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)

Smith, Becky

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013) PAGE 30 
Obtaining a Clearer Picture through Format Upgrades 
 
By Becky Smith1 
 
 
Determining the longevity of material formats has become an increasing challenge in today’s 
technological landscape. When it comes to audiovisual resources, libraries face the gamut from 
VHS to LaserDiscs to DVDs to Blu-ray. This article describes my recent efforts at Memorial 
University of Newfoundland’s Music Resource Centre to update its collection of audiovisual 
materials. In particular, I will be looking at the issues involved in updating such a collection and 
my success rate for replacement.  
 
Background 
Memorial University’s libraries consist of the main Queen Elizabeth II Library, four branches, 
and two resource or material centres, of which the Music Resource Centre (MRC) is one. Due to 
space constraints, the MRC’s collection consists primarily of music scores, sound recordings and 
audiovisual material. Prior to 2011, the music collections were maintained on a part-time basis 
by a variety of librarians, so retrospective maintenance activities were rarely undertaken. Upon 
my arrival in July 2011, the audiovisual collection contained a mixture of DVDs, LaserDiscs and 
VHS cassettes. 
  
In the fall of 2011, I was given additional funding to update the MRC collections, with a deadline 
of December 2011 to spend the funds. Since there was not time to thoroughly evaluate the 
collection, I consulted with the Music faculty to identify areas which could be improved. Based 
in part on these consultations, I initially decided to focus on upgrading the LaserDisc collection 
to DVDs as one of the improvements to the collection. Shortly into the project, I realized the 
VHS cassettes should also be replaced, since a number of these items were showing signs of 
deterioration. As well, I consider the replacement of these items by DVDs important due to 
student unfamiliarity with the formats and how to use them.  
 
Procedure 
The goal for replacement was to find exact copies of specific performances, so that only format, 
rather than content, would change. The short time frame, in combination with time constraints 
                                                          
Becky Smith is the Music Librarian at Memorial University Libraries. 
 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013) PAGE 31 
imposed by my regular duties, did not allow for a detailed analysis of the collection to 
determine if certain works were no longer needed or desired. As I, at this point, did not know 
the whole history of the collection, I made the assumption that all the performances were 
added to fill particular needs. Another reason for replacing the content of the collection, rather 
than strategic replacement, was the lack of usage statistics. At the time of this project, 
circulation of MRC items had only been automated for three or four years. A final reason for 
this method was concern over copyright. While, in many cases, I could obtain an exact copy of 
the performance through in-house copying, I was uncertain of the legality of such preservation 
copies, and decided to err on the side of caution and purchase new copies. 
  
The first step for replacing the LaserDiscs and VHS cassettes was the creation of a complete 
bibliographic listing of the titles from our catalogue, including production and performer 
details. This list was first used to determine if a DVD version was already in the collection, as 
some titles had been previously updated. I was also able to determine the availability of 
performances through our online streaming products. If a performance was not already 
available to our patrons, the internet was then scoured to find vendors for DVD replacements. 
When no vendor was found, I assumed that either the performance was not transferred to 
DVD, or that the DVD was no longer in production. The availability of a given title on DVD was 
the primary consideration for its replacement. For items no longer in production, second-hand 
titles were purchased if the status as an exact copy could be determined. Since second-hand 
vendors often provide limited information, these purchases were rare. 
 
Another consideration was space. For example, for works with multiple performances on 
LaserDisc and/or VHS, I tried to replace the most valuable items based on aspects such as 
performers, orchestras or labels. 
 
LaserDisc Results 
The LaserDisc collection in the MRC consisted of 130 individually call-numbered items. Of these, 
18 (or approximately 14%) were already in the collection in DVD format and could be removed. 
For 11 items (8%), either an exact copy of the work was available through an online streaming 
product or there were alternate performances of the same work already on DVD or through 
streaming. Seventeen items (14%) could not be found on DVD and thus could not be replaced. 
Fifteen further items (12%) have proven troublesome. Nine of these presented issues such as 
repackaging or re-titling, but in the end, DVDs were purchased that appeared to fill the content 
need, though their status as exact copies required more scrutiny upon arrival. The second 
group consisted of six items that appeared to be exact copies and should not have been 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013) PAGE 32 
problematic to obtain. As they have not arrived, for unknown reasons, I am unable to 
determine if the performance is actually available. 
 
By the end of this process, 68 (52%) of LaserDiscs were replaced by DVDs. Adding these to the 
14% already replaced, and the 8% available online or in alternate performances, 74% of the 
LaserDisc collection has been successfully replaced.  
 
 
The LaserDisc collection included a couple of surprising items probably not suitable for the 
research needs of the School of Music, but interesting nonetheless. The first was an animated 
version of The Magic Flute, intended for children, with Tamino voiced by Mark Hamill. While 
this work might pique the interest of those who know and love the original Star Wars trilogy, it 
is not likely to suit current research needs. While it won’t be replaced by DVD, it will not be 
immediately deselected. The second example was the film Allegro Non Troppo. This (also) 
animated work by Italian Bruno Bozzetto could be compared to Disney’s Fantasia, as it uses the 
music of Debussy, Stravinsky, Vivaldi and others as the connective tissue for animations. While 
viewing portions of this work, I could observe the different perspectives used by Bozzetto 
compared with Disney to create a, perhaps, more mature animation. Like the animated Magic 
Flute, Allegro Non Troppo will be kept on LaserDisc for now. 
  
The most disappointing search was for a replacement of the LaserDisc The Complete Show Boat. 
This item contains three full length productions of Show Boat from 1929, 1936 and 1951, with 
the Show Boat sequence from Till The Clouds Roll from 1946. Faculty identified the 1936 
version, with the iconic Paul Robeson, as the most desirable performance, but only the 1951 
version was available on DVD. On the other end of the spectrum was the search for Wagner’s 
Already in 
Library 
14% 
Replaced by 
DVD 
52% 
Available in 
streaming or 
other version 
8% 
Not 
replaceable 
14% 
Trouble 
obtaining 
12% 
Figure 1: LaserDisc Replacement 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013) PAGE 33 
Der Ring des Nibelungen conducted by Daniel Barenboim and issued by Teldec. While searching 
for a DVD of this work, I found many traces through vendors who listed it as unavailable or out 
of stock but without sufficient production information to confirm the performance. I initially 
concluded the item had been available and was now out of print, perhaps never to be released 
again. Something about the results of my searches made me persist, however, and in the end, I 
was pleasantly surprised to find this item would soon be available on DVD from Kultur. 
 
VHS Results 
The process of replacing the VHS cassettes was initially easier than the LaserDiscs, since more 
items had already been replaced by DVDs. Out of approximately 117 items (depending on 
whether you count call numbers or individual cassettes), 27 (23%) had been replaced by the 
start of the project. The search for replacements, conducted in the same way as for LaserDiscs, 
resulted in 38 items (32%) successfully ordered and received. As with the LaserDiscs, some 
replacements have been ordered but not received, and the source of the trouble has not been 
identified. By the end of the project, I determined that 37 items (32%) were not replaceable. Of 
these, the two most desirable items were the PBS production Dancing, and the series Man and 
Music. As with the LaserDiscs, between the items already replaced and the new purchases, 
more than half the collection has been updated. It is, however, interesting to note the 
difference in the amount deemed irreplaceable: 14% of LaserDiscs versus 32% of VHS. Whether 
these numbers reflect unique content in the library’s collection, or suggest that transfers to 
DVD were more common for LaserDiscs than VHS, is beyond the scope of this report.  
  
 
 
Already in 
Library 
23% 
Replaced by 
DVD 
32% 
Not replaceable  
32% 
Trouble 
obtaining 
13% 
Figure 2: VHS Replacement 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 2 (AUGUST / AOÛT 2013) PAGE 34 
Conclusion 
Having the time and funding available to replace outdated formats does not happen every day. 
My experience suggests that this project was a worthwhile effort and increased the usability of 
the collection. While not all items could be replaced, many additional works are now accessible 
to students who may have been hesitant to use unfamiliar formats and equipment. The 
instructors now have greater variety in content for their classrooms, without the need for 
additional equipment or the worry that an item may no longer play. In a perfect world, a more 
targeted approach would have been undertaken, but this process at least ensured no important 
works were lost. One can only hope that valuable items not currently replaceable will one day 
be made available in a more accessible format. What that format will be is anyone’s guess. 


Obtaining a Clearer Picture through Format Upgrades

McMillan, Brian

Annual Meeting of the Québec Chapter of CAML / Rencontre annuelle de la Section québécoise de l’ACBM (2012)

Sallis, Friedemann

Music and Displacement: Diasporas, Mobilities and Dislocations in Europe and Beyond (Book Review)

Guise, Paul

Money for the Asking: Fundraising in Music Libraries (Book Review)

Wagstaff, John

Full Spectrum – Vernon Regehr (CD Review)

Louth, J. Paul

Patriotism and Nationalism in Music Education (Book Review)

Folk-Farber, Kyra

Classical Musicians & Copyright in the Digital Age: A Preliminary Investigation

-, -

Minutes of the 2012 CAML/ACBM Annual General Meeting

Krzyzanowski, Thomas

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 11 
Making Noise: Toronto Public Library's Local Music Project 
 
By Thomas Krzyzanowski1 
 
The singer in a revealingly tight velour bear costume bounces around the stage, screaming 
hardcore rhymes to the delight of the young people in the crowd. Taking a cue from their 
enthusiasm, he throws himself onto their upstretched hands and proceeds to crowd surf for a 
couple of seconds before clambering back to the rest of the band to finish the set. It’s par-for-
the-course concert antics for Matt Collins, lead singer for Toronto punk-rap outfit Ninja High 
School. What’s unusual about this particular display is that it’s not taking place in a dive bar or a 
concert hall; rather, the boisterous crowd at this show is headbanging and pogoing in the 
traditionally staid confines of a public library branch. 
The last few years have been exciting times for music fans in Toronto. New venues have 
appeared all over the city (some popping up seemingly overnight), and bands you might see 
playing for a handful of people at the back of a seedy bar can be headlining major international 
tours a scant few months later. Toronto’s experience is a microcosm (albeit a significant one) of 
the Canadian popular music scene, which has been flooded over the past decade with talented 
performers in all genres, pushing their art in new directions and developing supportive 
communities both nationally and around the world.  
The significance of this musical renaissance has not been lost on the staff at Toronto Public 
Library (TPL). Beginning in 2006, TPL has collected albums produced by artists working in and 
around Toronto. This Local Music Collection spans popular genres and styles, and includes 
artists ranging from garage bands releasing their first EP (extended-play single) to singers who 
have achieved relatively high levels of commercial and popular success. In 2010, the collection 
added its thousandth album to the library catalogue, and as of early 2013, this figure has nearly 
doubled. 
Much of the success of the Local Music program is due to the strong partnerships the collection 
has attracted. Two critical relationships that have maintained the program since its start are the 
library’s connections with Soundscapes and Exclaim! magazine.  
As one of Toronto’s best independent music retailers, Soundscapes has an intimate knowledge 
of Canadian music that has been invaluable in helping us choose recordings for our collection. 
Acting as our earliest partner and principal vendor for the Local Music project, Soundscapes has 
                                                          
Thomas Krzyzanowski is a children's librarian at Toronto Public Library. A highlight of his job is working with an 
amazing team of TPL staff to organize the library's Make Some Noise events. 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 12 
helped us plan and build an exciting body of recordings featuring some of the best popular 
music the city has to offer.  
As library staff members worked to get the program off the ground, they received a welcome 
call from the staff at Exclaim! magazine, who were eager to get involved in this strange new 
venture. Founded in 1991 by radio DJs from Ryerson’s CKLN FM, and a leading authority on 
Canada’s popular music scene, Exclaim! has relationships with local musicians that have been 
key in developing the library’s collection and its associated events.  
In addition to our partnerships with Exclaim! and Soundscapes, the Local Music collection has 
enjoyed fruitful relationships with other Canadian music industry organizations, including 
Blocks Recording Club, The Polaris Music Prize, and the Juno Awards.  
While the Local Music program has been quietly enriching TPL’s CD collection, the project’s 
associated events have received far noisier attention. The collection was launched with two 
concerts in November 2006, hosted at the system’s two largest libraries. The first, at the North 
York Central Library, was a revue of the members of Blocks Recording Club, and featured 
performances by Bob Wiseman, The Creeping Nobodies, Ninja High School, Hank, and Owen 
Pallett (at the time performing under the stage name Final Fantasy). Following this was a 
concert at the Toronto Reference Library with Greater Toronto Area bands Elliot Brood, Lal, The 
Great Lake Swimmers, The Old Soul, and Shad. The positive public response to these initial 
concerts encouraged the Local Music team to continue to plan events at local libraries, and out 
of this, the Make Some Noise series emerged.  
Bruce Peninsula at the North York Central Branch 
Make Some Noise, Nov. 7, 2009  
Photo by Susan Kernohan  
Katie Stelmanis at the Bloor/Gladstone Branch  
Make Some Noise, Nov. 20, 2009 
Photo by Susan Kernohan  
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 13 
Make Some Noise is a performance and workshop 
series that brings musicians, artists and members of 
the Toronto local music community into libraries 
around the city to share their varied talents (much in 
the way an author might visit a local library branch to 
do a reading from a new book). Over the years the 
library has hosted concerts by such wide-ranging acts 
as hardcore provocateurs Fucked Up, gothic folkists 
Timber Timbre, local fan favourites Ohbijou, and rising 
power-pop star Diamond Rings, to name but a few. The 
program has also included DJ workshops, music 
journalist Q&As, and documentary video screenings to 
help foster a connection between our collections, local 
performers, and our users.  
Make Some Noise events are always free and for all 
ages, and we encourage interested members of the 
public from all of Toronto’s diverse communities to 
attend.  
“Some of the most rewarding moments for us as 
organizers have involved seeing library visitors 
unexpectedly encounter local bands for the first time,” 
says Make Some Noise originator Lisa Heggum. “We love 
it that we are providing a safe and welcoming space to 
experience innovative new music for people who might 
find it challenging to make it out to a traditional club or 
concert venue.“ 
TPL has been further encouraged by discovering other 
library systems around North America that have started 
similar initiatives, either on their own or using TPL as a model.  
The Guelph Public Library held a local music event in July 2011, and kindly credited TPL’s Local 
Music program as an influence in their planning. The Greater Sudbury Public Library has also 
started inviting local musicians to play in their branches, and is building connections with media 
outlets and retailers to promote their efforts. Finally, south of the border, the Iowa City Public 
Library (in a move perhaps divining things to come) has started an online, downloadable 
collection of recordings by local musicians, available for free to any card-holding member of 
their community.  
More or Les at the North York Central Branch 
Make Some Noise, Nov. 3, 2007  
Photo by Susan Kernohan  
 
 
The Magic at the North York Central Branch 
Make Some Noise, Nov. 20, 2010 
Photo by Susan Kernohan  
 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 14 
In 2010, Make Some Noise was recognized by the Ontario Library Association when they 
awarded the program with a Media and Communications Award for its innovations in 
promoting the Local Music Collection. 
Through the Local Music Collection and Make Some Noise event series, the Toronto Public 
Library has developed important connections with one of the most exciting segments of the 
Canadian arts industry. TPL has also demonstrated its willingness to support local culture on its 
own terms: raucous, dynamic, frequently disorganized and occasionally controversial. Allowing 
the local music community to help determine the direction of the program has always been a 
guiding tenet and a major factor in its ongoing success. 
We have created a collection and events series that appeal to demographic populations that 
historically have been difficult to draw into public library spaces. These people may not have 
seen the role for the public library in their lives. Providing the opportunity to stop by the library 
to hear a band play or to borrow the latest indie rock CD demonstrates TPL’s commitment to 
serving these users alongside all of Toronto’s many other faces. Moreover, it highlights the 
deeper cultural significance of the institution of the public library, and the value that our library 
system in Toronto places on creativity, intellectual exploration, inclusivity and community.  
 
The Local Music program staff maintains a blog to share information about the collection and 
events. Find out more about the program by visiting www.torontopubliclibrary.ca/noise. 


Making Noise: Toronto Public Library's Local Music Project

Guise, Janneka

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 3 
Message from the President / Message de la présidente 
 
 
The ground is still white in Winnipeg, but 
the sounds of running water and chirping 
birds assure us that Spring is in the air!  
 
Your CAML Board has been busy over the 
winter. The Board voted in September to 
apply for membership in the Federation 
for the Humanities and Social Sciences 
(FHSS), and submitted our application 
package in December. I am happy to 
report that FHSS voted at its Annual 
General Meeting on March 23, 2013, to 
accept CAML as a new member! What 
does this mean for CAML members? 
 
 The CAML annual conference will be 
held as part of the FHSS Congress 
each year. We have often met with 
Congress in recent years, but as non-
members of FHSS (for example, 2008 
at UBC and 2009 at Carleton). 
 The Canadian University Music 
Society (CUMS) normally meets with 
Congress, which means our joint 
conference relationship will continue. 
 CAML will save money: the cost of 
participating in Congress as a member 
of FHSS is approximately one-third 
that of the cost to non-member 
associations. 
 FHSS organizes Congress registration, 
accommodation options, A/V and 
catering on behalf of member 
associations participating in the 
conference. 
 
Speaking of the CAML conference: plans 
are well underway for the 2013 CAML 
conference in Victoria, British Columbia. 
The dates are June 6-8, and as mentioned 
we will meet as part of the FHSS Congress. 
Check the Congress website for more 
details. I hope to see you there! 
 
  
Le sol est encore blanc à Winnipeg, mais le chant des 
oiseaux et celui des ruisseaux qui se réveillent nous 
assurent que le printemps est dans l’air! 
 
Le conseil d’administration de l’ACBM n’a pas chômé 
cet hiver. En septembre, il a voté en faveur de son 
adhésion à la Fédération des sciences humaines (FSS) 
et a soumis son dossier de demande en décembre. Je 
suis heureuse de vous annoncer que la FSS a accepté 
notre demande lors de son Assemblée générale 
annuelle, qui s’est tenue le 23 mars 2013, et que 
l’ACBM en est maintenant membre. Qu’est-ce que 
cela signifie pour les membres de l’ACBM? 
 
 
 Le congrès annuel de l’ACBM se tiendra dans le 
cadre de celui de la FSS. Nous nous sommes 
souvent réunis lors de son congrès au cours des 
dernières années, mais en tant que non-membres 
(p. ex : en 2008 à la UBC et en 2009 à Carleton). 
 La Société de musique des universités canadiennes 
(SMUC) se joint ordinairement à notre congrès, et 
cela ne changera pas. 
 L’ACBM économisera de l’argent : le coût de 
participation au congrès en tant que membre de la 
FSS représente environ un tiers du montant que 
doit payer une association qui n’en est pas 
membre. 
 La FSS s’occupe de l’inscription, du logement, de 
l’aspect audiovisuel et du traiteur pour toutes les 
associations membres qui participent au congrès. 
 
 
 
 
 
D’ailleurs, sachez que les préparatifs vont bon train 
relativement au Congrès 2013 de l’ACBM qui se 
tiendra à Victoria, en Colombie-Britannique, du 
6 au 8 juin. Comme nous l’avons déjà mentionné, nous 
nous intégrerons au congrès de la FSS. Rendez-vous 
sur le site Web du Congrès pour obtenir de plus 
amples renseignements. J’espère vous y rencontrer! 
 
   
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 4 
I was delighted to be asked by Roger Flury, 
President of IAML, to sit on the Ad-Hoc 
Committee on the Restructuring of IAML. 
It has been a pleasure to work online and 
by telephone with colleagues Richard 
Chesser (British Library), John Roberts 
(University of California at Berkeley), and 
Barbara Wiermann (Hochschule für Musik 
und Theater) in drafting our report for the 
IAML Board. We submitted the report last 
month, and the Board and Council of IAML 
will discuss the recommendations at the 
upcoming IAML conference in Vienna, 
Austria, to be held July 28 to August 2, 
2013. 
 
Earlier this year, Desmond Maley (Review 
Editor for CAML Review), Cheryl Martin 
(President-Elect for CAML), and I wrote a 
letter to Dr. Daniel Caron at Library and 
Archives Canada (LAC) on behalf of the 
CAML Board. The letter points out how the 
recent changes at LAC affect music 
librarians and music scholars across the 
country. The letter is reproduced within 
this issue, and will also be available on the 
CAML website. 
 
The CAML Board allocated money to a 
CAML First-Time Conference Presenter 
Award. After considering the applications, 
the selection committee offered the award 
to Kyra Folk-Farber, a Master of 
Information candidate at the University of 
Toronto. Dr. Folk-Farber will present her 
paper, “Classical Musicians & Copyright in 
the Digital Age: A Preliminary 
Investigation” at the CAML conference in 
Victoria, British Columbia in June. 
 
This issue of the CAML Review highlights 
local music collections across the country. 
Sean Luyk describes a local music project 
at the University of Alberta, while also 
providing background on the discourse on 
collecting local music in libraries. Carolyn 
Doi writes about the Saskatchewan Music 
Collection at the University of 
J’étais ravie que Roger Flury, président de l’AIBM, me 
demande de siéger au comité spécial sur la 
restructuration de l’AIBM. J’ai eu grand plaisir à 
travailler en ligne et au téléphone avec mes collègues 
Richard Chesser (British Library), John Roberts 
(University of California at Berkeley) et 
Barbara Wiermann (Hochschule für Musik und 
Theater) à la rédaction du rapport à présenter au 
conseil d’administration de l’AIBM. Nous le lui avons 
soumis le mois dernier et le Bureau ainsi que le conseil 
d’administration de l’AIBM discuteront de nos 
recommandations lors du prochain congrès de l’AIBM 
qui doit se tenir à Vienne, en Autriche, du 28 juillet au 
2 août 2013. 
 
 
Au début de l’année, je me suis jointe à 
Desmond Maley (responsable des comptes rendus 
pour la Revue de l’ACBM) et à Cheryl Martin 
(présidente désignée de l’ACBM) pour écrire une lettre 
à M. Daniel Caron de Bibliothèque et Archives Canada 
(BAC), de la part du conseil d’administration de 
l’ACBM. La lettre soulignait les diverses manières par 
lesquelles les récents changements apportés à BAC 
touchent aux bibliothécaires de musique et aux 
musicologues partout au pays. Nous avons reproduit 
cette lettre dans le présent numéro et elle sera 
également affichée sur le site Web de l’ACBM. 
 
Le conseil d’administration de l’ACBM a alloué une 
somme au Prix décerné à un participant faisant un 
exposé pour la première fois au congrès de l’ACBM. 
Après avoir étudié les dossiers qui lui ont été soumis, 
le comité de sélection a offert le prix à Mme Kyra Folk-
Farber, candidate à la maîtrise en Sciences de 
l’information à l’Université de Toronto. Mme Folk-
Farber présentera son exposé : « Classical Musicians & 
Copyright in the Digital Age: A Preliminary 
Investigation » (Les musiciens classiques et le droit 
d’auteur à l’époque numérique : une enquête 
préliminaire) lors du Congrès de l’ACBM à Victoria, en 
Colombie-Britannique, en juin. 
 
Le présent numéro de la Revue de l’ACBM fait valoir 
les collections de musique locale dans tout le pays. 
Sean Luyk nous décrit un projet de musique locale de 
l’Université de l’Alberta, tout en contextualisant la 
discussion relative à la collecte de musique locale par 
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 1 (APRIL / AVRIL 2013)  PAGE 5 
Saskatchewan, which features mainly 
popular music and includes Aboriginal, 
religious, and school music. Thomas 
Krzyzanowski discusses the Local Music 
program at the Toronto Public Library, 
which includes collection policies for local 
popular music and the Make Some Noise 
performance and workshop series. 
Kimberly White and Cynthia 
Leive document the history and 
significance of a 19th-century sheet music 
collection recently acquired by the Marvin 
Duchow Music Library at McGill University. 
My sincere thanks to the authors and to 
Cathy Martin (Editor) and her team for all 
their hard work in putting together this 
issue.  
 
My term as President of CAML will end in 
June following our Annual General 
Meeting, so this is my last President’s 
Message for the CAML Review. It has been 
my pleasure, and a wonderful learning 
experience, serving you in this role. I look 
forward to working with Cheryl Martin, 
your President-Elect, and the rest of the 
Board in the coming year as Past 
President. I hope to see many of you in 
Victoria! 
 
 
Warm Regards, 
 
Janneka Guise 
Acting Head, Architecture/Fine Arts & 
Music Libraries 
University of Manitoba 
 
les bibliothèques. Carolyn Doi nous parle de la 
collection de musique de la Saskatchewan de 
l’Université de la Saskatchewan, qui met 
principalement en valeur la musique populaire, y 
compris la musique autochtone et religieuse, ainsi que 
la musique interprétée par des élèves et des groupes 
communautaires. Thomas Krzyzanowski aborde le 
programme de musique locale de la Bibliothèque 
publique de Toronto, qui inclut une politique 
d’enrichissement de la collection de musique locale 
populaire, des spectacles de la série Make Some Noise 
et des ateliers afférents. Kimberly White et 
Cynthia Leive reviennent en arrière et soulignent 
l’importance de la collection de partitions de musique 
en feuilles du 19e siècle que la Bibliothèque de 
musique Marvin Duchow de l’Université McGill a 
récemment acquise. Je remercie de tout cœur les 
auteurs de ces articles, ainsi que Cathy Martin 
(rédactrice en chef) et son équipe, pour avoir travaillé 
avec acharnement à colliger ce numéro. 
 
Ma présidence de l’ACBM se terminera en juin, 
ultérieurement à notre Assemblée générale annuelle. 
C’est donc la dernière fois que je rédige le Message de 
la présidente pour la Revue de l’ACBM. Vous servir en 
assumant ce rôle m’a procuré énormément de plaisir 
et m’a beaucoup appris. En tant que présidente 
sortante, je suis impatiente de travailler avec 
Cheryl Martin, la présidente désignée, ainsi qu’avec le 
reste du conseil d’administration au cours de l’année 
qui vient. J’espère voir beaucoup d’entre vous à 
Victoria! 
 
 
Sincèrement, 
 
Janneka Guise 
Chef intérimaire, Bibliothèques de l’architecture et des 
beaux-arts, et de la musique 
Université du Manitoba  
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
 
      
 


French

Message from the President / Message de la présidente

Not a member yet