Music Librarians on the Road: Demonstrating Basic Music Skills to Public Librarians Presented by Erin L. Mayhood Head, Music Library, University of Virginia and Darwin F. Scott Creative Arts Librarian Brandeis University Music Library Association Society for American Music Joint Conference Pittsburgh, PA March 3, 2007

The Beginning…  NEMLA has a strong history of outreach.  Library school career forums reached new librarians but not those already on the front lines.  1998 assessment on the state of music collections in Connecticut  Many generalists in public libraries working as music librarians in all but name for their communities.  The Public Libraries Roundtable and the Education and Outreach Committees perceived a strong need and desire by generalists in public libraries for reliable information on all aspects of music.

Boston Public Library Front Lines Massachusetts Library of Last Recourse mandate: “to provide access for all residents of the Commonwealth to the resources of a public research library.” In practice:  many music questions from public libraries throughout Massachusetts and New England  many questions could have been answered by generalists with a little guidance

NEMLA Connecticut Survey Results Barriers to acquiring/maintaining music collections:  budget constraints44%  inadequate space/shelving28%  lack of expertise about music 17%  lack of music cataloging expertise11%  lack of patron interest 8%  lack of staff interest 3%

1998 Survey Results continued… Who selects music materials in your library?  library director 48%  staff member with specialization 24%  general staff 16%  other 6%  volunteer 3%

1998 Survey Results continued… Interest in resources (such as training, work- shops, etc.) to assist public librarians in the following areas of music:  collection development / acquisitions63%  cataloging and processing41%  circulation and shelving28%  music reference 28%  other areas 2%

Reference Difficulties Encountered  Music-specific terminology (song, score, sheet music, parts, etc.)  OPAC searching  Formats (scores, vocal scores, fakebooks, librettos, CDs, videos, etc.)  Uniform title vs. title on page  Lack of content notes  Music subject headings (e.g., plurals for genres)  Absence of viable reference sources at the library

NEMLA Public Libraries Outreach Team  Large academic library supporting a broad range of music programs, including performance:  Boston University, Erin Mayhood  Focus: Reliable Web resources, terminology, reference interview, handouts  Smaller academic library supporting graduate music research, plus varied undergraduate study (often interdisciplinary):  Brandeis University (Waltham, MA): Darwin Scott  Focus: Collection development, understanding catalog records for music materials  Large public library with broad music collections:  Providence Public Library: Margaret Chevian  Focus: leading discussion at end of presentations; experience of a practicing public librarian; audience sees “one of us” is on the panel, not just academic librarians.

Goals  Be present at conferences frequented by public librarians.  Provide practical information that engages the audience.  NEMLA is an information resource that librarians can all draw upon.  Music librarians are wonderful and make great colleagues.

Strategy  Relate music reference to the skills of general reference and draw upon common expertise.  Point out the different approaches required for music reference.  Develop specialized music terminology.  Provide pathways to high-quality FREE online resources.  Explain how to craft the best searches based on the information in MARC records for music materials.  Impart some of the shop secrets of expert music collection development.  Mount the slides on the NEMLA Web site for future consultation after the sessions.

Presentation Content and Venues Name That Tune: Music Services and the Public Library “Music Reference: Songs” (Erin) “A Few Basic Survival Skills for Finding Music Web Sites, Acquiring CDs and Scores, and Coping with the Complexities of Music Materials” (Darwin) Comments on Reference and Selection at the Providence Public Library (Margaret)  New England Library Association, Manchester, NH, September 24, 2004  Connecticut Library Association, New Haven, CT, April 13, 2005  Rhode Island Library Association, Salve Regina University, Newport, RI, June 2, 2005 Get Your Library Movin’ to the World Music Beat! “World Music in the Public Library: Collection Development Tips!” (Erin) “What World Music Is—And How to Locate It in Library Catalogs and Other Electronic Resources” (Darwin) Comments on World Music at the Providence Public Library (Margaret)  New England Library Association, Worcester, MA, October 16, 2005  Rhode Island Library Association, Bryant College, Smithfield, RI, June 1, 2006

Evaluation and Assessment Attendance  Varied between 25 and 40 depending on the number and subject matter of conflicting sessions  Last session in RI had 16 due to popular Google session scheduled at the same time Audience reactions  Nobody got up and left during the presentations  Engaged audience throughout  Extremely interactive in question and answer sessions  Rumpus sessions after presentations to talk further  Great interest in NEMLA and much thanks given  Offers to return next year

Evaluation and Assessment Feedback “Very informative, well organized” “Really enjoyed all three speakers” “Lots of great info and different points of view” Ratings by four attendees: one “4” and three “5's (scale: 1=poor, 5=excellent) Evaluations from the 2005 RILA meeting “ Thanks so much for the excellent presentation you gave at the Conference last Thursday.... Your talk was well organized, lively, and you provided us with very useful handouts. We learned so much about the wealth of information that is available to us.” - Pam Mead, RILA Conference Committee (June 2006) “I thought the program was very interesting and the smaller crowd allowed a little more interaction—so glad you are willing to join us next year. Please consider yourselves on the program!” - Ariela McCaffrey RILA Conference Committee (June 2006)

The Future  Financial cutbacks have negatively impacted the hiring of subject specialists in public libraries—a national crisis that will continue to have drastic effects on collections, staffing, and programs.  Launch of MLA National Outreach program to non-music specialists

Fasten Your Seatbelts for a Whirlwind Tour through Our Presentations

The New England Chapter of the Music Library Association Music Reference: Songs Presented by Erin L. Mayhood Assistant Head, Music Library, Boston University April 13th, 2005 Sponsored by the New England Music Library Association (NEMLA)

The Music Reference Interview Focusing the inquiry in music includes: Format Format Score Score Recording Recording Does the patron need the words (lyrics) only? Does the patron need the words (lyrics) only? Are they looking for background information? Are they looking for background information?

Questions to Ask: What is the title of the song? What is the title of the song? Who wrote the song? Who wrote the song? Do you know the first line or any of the lyrics? Do you know the first line or any of the lyrics? What decade is the song from? What decade is the song from? Who recorded the song? Who recorded the song? What style of music is it? What style of music is it? Where did you hear this song? Where did you hear this song?

Building Terminology: Focus on Formats Recordings Compact Discs Compact Discs Cassettes Cassettes LP’s LP’s Scores Full scores Piano vocal scores Fake books

Example of a piano-vocal score:

Example of a Full Score:

Example of a fake book:

Finding Songs: Why Are They So Hard? Lack of contents notes in catalog records Lack of contents notes in catalog records Songs may be part of a larger work like an opera or a musical Songs may be part of a larger work like an opera or a musical Languages Languages

A Sample Catalog Record Lacking Content Notes

Example of a record with contents notes. These notes are keyword searchable.

Finding Song Scores – Essential Print Resources Verification Sources Verification Sources Use to verify title, composer, date information Use to verify title, composer, date information Especially useful if you have only partial information Especially useful if you have only partial information Song Indexes Song Indexes Use to determine the titles of collections or anthologies that include your song. Use to determine the titles of collections or anthologies that include your song. General or genre specific General or genre specific

Sheet Music Resources on the Internet Aid in verification Aid in verification Searchable lyrics Searchable lyrics Digitized copies of songs may be printable Digitized copies of songs may be printable Many institutions compile lists of recommended sites Many institutions compile lists of recommended sites

Charles H. Templeton Sheet Music Collection Contains images of over 22,000 pieces of sheet music from late nineteenth and early twentieth century America Contains images of over 22,000 pieces of sheet music from late nineteenth and early twentieth century America Covers many genres, from the ragtime of Scott Joplin, the Dixieland of W. C. Handy, the smooth ballads of Irving Berlin, the stirring patriotic anthems of John Phillips Sousa and George M. Cohan to the early roots of big band. Covers many genres, from the ragtime of Scott Joplin, the Dixieland of W. C. Handy, the smooth ballads of Irving Berlin, the stirring patriotic anthems of John Phillips Sousa and George M. Cohan to the early roots of big band.

Charles H. Templeton Sheet Music Collection – Digital Images of Sheet Music

Finding Music Lyrics on the Internet Many lyric sites on the internet Many lyric sites on the internet Beware of sites with extensive pop ups Beware of sites with extensive pop ups Sites often specialize in a particular genre Sites often specialize in a particular genre Many libraries maintain lists of selected sites. Many libraries maintain lists of selected sites.

What album contains that song?

A Few Basic Survival Skills for Finding Music Web Sites, Acquiring CDs and Scores, and Coping with the Complexities of Music Materials Presented by Darwin F. Scott Creative Arts Librarian, Brandeis University for the Rhode Island Library Association (RILA) June 2, 2005 Sponsored by the New England Music Library Association (NEMLA)

Brandeis University Libraries QuickStart Guide: Music — Music on the Web

Duke University Libraries: DW3 Classical Music Resources — Homepage

Duke University Libraries: DW3 Classical Music Resources — Classical Music — Composer Homepages

Duke University Libraries: DW3 Classical Music Resources — Browse Resources — Classical Music — Composer Homepages — Early Twentieth Century

Duke University Libraries: DW3 Classical Music Resources — Browse Resources — Classical Music — Composer Homepages — Early 20th Century — Olivier Messiaen

Music Library Service Company (MLSC): Online Store Home Page

Music Library Service Company: Rolling Stone Top 500 Albums

Music Library Service Company (MLSC): 47 th Annual Grammy Award Winnners

Music Library Service Company: A Basic Music Library — Musicals and Shows

CD HotList: New Releases for Libraries — Homepage

CD HotList: New Releases for Libraries — Country/Folk, Sept. 2004

Amazon.com: Search for CD of Wicked Reminder: Search for CDs under MUSIC

Amazon.com: Search for Vocal Score of La Cage aux Folles

Amazon.com: Search for Scores of Gilbert and Sullivan Published by Dover (searched as author: gilbert sullivan; title: score; publisher: dover)

Music Library Association Mailing List: Archive Search MLA-L

Music Library Association Mailing List: Archives of MLA-L

Music Library Association Mailing List: Archive Search Results — on “security (CD or CDs or DVD or DVDs)”

Music Library Association (MLA): Copyright for Music Librarians

Music Library Association (MLA): Copyright for Music Librarians: Frequently Asked Questions

The New England Chapter of the Music Library Association World Music in the Public Library: Collection Development Tips Presented by Erin L. Mayhood Assistant Head, Music Library, Boston University June 1 st, 2006 Sponsored by the New England Music Library Association (NEMLA)

Reasons to include world music in your collection Cultural diversity Cultural diversity Formal education support Formal education support Community activity support Community activity support Independent learning Independent learning

Tools for Collection Development Websites Websites Reviews Reviews Vendor catalogs Vendor catalogs

Recommended Websites  University of Washington  Indiana University  Music Selection Resources on the WWW by Anna Seaberg

Record Label List Annotated by Anna Seaberg:

Recording Reviews Periodicals Periodicals BillboardBillboard Dirty LinenDirty Linen EthnomusicologyEthnomusicology Roots & Rhythm Newsletter (online at: m/roots/rr_latest.htm)Roots & Rhythm Newsletter (online at: m/roots/rr_latest.htm) m/roots/rr_latest.htm m/roots/rr_latest.htm World of MusicWorld of Music Vendor Websites Vendor Websites All Music Multicultural Media

Vendors Vendor websites can be useful collection development tools Vendor websites can be useful collection development tools Look for sites that present items geographically Look for sites that present items geographically

Favorite Vendors for World Music Multicultural Media: Multicultural Media: All Music Guide: All Music Guide: Music Library Service Company (MLSC): Music Library Service Company (MLSC): Berkshire Record Outlet: Berkshire Record Outlet:

MULTICULTURAL MEDIA's

What World Music Is—and How to Locate It in Library Catalogs and Other Electronic Resources Presented by Darwin F. Scott Creative Arts Librarian, Brandeis University for the Rhode Island Library Association (RLA) June 1, 2006 Sponsored by the New England Music Library Association (NEMLA)

Ethnomusicology — World Music: What’s the Difference? Ethnomusicology “The study of social and cultural aspects of music and dance in local and global contexts.” (Grove Music Online) Largely a scholarly discipline studied primarily at universities. Focus tends to be on field work—and indigenous, “traditional” music. Specialists are trained in music or in anthropology, sometimes in both, but the multidisciplinary nature of the subject produces differing interpretations. Alan P. Merriam (1923–1980), Indiana University: Defined ethno- musicology as the anthropological study of music and stressed “the importance of cultural and social factors in any investigation of the processes of creation, aesthetics, and the training and acculturation of performers and audience.” Mantle Hood (1918–2005), UCLA: the first scholar to offer training in the performance of non-Western music (Javanese and Balinese gamelan), a practice now common at most large Western universities. He emphasized performance participation or “bi-musicality” as an essential aspect of research.

Ethnomusicology — World Music: What’s the Difference? World Music – 1 Recent years have seen the phenomenal growth of the “World Music Industry.” A very defuse category, but there are certain traits that predominate. Lacks the academic connotations or discipline of ethnomusicology. Often popular music or Third World music—frequently the music of the lower working classes and powerless members of industrialized societies, sometimes resulting from rural–urban migrations. The sound of globalization and transnationalism—an international marketplace. A blending of traditional styles with Western pop features—this dualism challenges the integrity of native cultures and the survival of national genres due to the overwhelming influence of popular music recordings from the U.S. and Europe. In some countries, indigenous traditional musics have grown marginal and irrelevant to the popular youth culture; in others with stronger native traditions in place, much more blending occurs. Clash of nativism (an established national canon of music supported by academe and/or the state) vs. creolism, creative hybridity, fusion, and pastiche.

Ethnomusicology — World Music: What’s the Difference? World Music – 2 Transplanted Western idioms become transformed by local tradition. International styles—rock music, hip-hop, disco, sentimental ballads, easy listening. Music of diasporas and transnationalism. Themes include political statements, protest songs, pacifism, transnational sentiments, religion/devotion, dancing to “world beats,” conscious ethnic focus. Delivered by commercial mass communications media (sound recordings, radio, films, television, the Web) and concert/performance venues (the stage, night clubs, etc.) Uses amplification and electric instruments, and modified traditional or western instruments. Rise of concert artists and world music stars—not music performed within ritual, narrative, or other cultural contexts. World beat: “World music that is commercially marketed to Western consumers with eclectic tastes” (Grove Music Online).

World Music as a Subject Term (in the Minuteman Library Network — Boston Metrowest) 351 records in Minuteman Library Network using World Music as a subject heading; a growing number also appear with subdivisions. But not applied consistently to world music recordings—depends upon decisions of catalogers entering or editing records in OCLC. World beat (Music) starting to appear as an LCSH. Worth Noting (as of May 31, 2006): World Music as sound-recording subject heading is in 2,941 WorldCat records. Folk Music as sound-recording subject heading is in 37,316 WorldCat records. Popular Music as sound recording subject heading is in 245,944 WorldCat records.

Sample World Music Record with Folk Music as Subject Heading Specific country (here Mali) used as geographic delimiter. A search on Africa would miss this recording. Popular music, Folk music, and World music all used as descriptors.

Sample World Music Record — Thorough Subject Analysis Extremely thorough subject analysis covers world, folk, and popular music. Includes all performers and ensembles as authors.

Sample Catalog Record — 2005 Cataloging, Excellent Descriptors — One Type of Music (Music of Cape Verde) World music as subject heading Contents notes are searchable in most OPACs as keywords. A caveat: spellings match contents given on the CD notes (i.e., no authority control). Popular music as subject heading Geographic area as subheading (plus time period!) Note: no subject reference to Africa. Performer as author

Sample Catalog Record — 2005 Cataloging, Excellent Descriptors — Various Types of Music Performers and groups as authors Genres / styles of music as subject headings Broad geographical descriptors World music / Popular music subject headings Contents note

Sample World Music Record (No Subject Entry for Popular Music) Popular music and Folk music not used as subject descriptors—only World music

Sample World Music Record — Folk Music and World Music as Descriptors (not Popular Music) Folk music and World music used as subject descriptors—but not Popular music. Very broad geographic descriptor Main performer (vocal soloist) and group as authors

Amazon.com: Opening Window for Music (i.e., CD) Search Use International for most world music.

Amazon.com: International Style = World Music

Amazon.com: Browse Africa Selections

Amazon.com: Mali Selections 283 recordings retrieved

Amazon.com: “International Mali” Keyword Search under Popular Music Only 12 recordings retrieved! Better to use the progressive access for the most items: 1.Popular music 2.International 3.Africa 4.Mali (283 recordings) Or a keyword search directly on the specific country (274 hits on Mali).

Contact Information NEMLA: Erin L. Mayhood Darwin F. Scott Margaret Chevian The Final Slide of All the Presentations