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)

Martin, Cheryl

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014)  PAGE 3 
President’s Report / Message de la présidente 
 
We had a wonderful conference at Brock 
University in May 2014. The weather was 
sunny and warm, the food was good and 
plentiful, and we met in a lovely room with 
huge windows. Thanks again to Brian 
McMillan, Becky Smith, and Jan Guise for the 
program, and to Joanne Paterson for her 
help with local arrangements. The 
conference would not have run so smoothly 
without the awesome organizing talents of 
our MusCan colleagues, Karin di Bella and 
Matthew Royal from Brock. 
At the Board meeting and AGM, we made 
several decisions which will affect CAML 
members over the coming year, including 
the following: 
 
 We agreed that anyone working as a 
paraprofessional (e.g. library assistants) 
can take advantage of a reduced 
membership rate (the same rate as for 
retired, unwaged and student 
members); this will take effect with the 
2015 membership year. The Board will 
develop a marketing strategy to 
encourage more paraprofessionals to 
join CAML. 
 
 We made the transition to the new 
Corporations Canada rules by filing our 
existing bylaws. One advantage of 
membership in the Federation for the 
Humanities and Social Sciences is that 
their lawyer will look at our bylaws to 
ensure that they meet requirements, 
and Federation staff will file them with 
Corporations Canada. Over the next few 
months Sean Luyk, Cathy Martin, and 
Joanne Paterson will continue to look at 
the existing bylaws to see what changes 
need to be made, and a vote on any 
changes will take place in advance of 
next year’s AGM. Ironically, one of the 
 Notre congrès, qui s’est tenu à l’Université Brock en 
mai 2014, a été très agréable. Il faisait beau et chaud, 
la nourriture était excellente et abondante, et nous 
nous sommes réunis dans une superbe salle aux 
grandes fenêtres. Merci encore une fois à 
Brian McMillan, à Becky Smith et à Janneka Guise de 
s’être occupés du programme, et à Joanne Paterson 
d’avoir veillé aux préparatifs sur place. Le congrès ne 
se serait pas si bien déroulé sans l’organisation hors 
pair de nos collègues de MusCan, Karin Di Bella et 
Matthew Royal, de l’Université Brock.  
Lors de la réunion du conseil d’administration et de 
l’assemblée générale annuelle, nous avons pris 
plusieurs décisions qui toucheront les membres de 
l’ACBM au cours de l’année à venir, y compris les 
suivantes :  
 
 Nous avons convenu que quiconque travaillant 
comme adjoint (p. ex. les assistants de 
bibliothèque) pourrait se prévaloir du droit 
d’adhésion réduit (le même que pour les 
personnes à la retraite, sans emploi ou aux 
études). Cette décision entrera en vigueur lors de 
l’année de cotisation 2015. Le conseil 
d’administration créera une stratégie de 
promotion afin d’encourager plus d’adjoints à se 
joindre à l’ACBM. 
 
 Nous avons fait la transition vers les nouveaux 
règlements de Corporations Canada en 
soumettant nos règlements administratifs 
actuels. Notre adhésion à la Fédération des 
sciences humaines nous permet de faire examiner 
nos règlements administratifs par l’avocat de la 
Fédération pour veiller à ce qu’ils respectent les 
exigences. De plus, les effectifs de la Fédération 
les soumettront à Corporations Canada. Au cours 
des mois qui suivront, Sean Luyk, Cathy Martin et 
Joanne Paterson continueront de se pencher sur 
les règlements administratifs actuels pour 
déterminer si l’on doit y apporter des 
modifications. Tout changement sera passé au 
vote avant l’assemblée générale de l’an prochain. 
 
  
 
 
 
   
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014)  PAGE 4 
things that we’d like to change is to 
allow online voting, but we’ll have to 
have a mail ballot to agree to that 
change. 
 
 Brian McMillan was acclaimed as our 
Vice-President/President-Elect. 
Congratulations to Brian, and we look 
forward to working with you! Those of 
us at Western are also looking forward 
to working with Brian as the new 
Director of the Music Library, beginning 
Sept. 1, 2014. The results of the election 
for Secretary will be announced shortly. 
We had decided to meet with Congress at 
the University of Ottawa next year, and at 
the banquet some CAML members pointed 
out that the IAML conference is scheduled to 
take place in New York City about 3 weeks 
after the CAML conference would take place 
in Ottawa. You will have received a link to a 
survey so that you could let the Board know 
what you thought of holding a full 
conference in Ottawa or just an AGM in New 
York. Thanks to everyone who responded. 
After reviewing the results and considering 
the options, the Board has decided that our 
original decision will stand, and that we will 
meet with Congress at the University of 
Ottawa from June 3-5, 2015. Tim Neufeldt 
has agreed to be Program Chair, and Debra 
Ann Begg will be the lead for local 
arrangements. Thanks to Tim and Debbie for 
taking on these responsibilities!  
After our recent web site crash and some 
other problems, we agreed to move our web 
site from York to another service provider; 
this work is in progress. Stacy Allison-Cassin 
recently resigned as Webmaster, and I’d like 
to thank her on behalf of CAML for taking 
care of our web site for many years. I am 
very pleased to announce that James Mason 
from the University of Toronto has 
volunteered to take on the role of 
Webmaster. Thank you, James! 
Entre autres, nous voudrions faire la transition 
vers le vote électronique, mais comble de l’ironie, 
nous devrons avoir recours au bulletin de vote 
postal pour procéder à ce changement. 
 
 Brian McMillan a été élu par acclamation au 
poste de vice-président et de président désigné. 
Félicitations à Brian! La pensée de collaborer avec 
vous nous enthousiasme! Ceux qui, parmi nous, 
sont à l’Université Western se réjouissent 
également de travailler avec Brian, qui deviendra 
le directeur de la bibliothèque de musique dès le 
1er septembre 2014. Nous annoncerons sous peu 
les résultats des élections pour le poste de 
secrétaire. 
Nous avions décidé de nous rencontrer pendant le 
congrès de l’an prochain, à l’Université d’Ottawa. Or, 
lors du banquet, certains membres de l’ACBM nous 
ont fait remarquer que le congrès de l’AIBM doit 
avoir lieu environ trois semaines plus tard, à 
New York. Vous aurez déjà reçu le lien d’un sondage 
en ligne qui vous permettait d’exprimer votre opinion 
au conseil quant à la tenue d’un congrès à Ottawa ou 
d’une assemblée générale annuelle à New York. Nous 
remercions tous ceux qui y ont participé. Après avoir 
étudié les résultats du sondage et considéré les 
options, le conseil d’administration a convenu de s’en 
tenir à sa décision, à savoir que le Congrès 2015 de 
l’ACBM aura lieu durant le congrès annuel qui se 
déroulera à l’Université d’Ottawa du 3 au 5 juin 2015. 
Tim Neufeldt a accepté d’être le président du 
programme et Debra Ann Begg dirigera le comité 
chargé des préparatifs sur place. Merci à Tim et à 
Debbie d’assumer ces responsabilités! 
Comme notre site Web est récemment tombé en 
panne et a connu divers problèmes, nous avons 
décidé de confier ce service à un autre fournisseur, 
qui n’est pas de York; ce travail est en cours. 
Stacy Allison-Cassin a récemment remis sa démission 
à titre de webmestre, et, au nom de l’ACBM, 
j’aimerais la remercier de s’être occupée de notre site 
Web pendant plusieurs années. Par la même 
occasion, je suis très heureuse de vous annoncer que 
James Mason, de l’Université de Toronto, a accepté 
de la remplacer. Un grand merci à James! 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014)  PAGE 5 
CAML always needs more members to 
become involved in the work of the 
association, such as contributing content to 
the web site and the CAML Review, being an 
advocate for those involved in the 
documentation, preservation, and 
arrangement of music and music collections 
throughout Canada by helping to write 
letters or attending meetings, becoming a 
member of one of our committees (Audit, 
Cataloguing, Program, Local Arrangements), 
participating in the work of the R-Projects 
(RILM, RISM, RIDIM), or standing for election 
to the Board. If you would like to be involved 
but aren’t sure how to start, please contact 
me or another member of the Board and 
we’d be happy to help you! 
IAML will be meeting in New York City in 
June 2015, jointly with IMS (International 
Musicological Society), about three weeks 
after our CAML conference. Please consider 
attending IAML next year, and consider 
presenting a paper or a poster at the 
conference. I have been told that we will be 
able to access the residence facilities of 
Juilliard, where rooms will be about $125 
per night, a significant savings over the 
average price of hotel rooms in New York. To 
keep up to date with IAML conference 
planning and the call for papers and posters, 
you can join the IAML mailing list if you 
haven’t done so; instructions can be found 
at http://www.iaml.info/publications/iaml-l.   
I hope to see you at both conferences! 
 
Cheryl Martin 
Western University 
cmart29@uwo.ca 
L’ACBM a un besoin continuel de membres qui 
s’impliquent dans le fonctionnement de 
l’association : fournir du contenu pour le site Web et 
la Revue de l’ACBM; se faire le porte-parole des 
personnes responsables de la documentation, de la 
préservation et de l’arrangement de la musique, ainsi 
que des collections de musique partout au Canada, 
en écrivant des lettres ou en assistant à des réunions; 
devenir membre de l’un de nos comités (vérification, 
catalogage, programme, préparatifs sur place); 
participer aux projets R (RILM, RISM et RIdIM) ou se 
présenter comme candidat aux élections du conseil. 
Si vous aimeriez vous engager, mais que vous ignorez 
par où commencer, veuillez communiquer avec moi 
ou un autre membre du conseil. Nous serons heureux 
de vous aider! 
L’AIBM se réunira à New York en juin 2015, avec la 
SIM (Société internationale de musicologie), environ 
trois semaines après le congrès de l’ACBM. Veuillez 
envisager la possibilité de vous rendre au congrès de 
l’AIBM l’an prochain et d’y présenter un exposé ou 
une affiche. On m’a dit que nous aurons accès aux 
résidences de la Juilliard School et qu’une chambre 
coûtera environ 125 $ la nuitée, un rabais 
considérable si l’on compare ce prix à celui d’une 
chambre d’hôtel moyenne de New York. Pour vous 
garder à jour relativement à la planification du 
congrès de l’AIBM, ainsi qu’au courant des demandes 
d’exposés et d’affiches, vous pouvez vous inscrire à la 
liste d’envoi, si ce n’est déjà fait. Vous trouverez les 
instructions en ligne (en anglais seulement) à 
l’adresse suivante : http://www.iaml.info/ 
publications/iaml-l. J’espère vous voir à ces deux 
congrès! 
 
Cheryl Martin 
Université Western 
cmart29@uwo.ca 
 
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
       
 


President’s Report / Message de la présidente

Behzadi, Houman

Music Library Association 2014 Conference: First-Time Attendee Report and Impressions

Stephen, J. Drew

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 36 
Canadian Contemporary Music in the Twenty-First Century:  
A Review of Four Recordings 
 
Gravity and Grace: Music of Allan Gordon Bell. Land’s End Chamber Ensemble with James 
Campbell, clarinet. Toronto: Centrediscs CMCCD 19013, 2013. 1 compact disc (75:40). Contents: 
Field Notes (16:36) – Phénomènes (12:10) – Sweetgrass (27:34) – Trails of Gravity and Grace 
(19:20). 
I Am in Need of Music: Songs on Poems by Elizabeth Bishop. Suzie LeBlanc, soprano; with 
various performers and ensembles. Toronto: Centrediscs CMCCD 19413, 2013. 1 compact disc 
(66:14) + 1 DVD (36:00). Contents: Silken Water: The Elizabeth Bishop Suite / Alasdair MacLean 
(11:55) – Sunday, 4 A.M. / John Plant (15:06) – Sandpiper / John Plant (7:17) – A Short, Slow Life 
/ Emily Doolittle (9:14) – Four Songs / Christos Hatzis (22:42). 
War of Angels: The Orchestral Music of T. Patrick Carrabré. Winnipeg Symphony Orchestra; 
with various conductors. Toronto: Centrediscs CMCCD 18513, 2013. 1 compact disc (62:13). 
Contents Contents: Inuit Games (8:22) – Symphony No. 1, “The War of Angels” (26:48) – 
Symphony No. 3 (17:07) – The Dragon’s Tail (9:46). 
Woman Runs With Wolves. Beverley Johnston, percussion; with various performers. Toronto: 
Centrediscs CMCCD 18913, 2013. 1 compact disc (63:01). Contents: Arctic Dreams / Christos 
Hatzis (6:41) – Rant! / Tim Brady (9:10) – Grieving the Doubts of Angels / Micheline Roi (11:57) 
– In the Fire of Conflict: I. Rescue Me / Christos Hatzis (6:05) – In the Fire of Conflict: II. Call Your 
Name / Christos Hatzis (4:02) – Woman Runs With Wolves / Alice Ping Yee Ho (14:12) – Summit 
/ David Occhipinti (1:55) – Up and Down Dubstep / Laura Silberberg (8:59). 
 
Writing in 2010, Heather Mac Donald argued that we live in a golden age of classical music. 
“Never before,” she notes, “has so much great music been available to so many people, 
performed at levels of artistry that would have astounded Berlioz and his peers.” She adds that 
“more people listen to classical music today, and more money gets spent on producing and 
disseminating it, than ever before.”1 This does not deny the daunting challenges faced by arts 
organizations in the second decade of the twenty-first century. The ease of repetition enabled 
by recorded technology puts an enormous strain on the excessively limited canon. The fight for 
audiences forces institutions to adopt adventurous approaches to programming that are both 
varied and inclusive. Finally, although we can celebrate that the wages of orchestral musicians 
today are much higher than they were for their nineteenth-century counterparts, it has become 
                                                          
 1. Heather Mac Donald, “Classical Music’s New Golden Age,” City Journal 20 (Summer, 2010), 
http://www.city-journal.org/2010/20_3_urb-classical-music.html.  
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 37 
prohibitive to use the orchestral forces that were summoned by Mahler and Bruckner as a 
matter of course. 
If the situation is difficult for performances and recordings of a standard repertoire established 
and celebrated by the canon-revering twentieth century, it is even more so for contemporary 
classical music. In this case, there is the added weight of being forced to compete with the 
music of the past to an extent that is unimaginable at any other time in history. There is also 
the challenge of overcoming perceptions that have stigmatized modern music as unlistenable, 
inaccessible, and incomprehensible. In order to succeed, contemporary classical music must 
regain a sense of purpose, relevance, and legitimacy. As Colin Eatock has suggested, “the goal 
should be to bring classical music back into the everyday lives of everyday people.”2 
Despite the challenges facing the classical music industry today there is promising potential in 
contemporary music. Clearly the greatest opportunity arises from adding fresh alternatives to 
the limited canon of done-to-death masterpieces. Of course for this to happen, the music must 
embody the values of the contemporary world to address social and cultural concerns that are 
relevant and meaningful to twenty-first-century listeners. This could include music of both local 
and global significance and acknowledge the vast number of styles familiar to today’s listeners, 
ranging from popular music to contemporary techniques to elements from the music of various 
cultures around the world. In contrast to the music of the past, which is often criticized as 
remote and inaccessible, contemporary music can emphasize a direct and vibrant connection 
among composer, performer, and audience. In many cases, the composer is aware of, and 
writes to, the strengths of the musicians and the situations in which the music will be heard. 
The performers, in return, often have a personal connection to the composer that allows them 
to interpret or present the music in a way that animates it for the audience. Finally, current 
technology and media offer new ways to present and market this music so that it can have a 
stronger impact on its audience. 
By reviewing as a group this collection of four different and unrelated compact disc recordings 
of contemporary Canadian music, I am seizing an opportunity to assess the ways these specific 
ensembles, individual performers, and composers navigate the challenges of presenting 
contemporary classical music in the twenty-first century. Together these four discs present 
twenty compositions written between 1996 and 2012 by twelve different composers. Although 
the repertoire encompasses an assortment of styles presented in music ranging from solo 
performer to chamber ensembles to large orchestra, there is a remarkable consistency in the 
ways all four recordings reach out to audiences through innovative programing; by establishing 
connections among the composers, performers, and listeners; in the high level of the 
                                                          
 2. Colin Eatock, “What’s Wrong with Classical Music?” 3 Quarks Daily (Monday, October 4, 2010), 
http://www.3quarksdaily.com/3quarksdaily/2010/10/whats-wrong-with-classical-music.html. 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 38 
performances; and through strategies of advocacy and promotion. The four discs also reveal 
two basic approaches common in contemporary music. The first, as demonstrated in War of 
Angels and Gravity and Grace, is a composer-centred approach in which all the pieces on the 
disc are by a single composer. The second, as demonstrated in I Am in Need of Music and 
Woman Runs with Wolves, is a performer-centred approach in which a single performer or 
ensemble assembles or, in many cases, commissions or inspires, a group of works by different 
composers.  
Of the two composer-centred recordings under consideration here, War of Angels, in its 
presentation of symphonic works by a single composer, T. Patrick Carrabré, would seem to align 
closest to conventional approaches. Yet even in this familiar format there are differences. The 
four works were recorded by the Winnipeg Symphony Orchestra, an ensemble that has 
embraced the concept of playing the music of living composers through the internationally 
recognized New Music Festival. The orchestra is familiar with Carrabré who was for six years 
composer-in-residence and co-curator of the festival, and this relationship is apparent in the 
music. Carrabré writes to the strengths of the orchestra, which performs his music with vigour 
and sensitivity. The issue of the higher costs associated with recording four different pieces for 
large orchestra seem to have been minimized by using CBC recordings made between 1997 and 
2004: one suspects that the recordings were made at the time of the initial public 
performances so that a single preparation served for the concert performance, the commercial 
recording, and possibly also radio broadcasts. Carrabré writes mainly for conventional forces in 
a way that is novel yet accessible. Regardless of whether Carrabré is attaching an extra-musical 
concept to his music, the pieces appear to follow a dramatic narrative. The vivid, dark 
harmonies, repressed intensity, driving rhythms, and an emphasis on percussion that can be 
found throughout these pieces makes the music strongly compelling. Although the symphonic 
works conform closely to traditional models of the programmatic symphony and tone poem, 
Inuit Games is a wonderful cross-cultural project for Inuit throat singers and orchestra that was 
commissioned for a concert featuring the Inuit singer-songwriter, Susan Aglukark. Carrabré’s 
understanding of his audience is apparent in the CD liner notes. He is able to relate his ideas 
behind the compositions in a way that is personable and engaging. 
The potential to achieve a close relationship between composer and performer is even stronger 
in chamber music, and this potential is realized beautifully in Gravity and Grace. The musicians 
of Land’s End Chamber Ensemble have been friends and collaborators with composer Allan 
Gordon Bell since the 1980s, and they clearly admire his work and share in his vision. The CD 
project was initiated by the ensemble to celebrate Bell’s sixtieth birthday in the hope that it 
would generate a wider audience for his work. Bell, for his part, contributed Field Notes, a new 
work for clarinetist James Campbell and Land’s End that was commissioned specially for the 
recording. Field Notes ultimately was awarded a Juno Award for Best Classical Composition in 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 39 
2014. The attachment the Land’s End musicians feel for Bell’s music is immediately apparent. 
Bell writes with a profound spiritual quality that is deeply grounded in the landscapes and 
geological features of western Canada and extends to the elements and inhabitants of this 
region as well. The compositions on this recording express Bell’s ideals in a variety of ways. He 
references specific locations of the prairie landscape, evokes the songs of prairie denizens such 
as coyotes and birds, traces the graceful flight of prairie falcons, and touches on the Indigenous 
rituals surrounding the sweetgrass that grows wild in the region. The one slight departure 
occurs in Phénomènes in which Bell responds to the elemental imagery and raw energy of the 
paintings of Canadian artist Paterson Ewen rather than to nature and landscape directly.  
Whereas composer-centred recordings achieve a natural coherence by presenting the music of 
a single composer, many performer-centred recordings accomplish this by finding a common 
theme to unify the compositions. This is apparent even in a recording as strikingly diverse as 
Woman Runs with Wolves. In this case, all of the compositions were either written for 
percussionist Beverley Johnston or reworked for her from pre-existing pieces, and they are all 
meaningful to her in some way. As she points out in the liner notes, “all [of] the works 
represent, in some form, the dichotomy in life between chaos and order, destruction and 
creation, nature and civilization.” The pieces on Woman Runs with Wolves embrace popular 
music and popular culture by presenting a kaleidoscope of eclectic styles ranging from edgy 
dubstep, rap, and sampled material to Inuit throat singing and one of Rick Mercer’s legendary 
rants. There is also an acknowledgment of a paradox that exists in classical music today: 
although classical music is mostly written for concert performance, it is very often heard and 
disseminated in a recorded format. Johnston exploits this feature by using the recording 
process to add overdubs, incorporate a large array of percussion instruments, make use of her 
singing and speaking voice, and feature several pieces that incorporate audio playback.  
The final disc under consideration, I Am in Need of Music, is part of a project that drew together 
performers, composers, and audiences around the central figure of the Pulitzer-prize winning 
poet, Elizabeth Bishop. The project began with soprano Suzie LeBlanc’s discovery of a leaflet 
about Bishop at the church in Great Village, Nova Scotia, that was located across the street 
from the house in which Bishop grew up. This led to the idea of celebrating Bishop’s centenary 
in 2011 with new settings of her poetry by Canadian composers. The idea was imbued with a 
strong sense of local and historical significance and it clearly spoke strongly to the four 
composers who contributed moving and sensitive settings of Bishop’s poetry. All of the 
compositions are written in modern yet accessible styles, but this is especially apparent in the 
songs by Christos Hatzis which draw their inspiration from big-band era pop songs, folk and pop 
idioms of the sixties, the waltzes of Richard and Johann Strauss, and Broadway musicals. What 
is most impressive is the extent to which the organizers were able to foster an interest in new 
music and bring it to a wider audience. Bishop’s centenary became a cultural event with the 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 40 
creation of new works, a concert with Symphony Nova Scotia entitled Elizabeth Bishop in Words 
& Music that featured the new compositions along with video projections, and the CD recording 
of the music. The CD package also includes a bonus DVD, Walking with EB. On it, LeBlanc and 
filmmaker Linda Rae Dornan retrace Bishop’s 1932 walk across the Avalon Peninsula in 
Newfoundland and document their own experiences of the landscape and their connections to 
Bishop and her poetry. Although only thirty-six minutes in length, the film brings Bishop and her 
world vividly to life and provides valuable insights into, and perspectives on, the music 
contained on the CD. 
Overall these four recordings demonstrate a strong passion for new music among composers 
and performers. The performers advocate new music through commissions or events such as 
the Elizabeth Bishop project and bring it to listeners in engaging formats such as Winnipeg’s 
New Music Festival. Beverley Johnston has an impressive history of commissioning and 
performing new music and Land’s End was created to explore the boundaries of contemporary 
music which they foster not only in their concert series but also in an annual competition for 
emerging composers in western Canada. The dedication to the music is also apparent in the 
performances. The performers clearly care deeply about this music and are heavily invested in 
bringing it alive for the audiences. This is also music that we, as listeners, should care about. 
This is music that addresses social issues and concerns, has local and historical significance, and 
is presented using musical styles and compositional approaches that are meaningful to today’s 
listener. Based on the evidence on these recordings, Canadian contemporary music is thriving.  
 
J. Drew Stephen 
University of Texas at San Antonio 
 


Canadian Contemporary Music in the Twenty-First Century:  A Review of Four Recordings

Maloney, Timothy

The Lethbridge Sessions – The Rubbing Stone Ensemble (CD Review)

 
CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)  PAGE 3 
President’s Report / Message de la présidente 
 
 
Greetings, CAML Members! 
I hope that this finds you all well, and 
ready to face the challenges of winter! I 
am already looking forward to June 
2015, when we will hold a CAML 
conference in Ottawa and you will also 
have the opportunity to attend the 
IAML/IMS joint conference in New York 
City. IAML conferences are often in 
Europe or even further away, so I hope 
that you will take the opportunity to 
attend. The Board agreed to fund two 
awards to cover registration for IAML; 
more information about these will be 
announced soon.  
The CAML Board met in the first week of 
November. Cathy Martin, Sean Luyk, and 
Joanne Paterson continue to work on 
some changes to the constitution, most 
significantly to allow online voting. Any 
changes require a vote of the 
membership before the next AGM, so 
you will be hearing more from them 
soon. At this year’s AGM, we passed a 
motion to extend a reduced membership 
rate to paraprofessionals; this will be 
effective as of the 2015 membership 
year. Kyla Jemison and I will work on 
messages to be sent to prospective new 
members. CAML’s new webmaster, 
James Mason, has been working on the 
new web site, and you should see a new 
and bilingual site in the near future. The 
Board also agreed that CAML will sign 
the Lyon Declaration 
(http://www.lyondeclaration.org), to 
request the Member States of the United 
  
Bonjour à tous les membres de l’ACBM! 
J’espère que vous vous portez bien et que vous 
êtes prêts à affronter les rigueurs de l’hiver! 
J’attends moi-même avec impatience l’arrivée du 
mois de juin 2015, durant lequel le congrès de 
l’ACBM se tiendra à Ottawa. Au cours de ce même 
mois, vous aurez également l’occasion d’assister 
au congrès conjoint de l’AIBM et de la SIM à 
New York. Les congrès de l’AIBM se déroulent 
souvent en Europe et plus loin encore; j’espère 
donc que vous saisirez la chance de participer à 
celui-ci. Le conseil d’administration a approuvé la 
remise de deux prix couvrant les frais d’inscription 
au congrès de l’AIBM. Nous vous ferons parvenir 
plus de renseignements à ce sujet sous peu.  
Le conseil d’administration de l’ACBM s’est réuni 
pendant la première semaine de novembre. 
Cathy Martin, Sean Luyk et Joanne Paterson 
continuent de travailler aux changements à 
apporter à la constitution, dont le plus important 
concerne la possibilité de voter en ligne. Tout 
changement exige un tour de scrutin des 
membres avant la prochaine AGA; les personnes 
nommées ci-dessus communiqueront donc 
bientôt avec vous. Lors de l’AGA de cette année, 
nous avons accepté une proposition visant à 
prolonger l’offre d’un droit d’adhésion réduit aux 
assistants de bibliothèque. Ce taux sera en 
vigueur à compter de l'année de cotisation 2015. 
Kyla Jemison et moi sommes responsables de 
rédiger les messages à envoyer aux membres 
potentiels. Le nouveau webmestre de l’ACBM, 
James Mason, s’est affairé au nouveau site Web; 
dans un avenir rapproché, notre site devrait avoir 
fait peau neuve et être bilingue. Le conseil 
d’administration a également approuvé la 
signature de la Déclaration de Lyon 
 
  
 
 
 
   
 
CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)  PAGE 4 
Nations to make an international 
commitment to ensure that everyone 
has access to, and is able to understand, 
use, and share the information that is 
necessary to promote sustainable 
development and democratic societies. 
Planning for the 2015 CAML Conference 
is going well. Debbie Begg and her team 
are well into the local arrangements 
planning, and Tim Neufeldt will be 
sending a call for presentations very 
soon. The conference will be held June 4-
5, with an opening reception/concert 
tentatively planned for the evening of 
June 3. Please consider attending the 
conference and making a proposal for a 
presentation, especially if you have not 
presented before. Other library science 
associations will be holding their 
conferences at Congress at the same 
time, and the Canadian Library 
Association will also be meeting in 
Ottawa that week. There will be many 
librarians in Ottawa, and papers and 
presentations to appeal to just about 
everyone. Tim will also send information 
about a CAML first-time presenter’s 
award, which is being administered by 
the Program Committee with assistance 
from Cathy Martin. 
I was recently appointed to the IAML 
Membership Committee. The charge of 
this committee is  to increase and 
diversify IAML's membership by reaching 
out to individuals and institutions 
associated with music in libraries, 
archives or documentation centres, 
particularly in regions currently under-
represented in the Association; to 
identify and promote the value of 
membership in the Association; and to 
encourage the active engagement of all 
(http://www.lyondeclaration.org/content/pages/l
yon-declaration-fr.pdf), selon laquelle nous 
sollicitons les États membres des Nations Unies à 
s’engager, sur le plan international, à veiller à ce 
que chacun ait accès à l’information nécessaire à 
la promotion du développement durable et de 
sociétés démocratiques, et qu’il soit en mesure de 
la comprendre, de l’utiliser et de la partager.  
La planification du congrès 2015 va bon train. 
Debbie Begg et son équipe ont déjà planifié de 
nombreux préparatifs sur place, et Tim Neufeldt 
vous invitera sous peu à lui faire parvenir vos 
demandes d’exposés. Le congrès se déroulera 
les 4 et 5 juin; une réception et un concert 
inauguraux auront vraisemblablement lieu 
le 3 juin, en soirée. Veuillez envisager la possibilité 
d’assister au congrès et d’y présenter un exposé, 
surtout si vous ne l’avez jamais fait auparavant. 
D’autres associations bibliothéconomiques 
tiendront leur congrès au même endroit et en 
même temps que le nôtre, et l’Association 
canadienne des bibliothèques se réunira aussi à 
Ottawa au cours de cette semaine-là. De 
nombreux bibliothécaires seront présents 
simultanément à Ottawa; il y a aura des exposés 
et des présentations pour tous les goûts. Tim 
enverra aussi bientôt des renseignements portant 
sur le Prix décerné à un participant faisant un 
exposé pour la première fois au Congrès de 
l’ACBM, que le comité responsable du programme 
administre avec l’aide de Cathy Martin. 
On m’a récemment nommée membre du comité 
d’adhésion de l’AIBM, dont les objectifs sont les 
suivants :  
• accroître le nombre des membres de l’AIBM 
et les diversifier en invitant à s’y joindre des 
personnes et des établissements associés au 
volet musique des bibliothèques, des archives 
et des centres de documentation, en 
particulier dans les régions où l’association 
est peu représentée;  
 
CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)  PAGE 5 
members. The work of this committee 
should help us in similar activities within 
CAML, so it should be a valuable 
experience. The chair is Jim Cassaro from 
the University of Pittsburgh. Bonnie 
Woelk from the University of Calgary is 
also a member, and Bonnie and I will 
provide updates as our work progresses. 
Since this will be my last President’s 
Report before we hold CAML elections, 
I’d like to remind you that the 
Nominations Officer will be asking for 
nominations for the position of Member 
at Large early next year. Please consider 
nominating yourself or another CAML 
member for this position. 
It’s difficult for me to believe that my 
time as CAML President will be over in 
about eight months, and that I have only 
one President’s report left to write after 
this one!  
With best wishes for the holiday season 
and for 2015, 
Cheryl Martin 
Western University 
cmart29@uwo.ca  
• définir et promouvoir les avantages de 
l’adhésion à l’association;  
• encourager tous les membres à s’y engager 
avec dynamisme.  
Puisque le travail de ce comité devrait aider 
l’ACBM dans le cadre d’activités semblables, mon 
expérience devrait par conséquent être 
enrichissante. Jim Cassaro, de la University of 
Pittsburgh, en est le président. Étant donné que 
Bonnie Woelk, de l’Université de Calgary, en est 
également membre, nous vous tiendrons au 
courant de la progression des travaux. 
Puisqu’il s’agit du dernier Message de la 
présidente avant les élections de l’ACBM, 
j’aimerais vous rappeler que le responsable des 
mises en candidature vous demandera de lui faire 
parvenir vos mises en candidature pour le poste 
de conseiller dès le début de l’année 2015. 
Veuillez envisager la possibilité de poser votre 
propre candidature ou de recommander un autre 
membre pour ce poste.  
J’ai peine à croire que, dans environ huit mois, 
mon mandat de présidente sera échu et que je 
n’ai plus qu’un seul Message de la présidente à 
rédiger d’ici là! 
Tous mes meilleurs vœux pour la période des 
Fêtes, ainsi que la nouvelle année, 
 
Cheryl Martin 
Université Western 
cmart29@uwo.ca 
 
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
       
 


French

Jurkowski, Edward

The Ashgate Research Companion to Minimalist and Postminimalist Music (Book Review)

Desmeules, Robin

Looking Back – Mike Murley Trio (CD Review)

Hahn, Michelle

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 17 
Audio Preservation and Digitization on a Shoestring:  
Session Report (MLA 2014) 
 
By Michelle Hahn  
 
Since universities and other institutions across the country continue to suffer from tight 
budgets and waning funding for preservation and digitization, projects “on a shoestring” are 
becoming the standard, and are expected by administrators. This presentation focused on a 
particular digitization project at the Westminster Choir College at Rider University. 
One of the most pertinent concepts to take away is that “shoestring” means different things to 
different institutions, and the biggest challenge is determining how much one can do with their 
own shoestring. Amy Kimura and Kenneth Kauffman of Westminster Choir College took on that 
challenge in an effort to preserve a collection of audio recordings with a connection to the 
institution. This included commercial recordings by persons linked to Westminster in some way, 
recordings of events that have taken place at the college, and broadcasts made by 
Westminster, from 1925 to the present in multiple recording formats.  
Beginning with a National Endowment for the Humanities (NEH) Preservation Assistance grant, 
Kimura and Kauffman developed a plan for assessing the collection’s condition and 
preservation needs. The grant, which is intended for smaller institutions, encourages activities 
that will “improve their ability to preserve and care for their significant humanities 
collections.”1 Such activities may include collection assessment, consultations with 
conservation experts, and training for staff. Kimura and Kauffman also sought guidance from 
organizations and institutions with extensive knowledge and experience in audio collections 
and preservation, such as the Association for Recorded Sound Collections (ARSC), the Indiana 
University Media Preservation Initiative, the International Association of Sound and Audiovisual 
Archives Technical Committee (IASA), and the Federal Agencies Digitization Guidelines Initiative 
(FADGI). 
                                                          
  Michelle Hahn is the Music Catalog Librarian at Southern Methodist University. She has a B.Mus. from Ohio 
University and an MLS from Indiana University. 
 
1. “Preservation Assistance Grants for Smaller Institutions,” National Endowment for the Humanities, 
accessed April 25, 2014, http://www.neh.gov/grants/preservation/preservation-assistance-grants-smaller-
institutions. 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 18 
In assessing the collection under the auspices of the NEH grant, the folks at Westminster were 
aiming for an estimated cost of reformatting and preserving the materials, restricted to the cost 
of digitization itself, with the associated metadata and access copies. They did not attempt to 
determine the cost at that time for physical storage of the materials before, during, or after 
digitization. Also not included were detailed estimates for “enterprise-class” digital storage or 
remote access to the digitized files. The remainder of the grant funds after the assessment and 
digitization were used to provide training on how to handle each of the formats and on the 
various issues associated with them. 
They first conducted an inventory of the collection, which had been subjected to a wide variety 
of storage conditions over the course of many years. The inventory provided for a concurrent 
survey of the condition of each item, and facilitated the prioritization of materials with the 
greatest need for rescue efforts. Kimura and Kauffman also found some materials that they 
could eliminate from the collection, including course compilations or study aides, as well as 
access copies on old formats, made from even older formats—a sort of ancestor of the current 
project. They found more than 800 reel-to-reel tapes, 500-1000 cassette tapes (this inventory is 
still ongoing), LPs, 78s, glass discs, and DAT tapes. As a result, they were able to separate out 
the formats most likely to need preservation; tape formats are in danger and DAT tapes are 
already obsolete, while discs are fairly stable. These efforts also highlighted common problems 
within the collection, such as reused tape with little or no information about the content, 
multiple types of tape stored on a single reel, and scraps of recorded paper tape used as leader 
for magnetic tape unbeknownst to the person who spliced it so long ago. 
After carrying out the initial condition survey for reel-to-reel tapes, Westminster staff began 
digitizing the highest priority items according to IASA standards. The digital copies are stored as 
lossless files for preservation and as lossy files for access on hard drives and for redundancy 
purposes on external servers. On average, it has taken five to six hours of labour to produce 
one hour of digitized audio: 220 hours of audio have been completed. Access to the files is 
available through streaming from their local implementation of CONTENTdm, which though not 
ideal for audio, is at least a decent place to store the files until funding and support for a more 
robust system is available. They are making do with what they have until they can figure out 
how to create what they need. 
The presentation slides including images of examples from the collection, specifications for 
hardware, and previews of the collection in CONTENTdm are available from the Music Library 
Association’s 2014 conference website. 
 


English

Audio Preservation and Digitization on a Shoestring:  Session Report (MLA 2014)

Keillor, Elaine

Cobalt – Music of Jocelyn Morlock (CD Review)

Doi, Carolyn

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 23 
The White Sheet Music Collection and the International Music Score 
Library Project: Session F Report from CAML 2014 
 
By Carolyn Doi1 
 
CAML Session F: Friday, May 30, 2014 
Oil Shows, Rodeos, and UFOs: The Walder G.W. White Sheet Music Collection 
Sean Luyk (University of Alberta) spoke about the Walder G.W. White Sheet Music Collection, 
which was donated to the University of Alberta Library in 2011. The collection is currently being 
described, digitized, and made available online. The presentation focused on the history of the 
collection, its contents, and its significance for Canadian music history research.  Luyk also 
spoke about metadata collection and challenges on behalf of co-author Colette Leung 
(University of Alberta), who was not in attendance.  
The White Collection contains more than 6000 items, published from 1840 to 1970, and 
includes pieces from Canada, the US, UK, and Europe. Of particular interest are the pieces from 
Canada’s Prairies, with covers and lyrics depicting typical local scenes. Luyk highlighted several 
examples of local life and industry, including “Calgary Square Dance,” “The Calgary Kid’s 
Stampede of Songs,” and “The Desk and Derrick Song.”  
The process of creating metadata for the collection and providing access was facilitated through 
the Sheet Music Consortium (SMC). Using the SMC metadata guidelines, the collection is being 
described using an Excel template with 32 fields. Special vocabularies and standards such as the 
Library of Congress vocabularies, AACR2, Candidate Music Genre/Form Terms, and Canadiana 
Authorities are consulted during the process. The SMC provides a metadata mapping tool to 
translate the Excel file to XML, after which the records are added to the repository and made 
available online. As of May 2014, metadata from 4200 items in the White Collection have been 
uploaded to the Sheet Music Consortium. Select item records and digitized covers have also 
been included in Peel’s Prairie Provinces, an online bibliography of materials related to the 
settlement and development of the Canadian West. Future plans for this collection include a 
larger scale digitization project, which will also be made available online. 
 
                                                          
1
  Carolyn Doi is the Music & Education Liaison Librarian at the University of Saskatchewan Library. 
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 24 
IMSLP: Perspectives from a User and a Contributor 
Deborah Wills (Wilfrid Laurier University) and Homer Seywerd (Dundas Valley Orchestra) 
presented a session on the history, usage, and current status of the International Music Score 
Library Project (IMSLP). Wills began with an overview of the project from the perspective of a 
site user. While IMSLP is known for its large collection of downloadable scores in the Petrucci 
Music Library, the project also includes an active discussion forum and a growing number of 
musical recordings. Due to a 2011 merger with the Werner Icking Music Archive, the size of the 
Petrucci Music Library has grown significantly in recent years, resulting in more than 300,000 
daily downloads from the site. Wills noted that IMSLP has instituted guidelines to maintain the 
quality of the available scores, including typesetting requirements and image improvements for 
accuracy and readability. Users will find it easy to locate works either through the browsing 
feature or through the keyword search function.  
Seywerd went on to speak about IMSLP from the perspective of a site contributor and 
volunteer. Volunteers are always welcome to participate in the online community in a number 
of ways: by adding works, adding and editing metadata, participating in forums or acting as 
administrators for copyright review. Many contributors are involved in projects to transfer 
works from other institutional repositories or to upload scanned copies from personal or local 
libraries. Composers are also encouraged to upload their own compositions using one of the 
Creative Commons licenses. New volunteers will find that the MediaWiki platform is easy to 
navigate and tutorials and forums are available to assist with troubleshooting or questions. 
The session concluded on the topic of copyright adherence within the current iteration of 
IMSLP, which now includes a distributed server system and improved copyright disclaimer. 
When users attempt to download a score they are automatically redirected to a server located 
in a country where the work is in the public domain or has been released under a Creative 
Commons License. A new regional server, Petrucci Music Library – Canada, was launched in July 
2013 and is intended for works where copyright lasts 50 years from the death of the author. 
Discussion on the topic of copyright in relation to IMSLP’s activities is well documented in the 
site’s forums. 
 
 
 


The White Sheet Music Collection and the International Music Score Library Project: Session F Report from CAML 2014

Not a member yet

President’s Report / Message de la présidente

Music Library Association 2014 Conference: First-Time Attendee Report and Impressions

Canadian Contemporary Music in the Twenty-First Century: A Review of Four Recordings

The Lethbridge Sessions – The Rubbing Stone Ensemble (CD Review)

President’s Report / Message de la présidente

The Ashgate Research Companion to Minimalist and Postminimalist Music (Book Review)

Looking Back – Mike Murley Trio (CD Review)

Audio Preservation and Digitization on a Shoestring: Session Report (MLA 2014)

Cobalt – Music of Jocelyn Morlock (CD Review)

The White Sheet Music Collection and the International Music Score Library Project: Session F Report from CAML 2014

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