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)

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Minutes of the 2013 CAML/ACBM Annual General Meeting

Wills, Deborah

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 17 
From Open Access to Sheet Music: Selected Session Reports from 
Congress and CAML 2014 
 
By Deborah Wills1 
 
Congress 2014: Wednesday, May 28, 2014 
Debating Open Access and the Future of Academic Publishing 
 
This event was the second in a series of three debates on copyright and the modern academic 
organized for Congress by Blayne Haggart of Brock University. It brought together Michael 
Geist, Canada Research Chair in Internet and E-Commerce Law at the University of Ottawa, and 
Glenn Rollans, from the Association of Canadian Publishers. They considered the question: 
should open access be the primary publishing model for Canadian academic and research 
publishing? 
Michael Geist discussed the three main areas of academic publishing: journal articles, academic 
monographs and textbooks. For articles, he indicated that we have already reached a tipping 
point in Canada, with more than 50% now published in open access journals. Geist stressed the 
value of open access for articles, including wider dissemination of knowledge and increased 
numbers of citations. He argued that the public pays for much of this research and that 
publishers have not suffered a loss of revenue.   
For scholarly monographs, Geist expects the same shift to take place. Again, public money is 
involved. For example, Wilfrid Laurier University Press receives about $8000 in public money for 
each book published. Textbooks are the most challenging area for open access, though Geist 
argued that student expectations are driving the issue, and many of the materials used for 
courses are already in the public domain. Geist's main point was that authors of academic 
materials write to be read and to contribute to knowledge, rather than for compensation. 
Glenn Rollans agreed with many of Geist's ideas. He expects that the Association of Canadian 
Publishers will not oppose the idea of open access. However, he stressed that there are other 
options. 
                                                          
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. 2 (AUGUST / AOÛT 2014) PAGE 18 
According to Rollans, the basic publishing model, which turns money into books and books into 
money, is disrupted by open access. Publishers add value and quality control through their 
editorial team. They have a responsibility to their audience, and publishers who do not respect 
their audience will be out of business. Publishing is a process: creating the product is just the 
first step in keeping a publication in the public eye. Open access, on the other hand, can 
disempower readers, who should be allowed to vote with their money. In addition, Rollans 
stressed that open access depends on institutional support, and public money can disappear. 
He predicts that increasing page fees will put more pressure on institutions to provide funding. 
The big question for Rollans: where is the money coming from? 
By the end of the debate, it seemed clear that the speakers agreed on many points and saw 
value in both publishing models. They continued to disagree about which should be the primary 
model for Canadian academic materials. 
 
CAML Session C: Thursday, May 29, 2014 
Capturing Culture: Metadata Elements, Descriptive Vocabularies and Authority Control in 
the Design of the McGill Music Library's 19th-century French Sheet Music Database 
 
Andrew Senior (McGill University) described a project to create a database for the nineteenth-
century French sheet music collection acquired by McGill from Library and Archives Canada in 
2007. The collection is composed of nearly 20,000 items, spanning the 1820s to the turn of the 
twentieth century.  With its wide range of genres and art forms, this collection has significant 
research potential for cultural historians, musicologists and librarians. Of particular interest are 
the relationships among publishers, singers and composers which the database will help 
illuminate. 
A local metadata standard has been created with enough granularity to assist research. It 
closely resembles the Sheet Music Consortium Metadata Guidelines and could be mapped to 
that system. Since the authority files provided by the Library of Congress are often lacking for 
this type of music, in-house authority master files have been created. For the iconography and 
cover art, which is of central importance to the collection, there are plans to use the Art & 
Architecture Thesaurus from the Getty Research Institute among other standards. The project 
aims to find a balance between controlled vocabulary and natural language description. Future 
plans include selective digitization. 
  
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 2 (AUGUST / AOÛT 2014) PAGE 19 
Genre of the Moment: Creating a Genre Taxonomy for the19th-century French Sheet Music 
Collection at the Marvin Duchow Music Library, McGill University 
 
Kathleen Hulley (McGill University) described the challenges of determining an appropriate 
taxonomy for her library's French sheet music collection. She stressed the need to draw not 
only on genres specifically mentioned on the works, but to also examine historical documents 
and include additional genres common to the period. The rich variety of genres is an important 
facet of the collection, and the goal is to make genre an access point for information retrieval. 
Since the Library of Congress provides only a limited range of genres for popular music, the 
database creators decided to produce an in-house genre taxonomy. This taxonomy will 
enhance access and allow an historically informed approach to research. Genre can be 
discovered from a variety of sources: the subtitle of a work, marketing materials, reviews, 
memoirs and other historical writings. In the database, genre and sub-genre will be searchable 
by keyword or through a list.  In cases where an item contains contradictory genre information, 
different genres can be attached to a single work. Once the database is complete, it will be 
possible to link genre in a rich variety of ways to other aspects of the collection. 
 
Reinforcing the Front Line: Music Publishing and the War Effort, 1914-1918 
Timothy Neufeldt (University of Toronto) began his presentation with a vivid description of 
front-line warfare told in the words of a soldier. That example, and other excerpts from primary 
sources, set the historical context for a discussion of music publishing in Canada during and 
shortly after the war. The music publishers of the time appealed to the understanding of their 
audience, who used newspapers as their main source of information. At the beginning of the 
war, newspapers were organs of propaganda for encouraging enlistment. Given that purpose, 
song lyrics tended to assume victory with no repercussions for the individuals on the battlefield. 
As the war progressed, front-line soldiers soon experienced a different reality, and the 
disconnect grew between soldiers and those on the home front. In response, publishers 
changed their approach and provided songs depicting war as a perilous cause necessary for 
defending the Empire. These songs acknowledged danger while appealing to the manhood of 
would-be recruits. At the end of the war, the intent of the songs changed once again. Now the 
public was encouraged to buy sheet music to support the returning soldiers. Throughout the 
presentation, Neufeldt quoted from song lyrics to illustrate how publishers marketed the war 
effort by reflecting popular understanding. 
 
 


From Open Access to Sheet Music: Selected Session Reports from Congress and CAML 2014

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER /NOVEMBRE 2014) PAGE 35 
 
Books and CDs Received 
  
A Dictionary for the Modern Singer. By Matthew Hoch. Lanham, MD: Rowman & Littlefield, 
2014. 318 pp. ISBN 978-0-8108-8655-1 (hardcover).  
Franz Schubert and His World. Edited by Christopher H. Gibbs and Morten Solvik. Princeton, NJ: 
Princeton University Press, 2014. 384 pp. ISBN 978-0-6911-6379-6 (hardcover).  
Kitchen Party. Presented by Derek Charke, flute; and Mark Adam, percussion. Works by Bob 
Bauer, Derek Charke, Anthony Genge, Jeff Hennessy, Steven Naylor, Jim O’Leary, and 
John Plant. Centrediscs CD-CMCCD 19814, 2014, compact disc. 
http://www.musiccentre.ca/node/81880. 
So You Want to Sing Music Theater: A Guide for Professionals. By Karen Hall, with contributions 
by Scott McCoy and Wendy LeBorgne. Lanham, MD: Rowman & Littlefield, 2014. 180 pp. 
ISBN 978-0-8108-8838-8 (paperback).  
 
 
 
 
 


Books and CDs Received

Philpott, Lisa Rae

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 21 
My MLA at 20 
 
By Lisa Rae Philpott 
1 
This year’s conference, the 20th consecutive meeting I have had the good fortune to attend, 
attracted just over 400 attendees. As always with such a large and active association, there 
were many concurrent sessions: a challenge for the attendee to make choices. I wished at times 
that I could clone myself! What follows is a glimpse into a few of the sessions I attended. 
Thursday, February 27 
A User-Centered Website Redesign  
In this member-proposed session, Ray Heigemeir (Stanford University) offered a view of the 
home page of Stanford’s Music Library over several incarnations, from 2001 to the present. 
Thanks to the “Wayback Machine,” Heigemeir was able to present images of his library’s home 
pages, many of which looked all too familiar (with images constrained by the 600 x 800 pixel 
resolution of past monitors). One revision simply moved links around the page, with a search 
box in the top right corner, so tiny as to be invisible. Users chose to use Google rather than deal 
with the confusion that was the website. The most recent Stanford-wide website revision was 
designed with user input; the Music Library’s site was the first of Stanford’s libraries to go live 
(2012). Link to slides.  
Friday, February 28 
Alexander Street Press Breakfast 
The Alexander Street Press (ASP) Breakfast-by-invitation was the brainwave of Tim Lloyd, Chief 
Operating Officer at ASP, at the 2010 San Diego conference, where on-site food options were 
few and extremely pricey. This event has remained popular ever since, with attendance at 
capacity. Whether or not they subscribe to any of the Alexander Street Press databases, 
attendees always gain an appreciation for the range and variety of available products. 
Women Representing: Exploring Roles as Scholars and Traditional Music Collectors 
during the 20th Century 
Suzanne Moulton-Gertig (University of Denver) presented her findings on publications by 
women in academic music journals. Examining the membership lists of the American 
                                                          
1
  Lisa Philpott is the Music Reference, Collections, and Instructional Librarian at Western University, in London, 
Ontario. She holds a B.Mus. (Ed.) from Brandon University, and an MLIS from Western. 
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 22 
Musicological Society during the periods 1948 to 1968 and 1969 to 1999, she discovered that 
while women comprised slightly more than 25% of the membership in both periods, their 
publications in the Journal of the American Musicological Society (JAMS) numbered 10% and 
24% respectively. Articles written by women and published in other academic music journals 
showed a similar distribution: from 5% to 10% for the earlier period, and from 10% to 28% for 
the later period. A very few women were “repeat authors” with multiple articles in a single 
journal; no woman had articles in more than one journal. The range of topics remained similar 
to those of the earlier period: American music, women in music/gender studies, 
ethnomusicology and music education/pedagogy. Journal titles examined were JAMS, Musica 
Disciplina, Musical Quarterly, Music & Letters and the Journal of Music Theory. 
In the next presentation, “One Evening as I Strayed: Women Collectors of Irish Traditional 
Music, A Journey through Space, Time, and Sources,” Margaret Ericson (Colby College) spoke 
about her research into this niche area, which proved to be fascinating. During her 2012 visit to 
Ireland she was able to mine that country’s rich resources. Remarkably, at some point in the 
early 20th century, the Irish government had passed a law forbidding or excluding women from 
working as collectors of folksongs; however, children were not excluded, and one precocious 
young girl collected several hundred examples. Some women, though usually not Irish women, 
did manage to become folksong collectors without the governmental recompense; for example, 
Robin Roberts assisted the late Alan Lomax in his collecting activities. (It was good to see 
Canada represented in the presentation by images of several of Helen Creighton’s collections.) 
Regrettably, the technology conspired against the playing of Ericson’s musical examples, but we 
were treated to her lovely rendition of “The Lowlands of Holland,” in lieu of the recording by 
Peg Clancy Power. Link to Ericson’s bibliography.  
Saturday, March 1 
What Not to Wear: MLA Interview Edition  
Misti Shaw (DePauw University), Susannah Cleveland (Bowling Green State University), and 
Mark Puente (Association of Research Libraries) presented entertaining and thoughtful 
suggestions for interviewees. Based on the popular television program of the same name, they 
illustrated the presentation with examples of what does and does not work, and suggested that 
you should dress “one level above what you would normally wear on the job.” Women were 
advised to check Pinterest’s “Alternative Job Interview Attire” site for non-power-suit options; 
men were urged to avoid Dockers brand trousers; “Certain Dri” and prescription antiperspirants 
were recommended to avoid the obvious pitfalls; interviewees were urged to ensure their 
attire fits, and women were encouraged to wear slips underneath their skirts and dresses. 
Handy items for evading disaster include: Tide sticks, hankies, breath mints, “Static Guard,” dry 
shampoo, a small travel umbrella, a scarf to cover stains, a lint roller and a travel emergency kit. 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 23 
Women were encouraged to wear layers, with a cardigan on top. Lastly, potential interviewees 
were urged to “Feel Confident!” Link to slides. Link to handout. 
RDA and Public Services: Library Systems and RDA Implementation for Music 
Presenters: Elizabeth Hille Cribbs (Northern Illinois University), Sonia Archer-Capuzzo 
(University of North Carolina at Greensboro), Patricia Falk (Bowling Green State University) 
Sponsored by MLA’s Bibliographic Control and Public Services Committees, this session 
provided a heads-up for those who need to know how RDA will change our library catalogues. 
Foremost among those changes will be the new policy for abbreviations, most of which will be 
spelled out. In particular, RDA calls for data to be transcribed the way it appears, instead of 
saving space or keystrokes by abbreviating words. So words will only be abbreviated in a 
bibliographic record if that is the way they appear on the item being catalogued. As well, RDA 
replaces non-intuitive abbreviations with terms that are more understandable to users. 
Examples of this user-friendly approach include:  
1st ed. = First edition 
arr. = arranged 
196 p. : ill. ; 30 cm. = 196 pages : illustrations ; 30 cm  
fl. = active  
Abbreviations for music terminology will be retained: op., no., vol., min., sec., SATB, etc. 
Music’s handy, bracketed GMDs—those General Material Designations such as [sound 
recording]—will disappear, but will be replaced by three new fields for indicating content, 
media, and carrier. Another big change for music is that the librettist, rather than the 
composer, will become the “main entry” for a libretto, so Kurt Weill’s Threepenny Opera will be 
found under “Brecht, Bertolt.” 
Stop Reinventing the Wheel: An Online Repository for Music Information Literacy 
Presenters: Andi Beckendorf (Luther College) Sara J. Beutter Manus (Vanderbilt University), 
Clayton Crenshaw (Baylor University), Brian McMillan (McGill University), Nancy Zavac 
(University of Miami) 
In this session, the Instruction Subcommittee of the Public Services Committee proposed the 
creation of an online repository for music-specific information literacy materials. The 
presentation examined the pros and cons of existing repositories, laid out the parameters of 
the subcommittee's proposed repository, and gave a glimpse of a preliminary design. Another 
major purpose of the session was to hear feedback from the audience: lots of time was devoted 
to discussion and all attendees were encouraged to complete a survey at the end of the session 
to guide the subcommittee's next steps in the project.  
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 1 (APRIL / AVRIL 2014) PAGE 24 
The three existing repositories considered were PRIMO, MERLOT II, and LOEX Instruction 
Resources. Each had strengths and weaknesses. PRIMO, an ACRL site, has fewer than 300 items 
which undergo a rigorous peer review process before being added. Unfortunately, it has little 
music-related content and is focused entirely on online resources. By comparison, MERLOT II, 
affiliated with California State University, lists 40,000 items in 19 categories. MERLOT II offers 
much more music content in nine areas (450+ titles) including theory, history, ear training, 
composition, and world music. It also presents a model peer review policy on its website. 
However, MERLOT—like PRIMO—focuses on online learning objects rather than exercises or 
learning strategies. The third database, LOEX Instruction Resources, developed in 2000, seems 
inactive and out of date, with little more than twenty exercises.  
To meet the specific needs of music librarians, the subcommittee recommended a new 
repository. It brought up several topics for discussion. First, what would we expect to find in a 
repository for music information literacy? Discussion was wide-ranging and offered many useful 
suggestions, including in-class exercises, assignments, PowerPoint presentations, class outlines 
and course syllabi, case studies, library guides, lesson plans, assessment tools, and exercises 
using different approaches, such as gaming. Attendees voiced their desire to see failed 
exercises as well as successes, since process is also important. Supporting documents and 
worksheets should be available in the proposed repository, not just descriptions. Next the 
question of peer review was raised. Who could contribute materials and what sort of review 
process would the submissions undergo? General consensus leaned towards some level of peer 
review. Some attendees also hoped for a comments field or open forum in the repository to 
allow users to comment on their success (or failure) with the materials. Other discussion topics 
included the type of platform (an open-journal system was suggested as a means to facilitate 
sharing documents) and the desired metadata to facilitate searching in the repository (e.g., a 
searchable list of equipment and materials needed for a particular exercise was added to other 
metadata suggested by the subcommittee). The final question asked was, "Should we move 
forward with this project?" The answer from the session attendees was a resounding "Yes!” 


My MLA at 20

Martin, Cheryl

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)   PAGE 23 
RISM Canada Report 
 
By Cheryl Martin (RISM Canada Coordinator, Western University)1 
 
The mandate of RISM is to collect and document musical sources. From the RISM web site: 
The International Inventory of Musical Sources - Répertoire International des Sources 
Musicales (RISM) - is a multinational, non-profit joint venture which aims for 
comprehensive documentation of extant musical sources worldwide. These primary 
sources are manuscripts or printed music, writings on music theory, and libretti. They 
are housed in libraries, archives, monasteries, schools and private collections. 
The organization, founded in Paris in 1952, is the largest and only global operation that 
documents written musical sources. RISM records what exists and where it can be 
found. As a result, musical traditions are protected through cataloguing in a 
comprehensive inventory while also being made available to musicologists and 
musicians. Such work is thus not an end in itself, but leads directly to practical 
applications. (http://www.rism.info/en/organisation.html) 
RISM is coordinated by the RISM Zentralredaktion (Central Office) in Frankfurt, Germany 
(http://rism.info). RISM staff coordinate the work of RISM members and provide them with technical 
support and training. While managed by a Coordinating Committee made up of 5-8 RISM members (who 
are in turn members of IAML or IMS), there is also an Advisory Council of RISM members from each 
country that meets at every IAML conference. I represent Canada on the Advisory Council, and am 
presently the only person submitting material on behalf of Canada. 
RISM recently released a new version of its online catalogue which is easier to use and provides more 
search options. The new interface includes features that will make it easier to find musical sources, 
especially those that have been digitized.  
New features include: 
 Search for digitized music 
 Auto-complete in the search boxes 
 Boolean search  
 Incipit input using on-screen piano keyboard 
 Sort results by year, title, or author 
 Clearer attributions 
If you have any feedback about the online catalogue, please let me know. 
                                                            
1  Cheryl Martin is a Metadata Management Librarian at Western University in London, Ontario. She has been 
the RISM Coordinator for Canada for the past three years. 
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)   PAGE 24 
One of the goals of RISM is to increase the amount of material in the database by developing a 
“minimum-level” record that will include enough data to identify the item but may not include extra 
information such as incipits or extensive notes. Another goal is to market the database to music libraries 
and librarians, musicologists, musicians, and other researchers. One of my personal goals for the 
Canadian material is to add a digitized copy to each source in Canada, whenever possible. 
One significant recent change is that RISM will now accept material from all time periods. Previously, 
only pre-1800 material was usually accepted. To celebrate this development, I have catalogued most of 
Western’s Mahler manuscripts for RISM. I am very glad that these resources are now represented in 
RISM, as this may provide more exposure for them and bring researchers to Canada. I will be contacting 
CAML members over the next year to ask what music manuscript material is held in each 
library/archive/museum collection, and to make arrangements to add records for this material to RISM. 
I am also participating in a project to send MARC records from library catalogues directly to RISM, and 
then make any updates needed to comply with RISM standards (such as entering incipits). I hope that 
this will be successful, because it will be much faster than entering all of the data manually and will 
encourage more country groups to submit records to RISM.  
The two record examples included at the end of this report are from the RISM database Kallisto (fig. 1) 
and from the Western Libraries catalogue (fig. 2). There are several differences in the formatting and 
content of the fields and in how the information is displayed. For example, the RISM record (fig. 1) 
includes a detailed listing of the medium of performance and a link to an article about the source (in this 
case, an article by Stephen McClatchie about the Mahler-Rosé Collection at Western). The MARC record 
(fig. 2) will probably look more familiar, with Library of Congress authorities for names and the uniform 
title, and Library of Congress subject headings. The public catalogue view of these records can be seen in 
the RISM and Western Libraries catalogues.  
With Jennifer Ward from RISM, I will be presenting a paper during the RISM session at the IAML 
conference next year. We will talk about how a small RISM committee can contribute to the catalogue, 
and how our pilot project to use MARC records from library catalogues for input into RISM has 
progressed. We hope that this will encourage further submissions to RISM, especially from countries 
with a smaller presence in the catalogue. 
RISM Series C (library sigla and descriptions of libraries and their collections) is being revised; a 
committee is now working on information for libraries in European countries. When they move on to 
North America they will send the records to me, and I will be asking CAML members to look at the 
records for their libraries and make any corrections needed.  
The RISM Coordinating Committee has held useful sessions at IAML conferences and has also provided 
advice on a successor to Kallisto. Various options for a new system were considered, and in the end 
Muscat, the system used by the UK and Swiss working groups, was chosen as a replacement. I do not 
have a timeline for this, but will welcome the implementation of a system that is easier to use. 
If you are interested in RISM, either to contribute records or to become involved in other ways, please 
let me know.
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)   PAGE 25 
 
Figure 1: Example of a record from the RISM database Kallisto 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014)   PAGE 26 
 
Figure 2: The corresponding MARC record from the Western Libraries catalogue 


English

RISM Canada Report

Complete Issue

Rondeau, Sophie

The Sounds inside the Library Walls: An Examination of Three National Library Digital Sound Recording Collections

Beckwith, John

This Awareness of Beauty: The Orchestral and Band Music of Healey Willan (Book Review)

Wagstaff, John

L’errance… Music of Robert Lemay (CD Review)

Not a member yet

Minutes of the 2013 CAML/ACBM Annual General Meeting

From Open Access to Sheet Music: Selected Session Reports from Congress and CAML 2014

Books and CDs Received

My MLA at 20

RISM Canada Report

Complete Issue

Complete Issue

The Sounds inside the Library Walls: An Examination of Three National Library Digital Sound Recording Collections

This Awareness of Beauty: The Orchestral and Band Music of Healey Willan (Book Review)

L’errance… Music of Robert Lemay (CD Review)

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