music often depicts local scenes or events, history, examples of race relations and images and much more that is of interest to researchers in history, cultural studies and the graphic arts. A cataloger can make great use of a good 500 note describing the images, the LCSH free floating subdivision $v Pictorial works, $v Portraits or $v Caricatures and cartoons to bring out these elements for researchers.

These subject headings would be in addition to the ones added to describe the music itself. The time it takes is surprising little as many will be of simple nouns. The subject headings that will take the most time are ones dealing with local subjects, but those will yield the greatest value.

Sheet music really is more than just a single song. Cover art is a reflection of the history, attitudes and concerns of the times in a visual form. This poster session will demonstrate how the music cataloger can effectively provide graphical subject analysis to fully present this non-verbal information to researchers across multiple academic disciplines.

Follow the link below to see examples of how this cataloging might be done.

Poster session graphics

Welcome to the online poster sessions from the 2009 MLA meeting!

Dear readers,

Here on this blog you will find expanded abstracts and images from the 2009 Poster Sessions given in Chicago. This will be a helpful way for the presenters to share their posters with you, especially if you did not have a chance to attend the sessions this year. Also, it will help keep the discussions alive regarding these projects as they were realized in posters.

Enjoy!

Best wishes,

Tammy Ravas
Poster Session Coordinator