CAML Review / Revue de l'ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux)

Skwarok, Alana

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 20 
A Visualization Interface, Digital Humanities, and National Library 
Digital Sound Recording Collections: A Report of CAML 2014 Session A 
 
By Alana Skwarok1 
CAML Session A: Thursday, May 29, 2014  
Audrey Laplante, Dominic Forest, Rémy Kessler (Université de Montréal): “Encore des mots, toujours 
des mots: A Visualization Interface for Exploring a Large Collection of French Songs” 
Stacy Allison‐Cassin, David Montgomery (York University): “Digital Humanities and Music” 
Sophie Rondeau (CBC Winnipeg): “The Sounds inside the Library Walls: An Examination of  
Three National Library Digital Sound Recording Collections” 
Audrey Laplante (Université de Montréal) opened the morning session with a paper she co-authored 
with Dominic Forest and Rémy Kessler (Université de Montréal; in absentia). She presented their 
methodology and results related to the creation of a music visualization interface for French-language 
songs based on lyrics. In harvesting lyrics and metadata from the Internet, their research aimed to study 
the social tagging of francophone music as well as study how independent record labels in Quebec use 
social media to promote artists. Their resulting interface allows for information retrieval and 
visualization, and will act as an excellent resource for researchers looking to find songs based on a 
particular topic and to study the themes within a particular collection of songs.  
The following presentation was from Stacy Allison-Cassin and David Montgomery (York University). 
Allison-Cassin and Montgomery began their session by giving a quick overview of issues related to Digital 
Humanities and music, and discussed roles librarians can take in order to effectively engage with Digital 
Humanities scholarship. They also shared their experiences in receiving and digitizing the John Arpin 
Sheet Music Collection, which included 150,000 items of vintage, original sheet music. They described 
how the Digital Humanities community stresses the idea of collaboration, both in the sharing of 
resources and open source tools, and in overcoming potential silos that exist within academia.  
Rounding off the session was Sophie Rondeau (Syracuse University) with an analysis of three national 
library digital sound recording collections. Rondeau examined the scope, development, and 
management of the following collections: Library and Archives Canada’s Virtual Gramophone, the 
Library of Congress’ National Jukebox, and British Library Sounds. Her analysis of the collections included 
the quality of the digitized audio, interface design and usability, and reference and instructional services. 
Rondeau’s related paper is included in this issue of CAML Review. 
                                                          
1
  Alana Skwarok is a Reference Librarian at the MacOdrum Library of Carleton University. Her subject 
specializations include Art History, Film Studies, and Music.  
 


A Visualization Interface, Digital Humanities, and National Library Digital Sound Recording Collections: A Report of CAML 2014 Session A

Martin, Cheryl

  
CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014)  PAGE 3 
President’s Report / Message de la présidente 
 
I hope that most of you are looking out on 
green grass and crocuses, or will be soon. I’m 
sure that by the time we meet at Brock 
University in late May, we will all be ready to 
enjoy spring in the beautiful Niagara Peninsula 
after a long, cold winter. 
Plans for this year’s conference are going well. 
Brian McMillan, Jan Guise, and Becky Smith 
have developed a diverse program with a 
great variety of interesting topics. We are very 
excited that our keynote speaker will be 
Barbara Dobbs Mackenzie, President of IAML 
and Editor-in-Chief of RILM. Barbara will be 
attending the entire conference and we look 
forward to having the chance to speak to her 
about the R-projects and about IAML. Joanne 
Paterson and I are managing local 
arrangements, along with our Canadian 
University Music Society (MusCan) colleagues. 
We will be gathering information about any 
special food requests, and will send an email 
to all registered participants with more 
information about this in early May. If you 
have questions about Brock or how to get 
there, please let me know and I will try to help; 
the instructions on the Congress site are not 
very useful if you need to transfer between 
different forms of transportation. Please note 
that if you are flying into Toronto’s Pearson 
airport, there is a shuttle to Brock but you 
should pre-book to ensure that there is room 
for you. Consult the CAML website for the 
conference program; go to the Congress site 
for information about registration, 
accommodation, local attractions, other 
associations’ programs, and more.   
Next year, Congress will be held at the 
University of Ottawa. We will be meeting 
around the same time as the Canadian Library 
Association conference, also taking place in 
Ottawa. If you are interested in working on the 
program or local arrangements for CAML’s 
 J’espère que, chez la plupart d’entre vous, l’herbe a 
reverdi et les crocus ont point ou le feront bientôt. Je 
suis convaincue que, lorsque nous nous rencontrerons à 
l’Université Brock à la fin mai, nous serons tous prêts à 
jouir du printemps dans la belle péninsule du Niagara, 
après notre rude et long hiver. 
Les préparatifs du congrès vont bon train. 
Brian McMillan, Janneka Guise et Becky Smith ont créé 
un programme diversifié comprenant une grande variété 
de sujets intéressants. Barbara Dobbs Mackenzie, 
présidente de l’AIBM et rédactrice en chef du RILM, sera 
notre conférencière d’honneur, et nous en sommes très 
heureux. Elle assistera à tout le congrès et nous 
attendons avec impatience l’occasion de lui parler des 
« 4 R » et de l’AIBM. Joanne Paterson et moi sommes 
responsables des préparatifs sur place, de même que 
nos collègues de la Société de musique des universités 
canadiennes (MusCan). Nous nous informerons de vos 
besoins particuliers concernant la nourriture et, au 
début mai, nous enverrons un courriel fournissant plus 
de renseignements à ce sujet à tous les participants 
inscrits. Si vous avez des questions quant à l’université 
ou aux moyens de s’y rendre, veuillez me le faire savoir 
et j’essaierai de vous venir en aide. Les instructions 
apparaissant sur le site du congrès ne seront pas très 
utiles à ceux qui doivent passer d’un mode de transport 
à un autre. Veuillez noter que, si vous arrivez à 
l’aéroport Pearson de Toronto, une navette vous 
amènera à l’université, mais vous devez y réserver une 
place. Consultez le site de l’ACBM pour avoir accès au 
programme et le site du congrès pour y obtenir des 
renseignements relatifs à l’inscription, au logement, aux 
attractions touristiques locales, aux programmes 
d’autres associations et plus encore. 
L’an prochain, le congrès se tiendra à l’Université 
d’Ottawa. Nous nous rencontrerons à peu près en même 
temps qu’aura lieu le congrès de l’Association 
canadienne des bibliothèques, à Ottawa également. Si 
vous désirez travailler au programme ou aux préparatifs 
sur place du congrès 2015, veuillez m’en informer dès 
que possible. Nous aimerions être en mesure 
d’annoncer le nom de ceux qui formeront les équipes 
 
  
 
 
 
   
  
CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014)  PAGE 4 
2015 conference, please let me know as soon 
as possible. We would like to have the local 
arrangements and program teams in place so 
that we can announce them at this year’s 
AGM. Congress 2016 is at the University of 
Calgary, and in 2017 we are back in Ontario, at 
Ryerson University in Toronto. 
Many thanks to Stacy Allison-Cassin for quickly 
redoing CAML’s website after a recent fatal 
crash! Some sections of the site are still “in 
progress” so thank you for your patience.  
Corporations Canada requires all associations 
to refile their bylaws by October 2014 or risk 
having the association dissolved. The 
Federation for the Humanities and Social 
Sciences has been very helpful throughout this 
process, and we recently learned that we can 
simply refile the existing bylaws to meet the 
deadline, and then revise them later to include 
any changes. I will be refiling the bylaws soon 
so that CAML can continue to exist! At our last 
Board meeting, Sean Luyk, Cathy Martin, and 
Joanne Paterson were asked to look at the 
existing bylaws in preparation for any changes 
that need to be made. For example, we’d like 
to explore the possibility of using online voting 
instead of the paper ballots currently required 
by our constitution. There will be more 
information about this at the AGM, and an 
opportunity for discussion. Any changes to the 
bylaws require a vote of all members 
sometime before the 2015 AGM. 
I look forward to seeing many of you in St. 
Catharines in May! 
 
Cheryl Martin 
Acting Head, Metadata Access  
Western University 
responsables des préparatifs sur place et des 
programmes lors de l’assemblée générale annuelle 
de 2014. Le congrès de 2016 se tiendra à l’Université de 
Calgary et lors de celui de 2017, nous serons de retour 
en Ontario, à l’Université Ryerson de Toronto.  
Un grand merci à Stacy Allison-Cassin d’avoir 
rapidement rebâti le site Web de l’ACBM récemment, 
après qu’il s’est effondré. Certaines sections du site sont 
encore « en construction »; nous vous remercions donc 
de votre patience.  
Corporations Canada exige que toutes les associations 
lui soumettent de nouveau leurs règlements d’ici 
octobre 2014 sous peine de dissolution de l’association. 
La Fédération des sciences humaines nous a beaucoup 
aidés tout au long de ce processus et nous avons appris 
dernièrement qu’il est possible de resoumettre les 
règlements actuels afin de respecter la date butoir, puis 
de les réviser et d’y inclure tout changement apporté. Je 
les soumettrai donc sous peu à Corporations Canada afin 
que l’ACBM continue d’exister! Lors de la dernière 
rencontre du conseil d’administration, on a demandé à 
Sean Luyk, à Cathy Martin et à Joanne Paterson de se 
pencher sur les règlements actuels dans le but d’y 
apporter des changements. Nous aimerions par exemple 
étudier la possibilité de voter en ligne plutôt que de 
continuer de nous servir des bulletins de vote comme 
l’exige notre constitution. Nous vous fournirons de plus 
amples renseignements à ce sujet lors de notre 
assemblée générale annuelle, où nous pourrons en 
discuter. Tout changement aux règlements requiert le 
vote de tous les membres avant la tenue de l’assemblée 
générale annuelle de 2015.  
Je suis impatiente de vous voir en grand nombre à 
St. Catharines, en mai! 
 
Cheryl Martin 
Chef intérimaire, Accès aux métadonnées, Université 
Western 
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
       
 


President’s Report / Message de la présidente

-, -

Congrès de l'ACBM 2014 : Programme du congrès et résumés de communications

Jurkowski, Edward

Touch: Music for Percussion – Rob Power (CD Review)

Wills, Deborah

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 25 
A First-Timer’s Sampler: Notes from MLA 2014, Atlanta, Georgia 
 
By Deborah Wills1 
 
Since November 2012, when I became Liaison Librarian for Music at Wilfrid Laurier University, 
many colleagues have encouraged me to attend the MLA Annual Meeting. They rightly describe 
this conference as an invaluable opportunity to meet and to learn from hundreds of librarians, 
to connect with vendors, and to gain first-hand knowledge of MLA. In particular, I would like to 
recommend the reduced registration program, with the variety of volunteer activities it 
provides. It was a privilege to contribute in a small way to the success of the meeting. 
The following summaries will, I hope, suggest the range and scope of some of the fine 
presentations on this year’s program. 
Unheard Voices: Something Old and Something New in Jewish Music 
The session began with Judith Pinnolis (Brandeis University) who presented “something new”: 
“Researching Jewish Music: A Digital Resources Update.” She introduced the audience to a 
large number of online sites for Jewish music: texts, scores, streaming music, and resources for 
research. The presentation demonstrated the value of online collections in bringing together 
widely dispersed material. Some highlights: the YIVO Institute for Jewish Research (Poland), 
with collections of sheet music and recordings; the Library of Congress's Yiddish American 
Popular Sheet Music; the National Library of Israel's Song Indexes in Yiddish and Hebrew, with 
finding aids in English; the St. Petersburg Score Collection; and the Virtual Cantor, with the 
complete cycle of liturgical music in sound files. The presentation, along with links, is available 
at the presenter's web site.  
For “something old,” Kevin Karnes (Emory University) discussed his research in a presentation 
entitled “Toward a Multicultural History of Place: A Baltic Situation.” In his travels, he has 
examined places in Eastern Europe where Jews once lived, but live no longer. His work 
demonstrates how musicology can inform history: specifically, it challenges the notion that 
between the Bolshevik Revolution and the Second World War, Jews and Latvians lived in 
separate, isolated communities. Through musical sources, he traces the shared experience and 
cultural exchange between these communities. The evidence he presents of frequent, 
                                                          
1
  Deborah Wills is Liaison Librarian for Music, Communication Studies, English, Film Studies and Journalism at 
Wilfrid Laurier University Library. 
 
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 26 
commonplace encounters provides an important perspective on a time which has been 
overshadowed by the Holocaust. Karnes was fortunate to find that much archival material has 
survived. 
Common Curricula of the Introductory Graduate Music Research Course: A 
Survey 
Jonathan Sauceda (Rutgers University) presented research which he hopes will contribute to an 
understanding of the content and pedagogical methods of the graduate music research course. 
He examined the web sites of 408 institutions and identified 208 instructors to survey. The 
completion rate was 41%. Some highlights of the results:  
 74% of respondents use a lecture format. 
 The most common texts are Turabian’s A Manual for Writers of Research Papers, 
Theses, and Dissertations, and Sampsel's Music Research: A Handbook. 
 About 60% feel it is very important to include information on bibliographies, sources, 
and library use. 
 72% feel that music-specific databases are very important; RILM is by far the favourite. 
 For general databases, most include JSTOR and WorldCat. 
 ILL and the library catalogue are judged the most important library resources. 
 75% of instructors who responded agree that students find the course useful. 
 Only 9% believe that entering students are ready to begin graduate research. 
Sauceda stressed that the survey provides information on the format and content of these 
courses; it does not describe the ideal course. By knowing more about these courses, librarians 
have a rationale for approaching faculty with suggestions for improving content and 
methodology. Sauceda is happy to share his results with others: contact him at 
jonathan.sauceda@rutgers.edu.     
Reference Wrap-Up: Difficult Dance and Troublesome Theatre 
The three presenters for this session provided strategies for liaison librarians taking on new 
subject areas in the performing arts. They all stressed the usefulness of finding commonalities 
between the known and the new.  
Lindsay Hansen (California State University) recommended enthusiasm, but cautioned against 
misrepresenting one’s level of subject knowledge. She stressed the importance of building 
relationships with faculty over time, by attending performances, becoming familiar with faculty 
publications, textbooks, and books on reserve for classes. She also recommended joining 
listservs, studying library subject guides, examining collection policies from other libraries, and 
keeping up with the academic association for the discipline. Link to slides. 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 27 
The session continued with Scott Stone (Chapman University) who described his experience as 
a new liaison librarian for dance, along with some of the specific reference questions he has 
received. He recommended specific titles, such as The International Encyclopedia of Dance and 
a variety of online resources, including Academic OneFile and YouTube. He suggested exploring 
familiar resources such as RILM, which proves to have a substantial amount of dance material. 
For students struggling to find information specifically on dancers, he recommended 
broadening the search to other performance artists and to athletes. Link to slides. 
The session concluded with Erin Conor (Reed College) who discussed her experience with the 
discipline of theatre. She echoed many of the suggestions made by the other speakers, and 
described how theatre is highly interdisciplinary, studied both as literature and as performance. 
Her recommended sources include The International Dictionary of Theatre, ARTstor for images, 
and for finding plays, the subscription-based Play Index and the freely available Inter-Play.   
A question following the presentations led to a discussion of how to find music to accompany 
dance. An attendee recommended browsing Naxos by genre and stressed the need for dance 
students to listen to lots of music. Just like students in other disciplines, as they proceed with 
their research, they often discover that their needs are quite different from what they first 
imagined. 
Library as Place: What Performing Arts Students Value Most 
Joe Clark (Kent State University) is carrying out a comprehensive study of space and services at 
his institution’s Performing Arts Library, the second most heavily used library at Kent State. So 
far, he has a year's worth of observational data, collected once an hour, as well as survey 
results. He also plans to work with focus groups. He stressed the importance of using a variety 
of tools to improve the accuracy of results. 
The Performing Arts Library consists of several open spaces, including computer labs, plus four 
carrels and two state-of-the-art group study rooms. Contrary to survey results, which suggest 
that students set a high value on shared study space, only 4% of students in the library were 
observed in group study rooms, and when they were, they were often alone. Both 
observational data and survey data reveal that a large majority of students prefer quiet, open 
spaces. Some other interesting findings from the survey: 
 Most students prefer PCs over Macs and prefer laptops to desktops or tablets. (The 
Library plans to provide laptop power cords for checkout.) 
 Most strongly agree that "expert help with library resources is important to my success 
as a student." 
 Most also agree that strong library collections are important. 
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 28 
 Soft furniture and large tables are very important. 
 Half the students found library events important. 
Link to slides. 
Taking a Census and Prioritizing Media Collections for Preservation 
At the plenary session earlier in the day (“The Library of Congress National Recording 
Preservation Plan”), Mike Casey (Indiana University) spoke of the twin threats to preservation: 
degradation and obsolescence. He estimated that institutions have about 10-15 years before 
large-scale preservation becomes too difficult or costly. In his session “Taking a Census,” he 
described how Indiana University has responded to this situation. Suspecting a serious problem, 
Casey began by conducting a survey to collect quantitative and qualitative data on condition, 
formats and research value of media collections. However, the survey had a low response rate, 
and some of the information collected proved inaccurate. 
In a follow-up, in-depth study, he and his team conducted one- to three-hour interviews with 
staff in each of 80 affected units on campus. They identified 560,000 audio, video, and film 
objects, with 180,000 of these at serious risk. The majority of objects, which are in dozens of 
formats, are at the Music Library, but many are also held in units such as the Language Center, 
Athletics, and various archives. His team aims to digitize high-priority items within five years. 
Prioritization is based on a review of content, with focus on research, instructional, historical, 
and political value, along with a consideration of condition and risk. To convince administrators 
of the serious threat to these objects, stories highlighting risk and value have been collected. 
With support from the Vice Provost for Research, and with the expertise of a post-doc student, 
about 8% of the total items have been digitized so far.  
The digitization project has been relatively inexpensive, but requires curatorial knowledge. 
Once objects are digitized, the originals should be kept, though there are pressures to discard 
based on space considerations. Link to slides. 
 


A First-Timer’s Sampler: Notes from MLA 2014, Atlanta, Georgia

Annual meeting of the Quebec Chapter of CAML / Rencontre annuelle de la Section québécoise de l'ACBM (SQACBM)

Leibel, Jane

Ash Roses – Music of Derek Holman (CD Review)

Maley, Desmond

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 14 
International Music Librarianship:  
IAML & R-Project Sessions at CAML 2014 
 
By Desmond Maley1 
 
RIPM/RISM/RILM Session (Thursday, May 29, 2014) 
Kathleen McMorrow (Librarian Emerita, University of Toronto) provided an overview of the 
“fourth R,” Retrospective Index to Music Periodicals/Répertoire international de la presse 
musicale (RIPM). Founded in 1980 by Robert Cohen, RIPM indexes European and American 
music journals from 1759 to 1962. Notable additions to RIPM are the Online Archive of Music 
Periodicals and the e-Library of Music Periodicals. The Online Archive includes The Canadian 
Journal of Music, while the e-Library includes Musical Canada and Musical America. McMorrow 
demonstrated these resources with a search for the Canadian concert violinist, Kathleen 
Parlow.  
Cheryl Martin (Western University) is the Canadian representative of the International 
Inventory of Musical Sources/Répertoire International des Sources Musicales (RISM). RISM’s 
mandate is to document extant written musical sources. Most of RISM’s work is done in 
Europe, especially Germany. Martin noted that the interface for entering data is difficult to 
work with, and that efforts are underway to improve it. RISM’s Series C, Music Research 
Libraries, is also being updated.  
Sean Luyk (University of Alberta) has been chair of the Canadian National Committee of RILM 
(Répertoire International de Littérature Musicale) since June 2013, succeeding Lisa Emberson. 
He detailed RILM Canada’s coverage and plans to add more Canadian content from a variety of 
sources. A project from a fifth-year bibliography course taught at the University of Alberta 
recently yielded a number of listings. RILM has seven volunteers, and it is part of the sabbatical 
project of a CAML member. Luyk noted that pending ratification of the membership, RILM 
Canada will come under the purview of CAML. A website is forthcoming.   
                                                          
1
  Desmond Maley is an Associate Librarian at Laurentian University and the Books/Recordings Editor of CAML 
Review.  
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 15 
CAML/MusCan Keynote Address: IAML and the Four R-Projects: Past, Present, 
and Future (Friday, May 30, 2014)  
Barbara Dobbs Mackenzie, Editor-in-Chief, RILM International Center (New York) 
and President, IAML 
Barbara Dobbs Mackenzie described her address as a book with five chapters. The longest and 
most comprehensive was on IAML, but there were also informative chapters on the related 
four R’s: RISM, RILM, RIdIM, and RIPM.  
IAML was founded in Paris in 1951, in the aftermath of the Second World War. Today, it has 
1,800 members in 50 countries. IAML encourages and promotes the work of music libraries, 
archives, and documentation centres through a variety of means. One of the organization’s 
major activities is the annual conference, which in June 2015 will be held in New York City on 
the theme of music research in the digital age. Fontes Artis Musicae, IAML’s flagship 
publication, is seeking a new editor and newly appointed Vice-President Joseph Hafner (McGill 
University) is chairing the search committee. 
IAML is examining its future. An ad-hoc committee on restructuring the association was 
established, of which Jan Guise (University of Manitoba) was a member. The committee has 
recommended reducing the governance from three tiers to two. The committee also has 
recommended a roundtable of national branches and the board, and electronic voting.   
Mackenzie noted that the R-Projects all get their names from their French titles, the exemplar 
being Répertoire International des Sources Musicales (RISM), founded in Paris in 1952; it is 
currently located in Frankfurt am Main. RISM is intended to be the central repository for 
documentation of sources of manuscripts (or prints) of music and music theory. Forthcoming is 
more material for Series A (pre-1800), some of which will be open access. Series B/1 will soon 
include material for the period 1500 to 1550, with publications on France, Croatia and Italy also 
in preparation.  
Répertoire International de Littérature Musicale (RILM) is the world’s most comprehensive 
music bibliography, with a staff of twenty-five at the international office in New York, and a 
global network of contributors. “RILM Classic” abstracts music literature since 1967 (RILM was 
founded in 1966), while the comparatively new “RILM Retrospective” abstracts the literature 
prior to 1967, notably Festschriften and conference proceedings. Mackenzie detailed the high 
cataloguing standards and search capability of the RILM database. The RILM blog provides news 
and amusing anecdotes.   
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 16 
The Internet’s capacity for displaying images has been a boon to Répertoire International 
d’Iconographie Musicale (RIdIM), founded in 1971 by Joe Jackson. With its emphasis on the 
iconography of performance art, theater, and dance, RIdIM collaborates with institutions such 
as the Metropolitan Museum of Modern Art, Princeton University Art Museum, and the 
Sorbonne, as well as performers such as Ton Koopman. The Getty Thesaurus of Geographic 
Names and the Getty Union List of Artist Names are used to ensure a high-quality standard of 
authority lists. Plans are afoot to expand coverage to China, Iran, Mexico, and Latin America. 
Linked data to relevant sites is another priority, including to the other R-projects. RIdIM is 
funded through private donations; there is no branch in Canada.  
Répertoire international de la presse musicale (RIPM) documents music-related journals from 
the era of C.P.E. Bach (1759) to 1967, the year when RILM’s coverage begins. There are 714,000 
annotations in the RIPM Index (originally published in 300 bound volumes, now an online 
resource), 148 full-text journals in the Online Archive, and 208 journals in the e-Library. RIPM’s 
efforts in recent years have been concentrated in the latter two areas; these efforts have borne 
fruit, as the online reproduction of original broadsheet-style publications like Musical America 
is of striking visual appeal.  
 
 
 
 
 
 


English

International Music Librarianship: IAML & R-Project Sessions at CAML 2014

Thompson, Brian C.

Glistening Pianos –  Music by Alice Ping Yee Ho (CD Review)

  
CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014)  PAGE 5 
CAML Conference 2014 / Congrès de l’ACBM 2014 
 
 
CAML and MusCan (formerly CUMS) will 
be meeting at the Congress of the 
Humanities and Social Sciences at Brock 
University, May 28-30, 2014. 
If you are a CAML member, you should be 
receiving emails from the Congress with 
information about transportation, 
accommodation, and Congress programs. 
This information is also available online 
at http://congress2014.ca. 
You must register for the Congress and for 
CAML; two separate fees are required. If 
you have questions about registration, 
please contact the Congress through the 
website above. 
The CAML 2014 schedule has been posted. 
If you have any questions, please contact 
the organizing committee: 
Program: 
Brian McMillan, chair  
brian.mcmillan@mcgill.ca 
Local arrangements: 
Cheryl Martin, chair  
cmart29@uwo.ca 
We look forward to seeing you at the 
CAML conference! 
 
  
L’ACBM et MusCan (autrefois la SMUC) se 
rencontreront au Congrès annuel des sciences 
humaines qui se tiendra à l’Université Brock du 
28 au 30 mai 2014. 
Si vous êtes membre de l’ACBM, vous devriez 
recevoir des courriels des organisateurs vous 
fournissant des renseignements quant au transport, 
au logement et aux programmes du congrès. Cette 
information est également disponible en ligne à 
l’adresse suivante : http://congres2014.ca. 
Vous devez vous inscrire au congrès de même qu’à 
la rencontre de l’ACBM et payer deux frais 
d’inscription. Pour toute question concernant 
l’inscription, veuillez communiquer avec les 
organisateurs au moyen du site Web mentionné ci-
dessus. 
Le programme provisoire a été affiché. 
Pour toute question, veuillez communiquer avec le 
comité responsable de l’organisation : 
Programme: 
Brian McMillan, président 
brian.mcmillan@mcgill.ca 
Préparatifs sur place: 
Cheryl Martin, présidente 
 cmart29@uwo.ca 
Nous sommes impatients de vous voir au congrès 
de l’ACBM! 
 
 
  
 
 
 
   
       
 


CAML Conference 2014 / Congrès de l’ACBM 2014

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