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)

Behzadi, Houman

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 21 
Section québécoise de l'ACBM / Quebec Chapter of CAML:  
2014 Annual Meeting Report 
 
By Houman Behzadi1  
 
 
The 2014 annual meeting of the Section québécoise de l'ACBM (SQACBM) / Quebec Chapter of 
CAML (QCCAML) took place on Friday, 31 October at the library of Université Laval. This was the 
first gathering of QCCAML members since the 2012 meeting that was held at the Grande 
Bibliothèque of Montreal. Due to logistical difficulties, the organizing committee had decided to 
either postpone the fall 2013 meeting to the following spring, or hold one meeting for both 
2013 and 2014. A survey soliciting chapter members’ preferences regarding the date and 
location of the meeting was sent out and after careful examination of all responses, the 
organizing committee decided to hold one meeting only. Choosing Quebec City as this year’s 
location attracted a number of new members who had not been able to participate in the 
Montreal meetings.  
This year’s meeting was unique in that it included a training component. Daniel Paradis from 
Bibliothèque et Archives nationales du Québec (BAnQ) gave a three-hour workshop on 
cataloguing audio recordings in RDA. The session was designed for cataloguers with prior 
knowledge of cataloguing audio recordings in the MARC21/AACR2 environment. Paradis 
presented in-depth explanations of major changes and new rules in RDA and provided a 
handout with examples of twelve RDA records for audio recordings. During the workshop, he 
took questions from participants.  
The attendees then gathered for lunch and the General Assembly. During the business meeting, 
Daniel Paradis spoke about his work on the chapter's new website, which is expected to launch 
in the near future. Elections were also held in order to fill all four positions on the QCCAML 
board of directors. Having reached the end of our two-year terms, Benoit Migneault (BAnQ) 
and I stepped down. Daniel Paradis and Mélissa Gravel (Université Laval) were re-elected; 
Marc-André Goulet (BAnQ) and Rémi Castonguay (UQÀM) were elected and joined as new 
board members. Please see the chapter's website to learn more about the specific position of 
each board member.  
                                                          
1
 Houman Behzadi is the Music Collection Development Librarian at the University of Toronto Libraries.  
 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 22 
The afternoon session started with Marc-André Goulet's presentation on the current 
audio/video streaming offerings at BAnQ and other North American and European music 
libraries. Goulet presented the results of his recent explorations on the evolving audio/video 
collection models. He also looked at declining CD sales figures and spoke about the gradual shift 
from the acquisition of traditional audio formats to subscription-based streaming services. 
Building a collection of Persian music at the University of Toronto Libraries was the topic of my 
presentation, which described a project I am currently working on. Recent years have seen a 
growing involvement of Toronto's Persian community in the musical and cultural scene of the 
city. The U of T Faculty of Music's strong ethnomusicology program has attracted a significant 
number of graduate students interested in Persian music studies whose work and research 
would benefit from the presence of a strong and carefully constructed Persian music collection. 
Additionally, the project is a response to the current goals and mandates of the Music Library 
Association's Collection Development and Resource Sharing Committee, which stresses the 
importance of building music collections from the world's challenging geographic regions. After 
a brief historical overview of music in Iran, I talked about the highlights of my trip to Tehran in 
early 2014 when I met several music publishers and vendors and learned that much of the 
Persian musicians' and music scholars' output is absent from the large research collections in 
North America. 
During the Round Table, attendees discussed best practices for the management of some of 
music libraries' most challenging formats. Benoit Migneault showed a new case designed for 
CDs and DVDs that might be used by the Music and Film section of the Grande Bibliothèque as a 
space-saving solution. I brought up the subject of born-digital scores and the challenges they 
provide to libraries, from purchasing, to handling the digital file, to copyright issues, etc. While 
some librarians had found innovative approaches, no sustainable practice was identified.  
The third presentation of the afternoon, about an indexing project at Université Laval’s Music 
Library, was cancelled as one of the presenters could not be at the meeting. A tour of the newly 
renovated 4th floor of the Université Laval Library was the last scheduled activity.  
A warm reception organized by Mélissa Gravel and the staff of the Music Library concluded the 
day. 
 
 


Section québécoise de l'ACBM / Quebec Chapter of CAML:  2014 Annual Meeting Report

-, -

 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 6 
CAML Conference 2014: Programme and Abstracts 
 
May 29-30, 2014 
Brock University, St. Catharines, Ontario 
 
Thursday, May 29, 2014 
 
9:00-11:00 CAML Session A 
Session chair: Jan Guise (University of Manitoba) 
Digital Humanities and Music  
Stacy Allison-Cassin, David Montgomery (York University) 
 
Digital humanities (DH) are becoming increasingly present on university campuses. 
Many institutions are adding digital humanities positions to faculties and libraries. But 
what is it? What are the tools and resources used by DH researchers? What are the 
particular challenges to supporting DH students and scholars? This presentation will 
provide an overview of the emerging area of digital humanities with a specific focus on 
the intersection between DH and music. 
Encore des mots, toujours des mots: A Visualization Interface for Exploring a Large 
Collection of French Songs  
Audrey Laplante, Dominic Forest, Rémy Kessler (Université de Montréal) 
There is a wealth of information about music that can be mined from the Web, including 
lyrics, bibliographic metadata (e.g., contributors, label, album title), and information 
generated by end-users (e.g., social tags, reviews) or by music critics, journalists or 
bloggers (e.g., reviews, interviews with artists). This information can be (and has been) 
used to provide additional access points to a music collection and hence improve the 
retrieval and exploration of music. However, lyrics have received relatively little 
attention from system developers. In this presentation, we will present a new system 
for the exploration of a large collection of French‐language songs based on lyrics. We 
will explain how the metadata and lyrics were harvested from various sources on the 
Web. We will then explain how we combined data mining and visualization to propose 
an interactive visualization system for the exploration and analysis of our collection of 
songs based on lyrics. 
  
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 7 
The Sounds Inside the Library Walls: An Examination of Three National Library Digital 
Sound Recording Collections  
Sophie Rondeau (CBC Winnipeg) 
Winner, 2014 CAML First-Time Conference Presenter Award  
 
National libraries are government institutions dedicated to acquiring, preserving, and 
making accessible information and heritage resources pertinent to the nation. 
Resources may include government documents, books, theses, audio and video 
recordings, and more. This paper will explore and compare the digital sound recording 
collections from three national libraries: Library and Archives Canada, The Virtual 
Gramophone; The Library of Congress, National Jukebox; and the British Library, Sounds. 
I have limited my focus to three national libraries, with a special emphasis on the digital 
collection at Library and Archives Canada, to provide a sample representation whereby 
evaluation and comparison of digital sound recording repositories may begin. The paper 
will examine the scope of the collections, digitalization methods, how the collections are 
developed and managed, an evaluation of their respective interface design and 
usability, the provision of reference services for these collections, and issues related to 
access. These digital collections provide remote access to sound recordings otherwise 
difficult to obtain, and decisions and investment have been made to make select sound 
recordings available electronically. They are important resources for music libraries and 
library institutions serving music related user needs. 
11:15-12:15 CAML Session B 
RILM/RISM/RIPM session 
Sean Luyk (University of Alberta), Cheryl Martin (Western University), Kathleen 
McMorrow (University of Toronto, retired) 
14:15-15:45 CAML Session C 
Session chair: Terry Horner (UBC) 
Genre of the Moment: Creating a Genre Taxonomy for the 19th-Century French Sheet 
Music Collection at the Marvin Duchow Music Library, McGill University 
Kathleen Hulley (McGill University) 
Chanson comique, scie populaire, romance, and interrogation machiavélique, these are 
just some of the designations given to French chanson populaire in the late 19th 
century. While some of these designations are recognized genres, others are not, 
making it difficult to create a clear genre taxonomy for this collection. This paper 
examines the challenges of developing a genre taxonomy and authorities for this 
extensive and culturally significant collection. In order to create a historically-informed 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 8 
list of genres and subgenres, I draw on the collection itself, taking into account the 
genre labels that appear on these documents (on the inner page, cover pages, and even 
in advertisements on the back covers). Nevertheless, challenges remain: some have 
seemingly conflicting genre designations, and others have unique and timely titles. As I 
demonstrate, genre was a fluid concept at this moment, and assessment requires a 
flexible approach to genre authorities in this context. 
Reinforcing the Front Line: Music Publishing and the War Effort, 1914-1918 
Timothy Neufeldt (University of Toronto) 
Recruiting to support Canada’s involvement in the Great War slowed by the summer of 
1916, and by the following Spring was averaging approximately 4000 men per month, a 
number far below replacement needs, especially given that many of the new recruits 
opted for any service but infantry. The high rate of casualties was undoubtedly a 
significant factor, and most of the British-born population eligible to serve – a group 
that made up a disproportionate percent of enlistments in the opening years – was now 
depleted.  
The pressure on the home front for eligible males to take an active role in the war came 
from many sources, one of which was the published sheet music intended for popular 
consumption. While music publications in support of Canada’s involvement began 
appearing shortly after the war started, this paper investigates the burgeoning number 
of war-related song texts and their respective cover art that arose after 1915, revealing 
the depth of Canada’s involvement in the conflict and highlighting the propagandistic 
overtones used to encourage enlistment through positive slogans, images, and glorifying 
heroism at a time when fewer men were willing to serve. 
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) 
In early 2013, work began on descriptive analysis of the music and cover illustration 
lithography in the Marvin Duchow Music Library’s 19th-century French Sheet Music 
Collection.  A database was designed to assist scholars in the assessment of the wealth 
of musical and iconographical material dating from heyday of the French salon through 
the rise and fall of Café-Concert culture. 
The presentation describes initial outcomes arising from the design of a metadata 
model that accurately captures information about most of the multi-faceted sheet 
music elements including composer, poet, arranger, lithographer, singer names; 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 9 
performance locations; iconography; and musical genre. The presentation will outline 
the ways existing sheet music metadata guidelines, descriptive standards, vocabularies 
and authority files related to art and music were evaluated in order to arrive at a hybrid 
metadata and authority solution appropriate for this complex and culturally rich sheet 
music collection.   
Friday, May 30, 2014 
 
9:00-10:00 CAML Session D 
Session chair: Lucinda Walls (Queen’s University) 
The Leslie Bell Papers 
Kyra Folk-Farber (University of Toronto) 
Dr. Leslie Bell was a prominent Canadian choral conductor and arranger who died in 
1962. The Leslie Bell Papers, donated to the University of Toronto Music Library by Dr. 
Bell’s daughter in 2011, began as twenty-five boxes containing music manuscripts, radio 
show scripts, clippings of his column from the Toronto Star, reviews, concert programs, 
sound recordings, photographs, academic journals, correspondence, and much more. 
The items are being organised and preserved for the music library’s archival collection, a 
Finding Aid is being created, and the items are being entered into the Music Library’s 
digital Archives Database. Dr. Bell’s articles and radio scripts contain insightful and 
accessible musicological commentary and, in the context of The Leslie Bell Papers, 
provide an interesting perspective on Canadian musical culture in the 1950s and ’60s. 
This presentation is an overview of the work of Dr. Leslie Bell as discovered through 
assembling The Leslie Bell Papers archival fonds. 
The Speranza Club Archives in the University of Toronto Music Library 
Kyla Jemison (Canadian Music Centre) 
 
The Speranza Club was a women's musical club founded in Toronto in 1906 which 
hosted concerts for musical, social and philanthropic purposes until 1946. The club was 
founded to provide an opportunity for young women to continue their musical pursuits 
after leaving school or after marriage; it became more involved in charity work over the 
years and hosted many benefit concerts, usually performed by members themselves, 
often to support the war effort. The Speranza Club's archive is part of the University of 
Toronto Music Library's Olnick Rare Book Room. This paper will look at this archival 
collection to examine women's role in the musical scene in Toronto in the first half of 
the twentieth century. 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 10 
Music Songbooks at the Jordan Museum of the Twenty 
Cheryl Martin (Western University) 
 
The Jordan Museum of the Twenty in Jordan, Ontario has a small collection of 
handwritten songbooks from the late 18th and early 19th centuries. These songbooks 
were either brought from Pennsylvania by the first Mennonite settlers in the area, or 
were compiled by these early settlers shortly after arriving in Ontario. Seven of the 
songbooks have been digitized and are available online. I will discuss my research on the 
history of these songbooks. 
10:15-11:45 CAML Session E 
Session chair: Houman Behzadi (University of Toronto) 
Listening in the Library: Considerations for Space and Equipment 
Carolyn Doi (University of Saskatchewan) 
The Education & Music Library at the University of Saskatchewan recently redesigned its 
listening spaces, equipment and furniture. The new listening space is designed to 
provide better access to music collections, to deliver both comfort and functionality and 
to give space for students to complete program requirements such as listening 
assignments while also facilitating more informal exploration of the music recording 
collections. The listening equipment improves on older models by enabling access to 
both the physical and digital music collections, while offering flexible access for 
individual and group work. This session will present an overview of various listening 
configurations implemented at the University of Saskatchewan Library, considerations 
for selecting listening furniture and equipment and the preliminary results of an initial 
assessment that looks at the effectiveness of these new spaces to meet the research 
needs of music students. 
A Binding Experience 
Becky Smith (Memorial University) 
 
In many established music libraries the practice of binding printed music has long been 
customary and as such the processing of items moves along without many problems. At 
Memorial University of Newfoundland the process of binding music occurred in the 
early years of the collection but had been stopped long ago. In this presentation, I will 
discuss my efforts to re-establish binding of printed music as part of the regular 
processing workflow. Key considerations include establishing a budget for current and 
retrospective binding, determining what is required to complete in-house binding, and 
creating priority guidelines for items to be bound. Of course, many points in this process 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 11 
proved to be challenging for various reasons and will be illustrated. After approximately 
a year and a half of in-house binding, I will show where we came from and where we 
are. 
“Threshold Concepts” and Information Literacy for Music 
Laura Snyder (Mount Allison University) 
“Threshold concepts” is a pedagogical framework that has been finding its way into the 
literature on information literacy over the past few years.  A major revision of the ACRL 
Information Literacy Competency Standards for Higher Education is currently in 
progress, and “threshold concepts” has been identified as one of the new elements 
being incorporated into this model.  What are threshold concepts, and how might this 
model apply to information literacy for music?    In this presentation I will provide a brief 
overview of threshold concepts as they apply to information literacy in general, and 
explore potential applications of this framework to information literacy in music.  While 
my initial focus for this study is on an information literacy program for first-year 
undergraduate students, I will also suggest implications for library instruction in studio 
classes, upper-level music courses, and graduate programs in music.  
12:00-13:00 CAML Session F 
Session chair: Cathy Martin (McGill University) 
Oil Shows, Rodeos, and UFOs: The Walder G. W. White Sheet Music Collection at the 
University of Alberta Libraries 
Colette Leung, Sean Luyk (University of Alberta) 
This paper discusses a project undertaken at the University of Alberta Libraries to create 
metadata and increase digital access to a notable donation of sheet music: the Walder 
G. W. White Sheet Music Collection. The collection contains over 6,000 pieces of 
popular sheet music from Canada, the United States, and Europe, published between 
the late 1880s and late 1960s. The collection is remarkable for the number of unique 
items that it contains published in or about the Canadian Prairie provinces. The history 
of the collection is discussed, in addition to project goals and timelines. Select items and 
personalities contained within the collection are highlighted to examine elements of 
twentieth century Canadian Prairie society and culture. The process of preparing and 
creating metadata for harvesting by the Sheet Music Consortium is also outlined. This 
paper will help inform other projects involving the creation of metadata for sheet music, 
and provide insight into the Canadian music publishing industry, historical pop culture 
and its interaction with Canada, and Canadian Prairie culture. 
 CAML REVIEW / REVUE DE L’ACBM  42, NO. 3 (NOVEMBER / NOVEMBRE 2014) PAGE 12 
IMSLP: Perspectives from a Contributor and a User 
Homer Seywerd (Dundas Valley Orchestra), Deborah Wills (Wilfrid Laurier University) 
 
This presentation will start with a brief background of IMSLP/Petrucci Music Library, 
providing a timeline of milestones and showing trends in content and use.  It will outline 
its current structure and oversight and mention the Canadian involvement to date, 
including implications of the new Canadian server.  From the user’s perspective, it will 
briefly describe the strengths of the Library, including the quantity and range of 
materials, the clear organization, the robust browsing features, the quality controls, and 
the attention to issues of copyright.  It will also suggest ways of promoting the project to 
faculty and students.  From the contributor’s perspective, it will outline the ways that 
individuals and institutions have added to the growth and quality of the Library, 
including uploading scores, adding metadata, and coding for copyright.  It will conclude 
by considering future opportunities and inviting discussion.  
 
 


CAML Conference 2014: Programme and Abstracts

Desmeules, Robin

Tranquility – Neil Swainson and Don Thompson (CD Review)

Picone, John J.

Dictionary of Music Education (Book Review)

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 5 
CAML/ACBM 2014:  
Call for proposals / Appel de communications 
 
 
CAML seeks proposals for papers to 
be presented at its next annual 
conference scheduled from 
Wednesday, May 28, to Friday, May 
30, 2014, as part of the Congress of 
the Humanities and Social Sciences 
at Brock University in St. Catharines, 
ON. CAML will again meet with the 
Canadian University Music Society 
(MusCan) and collaborative papers 
with MusCan colleagues are most 
welcome. Papers should not exceed 
20 minutes and will be followed by a 
10-minute period for questions and 
discussion. Proposals should include 
an abstract of 150 words, a list of 
A/V requests, and a biography (100 
words). Proposals for sessions and 
roundtables, especially sessions of 
interest to both CAML and MusCan 
registrants, are also welcome. 
 
Students and early-career librarians 
should note that CAML is again 
offering a first-time conference 
presentation award. Proposals 
submitted to the award selection 
committee will also be considered 
by the CAML Program committee. 
See http://www.yorku.ca/caml/ 
drupal/?q=en/node/129 for more 
details. 
 
Please submit proposals by email to 
the CAML Program committee care 
of Brian McMillan, CAML Program 
Chair, by Friday, December 6, 2013: 
brian.mcmillan@mcgill.ca.  
  
L’ACBM invite ses membres à lui soumettre des 
propositions d’exposés à donner lors de son 
prochain congrès annuel, qui se tiendra du 28 au 
30 mai 2014 dans le cadre du Congrès des sciences 
humaines, à l’Université Brock, St. Catharines, 
Ontario. Une fois de plus, l’ACBM se réunira avec la 
Société de musique des universités canadiennes 
(MusCan). Nous vous encourageons d’ailleurs à 
rédiger des exposés en collaboration avec des 
collègues de MusCan. Vos exposés, qui ne devront 
pas durer plus de 20 minutes, seront suivis d’une 
période de questions et de discussion de 10 minutes. 
Les propositions comportent un résumé de 
150 mots, une liste des équipements audiovisuels 
requis et une biographie (100 mots). Nous vous 
invitons également à nous faire parvenir des 
propositions relatives aux séances et aux tables 
rondes, particulièrement quant aux séances qui 
portent sur des sujets d’intérêt pour les membres de 
l’ACBM et de MusCan.  
 
Les étudiants et les bibliothécaires qui en sont à faire 
leurs premières armes dans la profession sont priés 
de noter que l’ACBM offre une fois de plus son Prix 
décerné à un participant faisant un exposé pour la 
première fois au congrès de l’ACBM. Le comité de 
l’ACBM responsable du programme étudiera 
également les propositions présentées au comité de 
sélection des lauréats. Pour obtenir plus de 
renseignements, voir le site Web suivant : 
http://www.yorku.ca/caml/drupal/?q=fr/node/130/. 
 
Veuillez faire parvenir vos propositions par courriel à 
Brian McMillan, président du comité de l’ACBM 
responsable du programme, d’ici le 
vendredi 6 décembre 2013, à l’adresse suivante : 
brian.mcmillan@mcgill.ca 
 
 
  
 
 
 
   
        
 


CAML/ACBM 2014: Call for proposals / Appel de communications

Critical Perspectives in Canadian Music Education (Book Review)

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 6 
CAML First-Time Conference Presenter Award 2014:  
Call for applications 
Prix 2014 décerné à un participant faisant un exposé pour la première 
fois au congrès de l’ACBM : Appel de demandes 
 
 
Applications are now being accepted for 
the CAML First-Time Conference 
Presenter Award, sponsored by the 
Canadian Association of Music Libraries, 
Archives and Documentation Centres 
(CAML) and  intended to provide a first-
time CAML conference presenter with the 
opportunity to deliver a paper at the 
2014 CAML Conference in St. Catharines, 
Ontario (May 28-30, 2014). The award of 
up to $1000 will be received by the 
winner upon submission of receipts for 
registration, travel, and accommodation 
expenses following the conference. 
 
Applicants must be members of CAML in 
2014 who are presenting at a CAML 
conference for the first time. Priority will 
be given to applicants in the early stages 
of their professional career, recent 
graduates who are seeking a position as a 
music librarian, or graduate library school 
students aspiring to become music 
librarians. Submissions will be judged 
according to their relevance to one or 
more of the following areas: music 
librarianship or the archivist profession; 
development, preservation and 
advancement of music libraries and 
archives; bibliography, cataloguing, and 
indexing activities improving access to 
music resources; musicology research and 
documentation. 
 
Following the conference, the recipient of 
the award will submit the conference 
 On peut maintenant déposer sa demande pour 
recevoir le Prix décerné à un participant faisant 
un exposé pour la première fois au congrès de 
l’ACBM, offert par l’Association canadienne des 
bibliothèques, archives et centres de 
documentation musicaux (ACBM). Celui-ci a 
pour but d’accorder à un participant l’occasion 
de donner un exposé au congrès de 
l’ACBM 2014, qui se tiendra à St. Catharines, 
Ontario, du 28 au 30 mai 2014. Ce prix, pouvant 
aller jusqu’à 1000 $, sera remis au gagnant 
lorsque celui-ci fournira ses reçus de frais 
d’inscription, de voyage et d’hébergement, 
après le congrès. 
 
Le demandeur doit être un membre de l’ACBM 
en 2014 et doit présenter un exposé pour la 
première fois au congrès de l’ACBM. On 
accordera la priorité aux personnes qui en sont 
à faire leurs premières armes dans la profession, 
aux personnes récemment diplômées qui se 
cherchent un emploi de bibliothécaire de 
musique ou aux étudiants à la maîtrise en 
bibliothéconomie désireux de devenir 
bibliothécaires de musique. Les soumissions 
seront jugées selon leur pertinence quant à l’un 
ou à plusieurs des secteurs suivants : la 
profession de bibliothécaire ou d’archiviste de 
musique; la création, la préservation et la 
progression des bibliothèques et des archives 
de musique; les activités telles que la rédaction 
de listes de références, le catalogage et 
l’indexage, qui ont pour but d’améliorer l’accès 
aux ressources musicales; la recherche et la 
documentation dans le domaine de la 
musicologie.  
 
  
 
 
 
   
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 7 
paper for publication in the August 2014 
issue of the CAML Review. Runners-up 
may be invited to present their paper at 
the conference and/or submit their paper 
for inclusion in the CAML Review. (Note 
that such invitations to runners-up would 
not include a financial award.)  
 
Applicants must submit the following in 
PDF format by Friday, December 6, 2013: 
 
1. A title and abstract for your proposed 
presentation (approximately 150 
words). Papers should not exceed 20 
minutes and will be followed by a 10-
minute period for questions and 
discussion. 
 
2. A biography (100 words) and 
curriculum vitae.  
 
Send your proposal, biography, and CV by 
email to the Chair of the CAML First-Time 
Conference Presenter Award, Cathy 
Martin, at the following 
address: cathy.martin@mcgill.ca. Please 
mark the subject line “CAML First-Time 
Conference Presenter Award.” 
The recipient of the award will be 
selected by committee and notified by 
January 10, 2014.  
 
For questions about the award, please 
contact the Chair of the CAML First-Time 
Conference Presenter Award at the above 
email address. 
À la suite du congrès, le gagnant soumettra son 
exposé à la Revue de l’ACBM, pour qu’il y soit 
publié dans le numéro d’août 2014. Il se peut 
que les finalistes soient invités à présenter leur 
exposé au congrès ou encore à le soumettre aux 
fins de parution dans la Revue de l’ACBM. (À 
noter : une telle invitation ne s’accompagnera 
pas d’un prix en argent.) 
 
Le demandeur doit nous faire parvenir les 
documents suivants en format PDF d’ici le 
vendredi 6 décembre 2013 : 
 
1. Le titre et un résumé de son exposé 
(environ 150 mots). Les exposés, qui ne 
devront pas durer plus de 20 minutes, 
seront suivis d’une période de questions et 
de discussion de 10 minutes. 
 
2. Une biographie (100 mots), ainsi qu’un 
curriculum vitae. 
 
Veuillez envoyer votre proposition, votre 
biographie et votre CV par courriel à la 
présidente du Prix décerné à un participant 
faisant un exposé pour la première fois au 
congrès de l’ACBM, Mme Cathy Martin, à 
l’adresse suivante : cathy.martin@mcgill.ca. 
Veuillez inscrire « Prix du conférencier pour la 
première fois » dans la ligne de mention objet. 
Un comité choisira le lauréat et communiquera 
avec lui d’ici le 10 janvier 2014.  
 
Pour obtenir plus de renseignements à ce sujet, 
veuillez écrire à la présidente du comité de 
sélection des lauréats, à l’adresse courriel citée 
précédemment. 
 
 
        
 


French

CAML First-Time Conference Presenter Award 2014: Call for applications / Prix 2014 décerné à un participant faisant un exposé pour la première fois au congrès de l’ACBM : Appel de demandes

Jurkowski, Edward

Chamber Music – Colin Eatock (CD Review)

Smith, Becky

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013) PAGE 10 
International Association of Music Libraries: Conference Report     
Vienna, Austria, 28 July–2 August 2013 
 
By Becky Smith1 
 
This year’s International Association of Music Libraries (IAML) conference provided many 
extraordinary opportunities for the over 380 registered participants. Among this number were 
seven members of the Canadian Association of Music Libraries, Archives and Documentation 
Centres who took part in five days of concurrent sessions and poster sessions. Canadians active in 
the conference included Andrew Hankinson with his presentation “Using Optical Music Recognition 
to Navigate and Retrieve Music Documents”; Joseph Hafner, Amy Buckland and Megan Chellew 
with a poster session on the HathiTrust Digital Library; and the author, Becky Smith, with a 
presentation entitled “Teaching to Learn and Learning Your Collection.”  
In addition to concurrent and poster sessions, the conference planning committee offered a 
wonderful assortment of evening events. These included an opening night reception at the Vienna 
City Hall, a visit to the baroque State Hall of the Austrian National Library, concerts at the musically 
historic Gesellschaft der Musikfreunde and Schönbrunn Palace Theatre, and, for those who chose to 
attend, the farewell dinner at the Palais Ferstel. There were seven mid-week excursions and all 
were musically themed, ranging from The Habsburgs and Music to Eroica and the Heiligenstadt 
Testament to From Mozart to Schönberg: Excursion to Mödling and Baden. If our time was not full 
enough, we could take advantage of tours and open houses offered by many local music libraries, 
archives, and document centres—like the music department of the Austrian National Library, the 
City Library, and the Gesellschaft der Musikfreunde—who showcased their unique holdings of 
manuscripts and other items. All of these conference activities were enjoyed in an extra-warm 
Viennese summer, with most days over 30 degrees Celsius and some reaching 37 or 38! 
Highlights of the concurrent sessions  
Due to Vienna’s role as a central and key city in Western art music, many of the presentations 
focussed on collections. These included aristocratic collections from Prague, Russia, and Italy 
(formerly of the Habsburg Empire), all with connections to Vienna. The presentations illuminated 
topics of provenance, dispersal of sources, research within the collection, and collection 
development.  
The opening plenary session introduced us to important collections of the Vienna City Library, the 
Gesellschaft der Musikfreunde in Wien, and the Music Department of the Austrian National Library. 
From Thomas Aigner, representing the City Library (Wienbibliothek im Rathaus), we learned of the 
extensive collection of Johann Strauss (father and son) autographs which are available for 
                                                          
Becky Smith is the Music Librarian at Memorial University Libraries. 
 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013) PAGE 11 
researchers. The second speaker, Otto Biba, introduced us to the Gesellschaft der Musikfreunde, 
also known as the Musikverein. From his vantage point as a researcher, author, and publisher, Biba 
explained the variety in the collections of the archive and library as well as its historical background. 
Since its founding in 1812, the Musikverein has acquired many unique items. Unlike collections 
discussed in many of the other presentations during the week, those of the Musikverein are not 
focussed on Austria or the Habsburg Empire. For example, the Musikverein’s collection includes a 
number of works by Brahms which are recognized by UNESCO for their importance. Many works of 
Schubert were either bequeathed to, or purchased by, the archive. As well, the collections of the 
Musikverein do not consist solely of written music—pieces of memorabilia, such as Beethoven’s ear 
trumpet, are also included. In addition to hosting these collections, the Musikverein has magnificent 
performance halls for concerts and, with the work of Biba, publishes facsimiles of the autographs in 
the collection. The third presenter of the opening plenary, Thomas Leibnitz of the Austrian National 
Library, traced the transfer of music from the Imperial Hofmusikkapelle (music of the palace chapel) 
to the Music Department of the Austrian National Library. Works of note include those by Salieri, 
who had composed around 100 works while Hofkapellmeister. 
In addition to the sessions mentioned above, many others provided valuable information about 
collections of a number of composers, most with strong connections to Vienna. From the 
Bibliotheca Mozartiana of the International Mozarteum Foundation in Salzburg, we learned of 
various works and autographs which are part of the Digital Mozart Edition, the offspring of the 
Neue Mozart-Ausgabe in collaboration with the Packard Humanities Institute. The Arnold 
Schönberg Center, located in a donated house in Mödling, is working to make Schoenberg’s estate 
accessible. The collection consists of music manuscripts and author copies (approximately 8000 
pages), and letters and writings, with copyright for the works remaining with the family.  
A session on collected editions proved important, with information on planned activities related to 
forthcoming publications. A presentation on the iconic Denkmäler der Tonkunst Österreich (DTÖ) 
provided fascinating information on its history, which covers 120 years and included an interruption 
of activities due to Nazi suspension of its editorial board. To date 155 volumes have been published, 
with the focus of the DTÖ limited geographically to Austria and the former Habsburg Empire but 
including repertoire that goes beyond the standard. Future plans include the repertoire of Salieri 
and Dittersdorf, but funding assistance is required for further publications. Marek Pechač shared 
the work of the Institut Bohuslava Martinů, which plans to produce 105 volumes of Martinů’s 
output at the rate of two volumes per year. This work includes the continuing search for source 
materials and the digitization of these sources. 
Traditional music publishing was juxtaposed with digital publishing models in a session with 
presenters from both an established publishing company and a new digital company. Heinz Stolba 
from Universal Edition (UE), Vienna, shared how notation of modern compositions is often a 
negotiation to a certain point; ultimately, though, UE wants to ensure the performer can easily read 
the music. Currently, UE receives music from composers as handwritten manuscripts and as 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013) PAGE 12 
electronic files, in equal proportion. Stolba conceded that it is easier to make working copies of 
scores from manuscripts. In contrast to this presentation was that of representatives from 
neoScores (http://www.neoscores.com/). They described how they are working to provide music in 
a device-independent XML format. The Brussels Philharmonic has already used this internet 
application to annotate their music and play from tablets. The company hopes to work further with 
publishers to get content and licenses for distribution.  
Presentations at a discovery systems session ranged from providing guidelines for identifying 
criteria and establishing interface capabilities that will improve discovery of music materials, to the 
use and customization of an open source interface (VuFind) to serve a music library. Andrew Justice, 
the final presenter in this session, made an impression with his announcement that the creation of 
a digital collections database is not possible without further assistance and support from other 
IAML members. 
A number of sessions were concerned with digital aspects of music librarianship. Topics included 
online collections and collaborations, copyright related to digital files of both print and recorded 
music, and various digitization projects. From a representative of the Bach-Archiv in Leipzig, 
attendees received further details of the Bach Digital (www.bach-digital.de) project and its content. 
This resource currently provides access to 7307 sources with 735 as digitized manuscript sources, of 
which 500 are by Johann Sebastian. The project offers three different viewers to serve diverse 
purposes, and metadata is exported to RISM. Members are working to provide access to more 
sources and collections while increasing usability. Another project, at the Bavarian State Library 
(Bayerische Staatsbibliothek) in Munich, involves the digitization of 5600 libretti from the collection 
of Christian Her (www.digitale-sammlungen.de). This collection provides the basis for a portal with 
more than 7000 digitized libretti. The project uses linked open data and information on the libretti 
can be found through WorldCat and other systems.  
Overview of the poster sessions 
The conference included two poster sessions. The first illustrated topics ranging from the use of 
Zotero as an online library for Spanish music, to alternatives to digital methods of archiving and 
protection, to the HathiTrust. The second session included posters related to scholarly music 
publishing in the 20th century and to the use of Facebook for reference interactions. 
General assembly and closing session 
President Roger Flury informed attendees of the continuing work to revitalize IAML’s structure. 
Flury also bid farewell as the current President but welcomed the incoming executive members, 
including CAML member Joseph Hafner as a new Vice-President. We were informed of a likely 
increase to individual IAML dues in 2015 and were invited to the next IAML conference in Antwerp, 
Belgium, 13-18 July, 2014. 


International Association of Music Libraries Conference Report, Vienna, Austria, 28 July–2 August 2013

Martin, Cheryl

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013)  PAGE 3 
President’s Report / Message de la présidente 
 
 
It seems strange to be writing this report 
instead of editing it, having seen many of 
these reports go by in my years as editor 
of the CAML Review. I’m very honoured 
and pleased to take on the role of CAML 
President, and I look forward to working 
with all of you over the next two years. 
  
We had a great conference in Victoria 
this year, with many thanks to Bill Blair 
for local arrangements and Suzanne 
Meyers Sawa for coordinating the 
program. A highlight for me was the 
opening session (“She came, She saw, 
She archived”) honouring our colleague 
Kathleen McMorrow, who recently 
retired from the Music Library at the 
University of Toronto. A full report of the 
conference is included in this issue. 
 
Next year’s CAML conference will be 
held with Congress at Brock University, 
May 28-30, 2014. Congress had 
informed us earlier this year that they 
wanted to eliminate the last Saturday of 
the conference schedule; there are only 
a few associations remaining and it costs 
the host university a great deal of money 
to keep services running on that day. 
CAML and CUMS (Canadian University 
Music Society) both agreed to move our 
schedule up one day, so our 2014 
conference will begin on Wednesday 
with a Board meeting followed by the 
opening reception, the conference 
sessions will be on Thursday and Friday, 
and the banquet will take place on 
Friday evening. We don’t have a CAML 
member at Brock or in the area, so I’ve 
taken on the local arrangements tasks 
but hope to find someone at Brock to 
  
Cela me fait une curieuse impression de composer 
le Message de la présidente plutôt que de l’éditer, 
puisque j’ai relu bon nombre de ces messages au 
cours des années où j’ai été rédactrice en chef de la 
Revue de l’ACBM. Je suis à la fois très honorée et 
heureuse d’exercer le rôle de présidente de l’ACBM, 
et la pensée de travailler avec vous tous durant les 
deux prochaines années m’enthousiasme. 
 
Le congrès de Victoria, cette année, a été des plus 
intéressants. Je tiens à remercier Bill Blair de s’être 
occupé des préparatifs sur place et 
Suzanne Meyers Sawa d’avoir coordonné le 
programme. La séance d’ouverture a constitué un 
point saillant pour moi. « She came, She saw, She 
archived » (Elle est venue, elle a vu, elle a archivé) 
avait pour but de rendre hommage à notre collègue 
Kathleen McMorrow, qui a récemment pris sa 
retraite de la bibliothèque de musique de 
l’Université de Toronto. Le présent numéro inclut un 
rapport détaillé du congrès. 
 
L’an prochain, le congrès de l’ACBM se tiendra du 28 
au 30 mai 2014, à l’Université Brock. Le comité 
responsable du congrès nous a précédemment 
informés de son intention de rayer le dernier 
samedi de l’horaire. Seules quelques associations y 
sont encore présentes et pour l’université hôte, les 
frais inhérents aux services offerts le samedi sont 
élevés. L’ACBM et la SMUC (Société de musique des 
universités canadiennes) se sont entendues pour 
amorcer le congrès un jour plus tôt, de sorte que 
notre congrès 2014 débutera le mercredi par une 
réunion du conseil d’administration, suivie de la 
réception d’ouverture. Les séances se tiendront les 
jeudi et vendredi, et le banquet aura lieu le vendredi 
soir. Puisque aucun membre de l’ACBM ne travaille 
à l’Université Brock ou ne vit dans cette région, je 
me suis chargée de faire le nécessaire sur place, 
mais j’espère trouver bientôt une personne à 
l’université qui soit en mesure de me venir en aide. 
   
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013)  PAGE 4 
help out. I’m already arranging food and 
rooms with the CUMS local 
arrangements team. We still need a 
program committee chair, so if you are 
interested please contact me or any 
member of the Board by October 15. The 
Board will appoint the program chair at 
our fall meeting. 
 
This year’s election for Member at Large 
was delayed because we had to hold an 
election! I am very pleased to announce 
that Sean Luyk from the University of 
Alberta was the successful candidate for 
Member-at-Large. We look forward to 
working with Sean on the CAML Board. I 
would also like to thank the other 
candidates for their willingness to take 
on this position. 
 
The CAML Board continues to be 
involved in advocacy activities on your 
behalf, specifically regarding the 
situation at Library and Archives Canada. 
We endorsed the Joint Statement on 
Qualities of a Successful Librarian and 
Archivist of Canada, and wrote a letter 
about this subject to Wayne Wouters, 
Clerk of the Privy Council and Secretary 
to the Cabinet. We just received a 
response from Mr. Wouters, which is 
posted in the Advocacy section of 
CAML’s website: http://www.yorku.ca/ 
caml/drupal/?q=en/node/124. 
 
Sean Luyk has agreed to take on the role 
of RILM Coordinator. Lisa Emberson will 
also continue to contribute to RILM. 
Sean will be sending out a call for 
volunteers in the near future; if you are 
interested in working on RILM, please 
contact him. Thank you, Sean! 
 
Those of you who are on the IAML email 
list have likely been following the 
discussions of the Report of the Ad-hoc 
Conjointement avec l’équipe responsable de la 
logistique à la SMUC, j’ai déjà commencé à prendre 
des dispositions en matière d’hébergement et de 
repas. Nous sommes encore à la recherche d’un 
président ou d’une présidente pour le comité 
responsable du programme; si ce rôle vous 
intéresse, veuillez communiquer avec moi ou tout 
autre membre du conseil d’administration d’ici 
le 15 octobre. Le conseil désignera le président ou la 
présidente lors de sa réunion d’automne. 
 
Cette année, le choix d’un conseiller a été repoussé 
puisque des élections se sont avérées nécessaires. 
Je suis très heureuse de vous annoncer que 
Sean Luyk, de l’Université de l’Alberta, a été élu 
conseiller. Les membres du conseil d’administration 
de l’ACBM sont impatients de travailler avec Sean. 
Je remercie également les autres candidats à ce 
poste d’avoir souhaité en assumer les 
responsabilités.  
 
Le conseil d’administration de l’ACBM poursuit sa 
promotion et sa défense des droits en votre nom, 
plus particulièrement en ce qui concerne la situation 
à Bibliothèque et Archives Canada. Nous avons 
signé la Déclaration commune relativement au profil 
que devrait posséder le prochain bibliothécaire et 
archiviste du Canada et envoyé une lettre à ce sujet 
à Wayne Wouters, greffier du Conseil privé et 
secrétaire du Cabinet. Sa réponse récente a été 
affichée sur le site Web de l’ACBM, sous l’onglet 
Interventions publiques : http://www.yorku.ca/ 
caml/drupal/?q=fr/node/125. 
 
Sean Luyk a accepté de devenir coordonnateur du 
RILM. La contribution de Lisa Emberson au RILM se 
poursuivra. Sous peu, Sean fera appel à des 
bénévoles. Si le travail auprès du RILM vous 
intéresse, veuillez communiquer avec lui. Merci, 
Sean! 
 
Ceux parmi vous dont le nom paraît sur la liste de 
diffusion de l’AIBM se sont probablement intéressés 
aux discussions relatives au Rapport du Comité 
spécial sur la restructuration de l’AIBM, que l’on 
peut trouver sur le site Web de l’AIBM à l’adresse 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013)  PAGE 5 
Committee on the Restructuring of 
IAML. The Report can be found on 
the IAML website: http://www.iaml.info/ 
organization/committees/restructuring. 
Jan Guise was a member of this 
Committee, and her contributions to this 
work are greatly appreciated. Joseph 
Hafner was the designated CAML 
member representing us at the IAML 
Council this year. I hope that Joseph and 
other CAML members attending the 
IAML conference in Vienna had a 
wonderful time, and I look forward to 
hearing about the conference, as well as 
the results of the discussion concerning 
the restructuring of IAML. 
  
I would like to thank Joseph Hafner for 
his excellent work as Member at Large, 
and Jan Guise for her exemplary 
leadership for the past two years. Joseph 
has moved off the Board, and Jan is now 
Past President. I am very grateful that 
Jan will still be available to mentor me as 
I take on this new role. Please do contact 
me if you have any questions or 
comments about CAML! 
 
 
Cheryl Martin 
Acting Head, Metadata Access  
Western University 
 
suivante : http://www.iaml.info/files/restructuring_ 
iaml_report_french.pdf. Nous sommes grandement 
reconnaissants à Janneka Guise, qui a siégé à ce 
comité, de sa contribution à ce travail. 
Joseph Hafner a été désigné pour représenter 
l’ACBM auprès du conseil d’administration de 
l’AIBM cette année. J’aime croire que Joseph, de 
même que les autres membres de l’ACBM présents 
au congrès de l’AIBM à Vienne, ont bien profité de 
cet événement. Il me tarde d’entendre parler du 
congrès, de même que des résultats de la discussion 
relative à la restructuration de l’AIBM.   
 
Je tiens à remercier Joseph Hafner pour l’excellent 
travail qu’il a fait en tant que conseiller et 
Janneka Guise pour sa direction exemplaire au cours 
des deux dernières années. Joseph ne fait plus 
partie du conseil d’administration et Janneka est 
désormais ancienne présidente. Je lui suis très 
reconnaissante de pouvoir compter sur sa 
disponibilité et sa collaboration tandis que j’assume 
mon nouveau rôle. N’hésitez pas à communiquer 
avec moi si vous avez des questions ou des 
commentaires au sujet de l’ACBM.  
 
 
Cheryl Martin 
Chef intérimaire, Accès aux métadonnées, 
Université Western 
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
 
      
 


Not a member yet

Section québécoise de l'ACBM / Quebec Chapter of CAML: 2014 Annual Meeting Report