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

Martin, Cheryl

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 3 
President’s Report / Message de la présidente 
 
The CAML Board met via Skype on October 
21. We welcomed Sean Luyk as Member-
at-Large, and look forward to working with 
him over the next two years. We discussed 
the logistics of next year’s conference, and 
decided to offer the First-Time Conference 
Presenter Award again this year. I 
suggested that the call for Program Chair 
and Local Arrangements Chair for the 
following year’s conference be made 
earlier in the year, so that they can be 
announced at the AGM and the Chairs can 
begin to plan the conference with our 
Canadian University Music Society 
(MusCan) colleagues. This will allow us to 
align our processes more closely with 
those of MusCan and of the Congress. If 
you are considering taking on either of 
these roles for our 2015 conference at the 
University of Ottawa, please respond to 
the request for volunteers for these 
positions, which will be sent out early in 
2014.  
Meanwhile, plans for next year’s CAML 
conference are proceeding. The program 
committee is Brian MacMillan (Chair), Jan 
Guise, and Becky Smith. Joanne Paterson 
and I are working on local arrangements. 
We are working closely with our MusCan 
colleagues Karin di Bella and Matthew 
Royal, both at Brock. I hope that many of 
you will be able to join us at Brock May 28-
30, 2014, and that you will consider 
participating in the program as a speaker 
or session chair. 
The Board has discussed options for 
offering a lower membership rate to those 
who work as paraprofessionals, such as 
library assistants. This could involve, for 
example, expanding the student/ 
 Le conseil d’administration de l’ACBM s’est réuni au 
moyen de Skype le 21 octobre dernier. Nous avons 
accueilli Sean Luyk en tant que conseiller et nous 
sommes enthousiastes à l’idée de travailler avec lui au 
cours des deux prochaines années. Nous avons 
discuté de la logistique relative au congrès de l’an 
prochain et avons décidé d’offrir une fois de plus le 
Prix décerné à un participant faisant un exposé pour la 
première fois au congrès de l’ACBM. J’ai suggéré que 
l’on recrute le président du programme et le 
président de la logistique du congrès de l’année 
suivante plus tôt au cours de l’année. On pourrait 
ainsi annoncer leur nom lors de l’assemblée générale 
annuelle et ceux-ci seraient en mesure de commencer 
à planifier le congrès en collaboration avec nos 
collègues de la Société de musique des universités 
canadiennes (MusCan). Cela nous permettrait de 
mieux harmoniser notre planification avec celle de 
MusCan relativement au congrès. Si vous souhaitez 
occuper l’un de ces postes lors du congrès de 2015, 
qui se tiendra à l’Université d’Ottawa, veuillez 
répondre à la demande de bénévoles qui sera 
envoyée au début de 2014.  
 
Entre-temps, la planification du prochain congrès de 
l’ACBM progresse. Le comité chargé du programme se 
compose de Brian MacMillan (président), de 
Janneka Guise et de Becky Smith. Je suis responsable, 
avec Joanne Paterson, des préparatifs sur place. Nous 
collaborons de près avec nos collègues de MusCan, 
Karin di Bella et Matthew Royal, tous deux de 
l’Université Brock. J’espère que vous serez nombreux 
à vous joindre à nous du 28 au 30 mai 2014, à 
l’Université Brock, et que vous envisagerez également 
la possibilité de participer au programme à titre de 
conférencier ou de président de séance. 
 
Le conseil a discuté de la possibilité d’offrir des frais 
d’adhésion réduits aux personnes exerçant des 
activités paraprofessionnelles, comme les assistants 
de bibliothèque. Cela pourrait supposer, par exemple, 
que l’on élargisse la catégorie étudiant/sans-
 
  
 
 
 
   
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 4 
unwaged/retired category to include 
paraprofessionals, who often do not have 
access to institutional funds to pay for 
their memberships in CAML and IAML. The 
Board supports the idea in principle and 
looks forward to the possibility of 
providing more accessible membership 
opportunities. A change of this nature 
requires approval from the membership, 
though, so a proposal will be on the 
agenda for discussion at the 2014 AGM. 
Earlier this month I sent out a request for a 
CAML member to take responsibility for 
the association’s elections as Nominations 
Officer. This is in preparation for next 
year’s elections! The Nominations Officer 
will be asking for nominations for the 
positions of President-Elect and Secretary; 
their terms will begin after the AGM in 
May 2014. Please consider standing for 
election next year. 
This issue of CAML Review includes a range 
of content related to music librarianship. 
The conference call for papers and the call 
for First-Time Conference Presenter Award 
applications are included here; they have 
also been sent through CAML’s listserv, 
CANMUS_L. Becky Smith has written a 
report on the 2013 IAML conference in 
Vienna, and Sophie Rondeau has 
contributed an article on searching and 
browsing Naxos Music Library. There are 
also several reviews of books and 
recordings. I hope you will find some 
interesting and informative reading in this 
issue! 
With best wishes for a wonderful holiday 
season, 
Cheryl Martin 
Acting Head, Metadata Access  
Western University 
emploi/retraité pour y inclure ceux qui exercent des 
activités paraprofessionnelles, qui ont rarement accès 
à des fonds institutionnels pour payer leurs frais 
d’adhésion à l’ACBM et à l’AIBM. Le conseil approuve 
en principe cette idée et serait heureux de rendre 
l’adhésion accessible à plus de gens. Un changement 
de cette nature requiert cependant l’approbation des 
membres. Cette proposition sera donc mise à l’ordre 
du jour de l’assemblée générale annuelle de 2014, 
pour qu’on en discute. 
 
Au début du mois de novembre, j’ai annoncé notre 
recherche d’un responsable des mises en candidature 
en vue des élections de l’association devant se tenir 
l’an prochain. Le responsable des mises en 
candidature vous demandera de proposer la 
candidature de gens aux postes de président désigné 
et de secrétaire. Leur mandat débutera après 
l’assemblée générale annuelle de mai 2014. Veuillez 
envisager la possibilité de vous présenter aux 
prochaines élections. 
 
Vous trouverez dans le présent numéro un vaste 
contenu relatif à la bibliothéconomie de la musique. 
La demande d’exposés pour le congrès et l’offre du 
Prix décerné à un participant faisant un exposé pour la 
première fois au congrès de l’ACBM y sont incluses. 
Elles ont également été envoyées au moyen de la liste 
de diffusion de l’ACBM, CANMUS-L. Becky Smith a 
rédigé un rapport portant sur le congrès de l’AIBM à 
Vienne et Sophie Rondeau a soumis un article sur la 
recherche et le furetage dans la Discothèque Naxos. 
La revue comprend également plusieurs critiques de 
livres et d’enregistrements. J’aime croire que votre 
lecture sera à la fois intéressante et instructive! 
 
Je profite de l’occasion pour vous souhaiter de 
merveilleuses Fêtes.  
Cheryl Martin 
Chef intérimaire, Accès aux métadonnées, Université 
Western 
 
Traduction : Marie-Marthe Jalbert 
Révision : Marie-Andrée Gagnon 
       
 


President’s Report / Message de la présidente

Luyk, Sean

 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 8 
RILM Canada: Update / Mise à jour 
 
By/de Sean Luyk 
 
 
Dear CAML Members: 
 
I am excited to have been given the 
opportunity to chair the RILM Canada 
Committee, and am delighted to have Lisa 
Emberson continue on as co-chair.  
 
In the past, much of the work of this 
committee has been supported by 
volunteers from the CAML membership, 
and it is for this reason that we write to 
you. 
 
The RILM Canada Committee is seeking 
volunteers to abstract the following: 
 
1. Core Journals (*where an author 
supplied abstract was not included. All 
journal content is abstracted.): 
 
Les cahiers de la Société Québécoise de 
Recherche en Musique 
MUSICultures 
Intersections: Canadian Journal of Music 
Musicological Explorations 
Studies in Music from the University of 
Western Ontario 
Canadian Journal of Music Therapy/Revue 
canadienne de musicothérapie 
 
2. Secondary Journals (*only substantial 
contributions are abstracted (e.g. 
reviews of at least 1 page in length, 
articles, etc.): 
 
CAML Review/Revue de l’ACBM 
Canadian Folk Music Bulletin 
 Chers membres de l’ACBM, 
 
Je suis heureux qu’on m’ait donné l’occasion de 
présider le comité RILM Canada et enchanté de 
ce que Lisa Emberson ait bien voulu prolonger 
son mandat de coprésidente. 
 
Par le passé, ce sont des bénévoles de l’ACBM 
qui ont en grande partie soutenu le travail que 
fait notre comité et c’est la raison pour laquelle 
je vous écris. 
 
Le comité RILM Canada est à la recherche de 
bénévoles pour rédiger des résumés de ce qui 
suit : 
 
1. Des articles tirés de revues spécialisées 
(pour lesquels l’auteur n’a pas rédigé de 
résumé. Tout le contenu de la revue sera 
résumé.) : 
 
Les Cahiers de la Société québécoise de 
recherche en musique 
MUSICultures 
Intersections : Revue canadienne de musique 
Musicological Explorations 
Studies in Music from the University of Western 
Ontario 
La Revue canadienne de musicothérapie 
 
2. Des revues secondaires (seules les 
contributions importantes seront résumées; 
p. ex. : comptes rendus d’au moins une 
page, articles, etc.) : 
 
Revue de l’ACBM 
BULLETIN de musique folklorique 
 
  
 
 
 
   
 CAML REVIEW / REVUE DE L’ACBM  41, NO. 3 (NOVEMBER / NOVEMBRE 2013)  PAGE 9 
Canadian Music Educator 
Canadian Winds: The Journal of the 
Canadian Band Association/Vents 
canadiens: Revue de l'Association 
canadienne de l'harmonie 
Musicworks 
Opera Canada 
Recherche en éducation musicale  
 
3. Monographs: 
 
The RILM Canada Committee requires a 
volunteer to take on the responsibilities 
of coordinating abstracts for French 
language monographs. This person would 
select items for RILM and either find 
volunteers to write the abstracts, solicit 
author abstracts, or write the abstracts 
themselves. There is a list of books from 
the monographs backlog if anyone is 
interested in performing this task. 
Approximately ten hours a month plus 
“current awareness” browsing of MLA 
Notes, Fontes “Recent Publications,” and 
other selection tools would be required. 
 
For information on forms and guidelines 
for selection and abstracting, contact: 
 
Sean Luyk: 780-492-6779 
sean.luyk@ualberta.ca 
RILM home page: http://www.rilm.org 
 
Sean Luyk 
Chair, RILM Canada Committee 
 
Canadian Music Educator 
Vents canadiens : Revue de l’Association 
canadienne de l’harmonie 
Musicworks 
Opera Canada 
Recherche en éducation musicale 
 
3. Des monographies : 
 
Le comité RILM Canada est à la recherche d’un 
bénévole qui voudra bien coordonner la 
rédaction des résumés des monographies 
françaises. Il devra choisir les articles du RILM et 
soit trouver des bénévoles responsables d’écrire 
un résumé, soit demander aux auteurs d’en 
fournir un, soit le rédiger lui-même. Il existe 
d’ailleurs une liste de monographies dont les 
résumés n’ont pas encore été rédigés; avis aux 
intéressés! Il faudra consacrer environ dix 
heures par mois à cette tâche, en plus de se 
garder à jour en lisant les Notes de la MLA, les 
« Recent Publications in Music » de Fontes et 
d’autres revues. 
 
Pour obtenir plus de renseignements au sujet 
des formulaires et des lignes de conduite 
régissant la sélection et la rédaction de 
résumés, veuillez communiquer avec : 
 
Sean Luyk : 780-492-6779 
sean.luyk@ualberta.ca 
Page d’accueil du RILM : http://www.rilm.org 
 
Sean Luyk, président du comité RILM Canada 
 
        
 


French

RILM Canada: Update / Mise à jour

English

Scene but Not Heard: Collecting Local Music

Gonder, Jon

As at First - Adam Sherkin, piano (CD Review)

Jurkowski, Edward

Mapping Canada’s Music: Selected Writings of Helmut Kallmann  (Book Review)

Toccata: Music by Barbara Pentland (CD Review)

Maloney, Timothy

O Music: The Music of Allan Gilliland (CD Review)

Keil, Klaus

Parker, Gerald

Rahn, Jay

Wehrle, Marlene

 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 20 
HELMUT KALLMANN: MEMORIES AND TRIBUTES 
 
BY KLAUS KEIL, GERALD PARKER, JAY RAHN, AND MARLENE WEHRLE 
 
 
FROM KLAUS KEIL: 
 
We would like to pay tribute to Helmut Kallmann. 
  
RISM (Répertoire international des sources musicales) has in its archive many letters 
from Helmut Kallmann from between 1973 and 1987 (as far as I can find from a brief 
search). In a notice from 1987, he writes that his engagement for RISM had started 
more than 30 years ago, i.e. around 1957. The main part of the Canadian RISM records 
provided for series B 1 and 2, A/I (over 2000) and A/II (over 200) were sent by Helmut 
Kallmann.  
 
I first made his acquaintance in 1984, when he visited the RISM Zentralredaktion in 
Kassel on a trip through Germany, which he made in spite of the bad experiences in his 
youth. I met him again at the IAML conference in Ottawa in 1994. 
 
In the last letter, dated 1987, from my predecessor Joachim Schlichte to him, Helmut 
Kallmann's retirement was discussed. RISM benefited greatly from his contributions. 
 
~~~~~~~~~~ 
 
KLAUS KEIL is Director of the RISM Zentralredaktion, Frankfurt am Main, Germany. He 
studied theology and musicology with Helmut Hucke, Ludwig Finscher, Hans Heinrich 
Eggebrecht, Winfried Kirsch and Klaus Hortschansky in Frankfurt am Main and Freiburg 
im Breisgau. He began working freelance with the RISM Zentralredatkion in 1982 and in 
1988 he became a research associate. Since 1991, he has been the director of the 
RISM Zentralredaktion.  
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
 
 
FROM GERALD PARKER: 
 
I worked for a few years with Dr. Helmut Kallmann. I was Edward B. Moogk’s successor 
as head of the Recorded Sound Collection in the Music Division of the National Library 
(NLC), of which Dr. Kallmann (or "Dr. K") as I liked to call him) was in charge; before 
that I was head of the Music Cataloguing Section in the Cataloguing Branch of the NLC 
and I had had many occasions then, also, to work with Ed Moogk and Dr. Kallmann. As 
many have observed, Dr. K was a quiet and somewhat unassuming, retiring sort of 
man.  
 
 
 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 21 
Dr. K was, however, quite (and rightly) proud of his work and of being such an absolute 
authority about Canadian classical and folk music, something which was incontestable. 
On Canadian popular music of then recent decades, however, Dr. K was only very 
generally informed and could be comically confused about it at times; I’ll never forget his 
totally inapt description of Hagood Hardy’s music! Because the work of collecting and 
documenting recorded sound in Canada so largely centred on popular music and jazz, 
and, for that matter, even on non-musical recordings, Dr. K took less direct interest in 
sound recordings than in Canadian music manuscripts, printed music, and books. I 
appreciated this, however, since he allowed such great latitude to the work that I (and 
Ed Moogk before me) did to preserve Canada’s heritage of recorded sound.  
 
I almost had forgotten how meticulous Dr. K was about his own and others’ writing; he 
scrutinized all divisional correspondence very carefully, assigned his own filing numbers 
(a well-devised system) to each letter, and assured that any letters sent out in the 
division’s name were accurate and well composed and also retrievable with reasonable 
ease, making the correspondence files useful as documentation of Canadian 
"musicalia". I had less interpersonal contact with Dr. K, but, like all of the staff of the 
Library and of the Encyclopedia of Music in Canada, I held him in great esteem. 
 
~~~~~~~~~~ 
 
GERALD PARKER is a native of California, educated at the University of Massachusetts in 
Boston (B.A. in Music) and at Kent State University (M.L.S.). He served in professional 
positions at the New England Conservatory and at the Boston Public Library before 
taking up his first Canadian music library post at the University of Western Ontario. He 
then worked at the National Library of Canada and at the Université du Québec à 
Montréal. Upon retirement he moved to Rouyn-Noranda, QC, where he now lives. He 
has published widely in English and French, including in numerous prestigious 
American, Canadian, and British periodicals. 
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
 
 
FROM JAY RAHN: 
 
Toward the end of the fall semester of John Beckwith's 1968-69 course on North 
American music at the University of Toronto's Faculty of Music, I decided to write an 
essay on the first Canadian English-language music publication, Stephen Humbert's 
Union Harmony (1801). Unknown to me, John contacted Helmut, who sent me a copy of 
the book and I spent the Christmas holidays analyzing and researching its author and 
contents. The essay later became the basis for my entries on Humbert and the Union 
Harmony in the first edition of the EMC. Most important, the contact with a real primary 
source fired my enthusiasm for basic research. 
 
~~~~~~~~~~ 
 
 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 22 
JAY RAHN is Professor (Music) at York University. Among his publications on Canadian 
music are a life-and-works book on LaRena Clark (with Edith Fowke) as well as several 
analytical and historical studies of English- and French-language traditional songs of 
Canada.  
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
 
 
FROM MARLENE WEHRLE: 
 
I would like to share a couple of reminiscences that show Helmut's lighter side. In 1971, 
I had a summer job in the Music Division at the National Library, just one year after 
Helmut's appointment as Division Chief. On arriving at the office one day he told his 
staff that, while listening to CBC Radio that morning, he had been shocked to hear what 
he considered a less-than-beautiful recording of a singer. He decided that she must 
have been famous, since nothing else could justify the broadcast. He then gave a brief 
and quite comical imitation of what he had heard. At that moment a colleague from a 
neighbouring division walked by, giving Helmut a startled look. Without missing a beat, 
Helmut explained: "But it wasn't me, it was Kathleen Ferrier!"  
  
One day shortly before Helmut retired in 1987, I was with him in his office that 
overlooked Wellington Street when, glancing out the window at the traffic below, he said 
"There goes my birthday bus!" "Birthday bus?" I enquired, while wondering if he was 
starting to lose his marbles. He explained that it was bus number 7822, which was the 
date of his birthday: 7 August 1922. He went on to say that he spotted it regularly, 
usually on a few specific routes, and had even ridden on it a few times. Of course, his 
attention to detail extended far beyond the world of music. Many years after leaving 
Berlin, he was able to provide his native city with details about streetcar routes that 
were in effect when he had lived there in his youth. It was only natural that he would 
note the numbers on Ottawa city buses, with a special fondness for No. 7822. 
 
~~~~~~~~~~ 
 
MARLENE WEHRLE worked as a librarian at the National Library/Library and Archives 
Canada for over 30 years, in the Legal Deposit Office and the Music Division. At the 
time of her retirement in 2009, she was Head of the Printed Music Collection. She 
enjoys reading and needlepoint, sings in the Ottawa Choral Society, and volunteers with 
a therapeutic riding program. 
 
 
 


Helmut Kallmann: Memories and Tributes

Guise, Janneka

 
CAML REVIEW 40, NO. 1 (APRIL 2012)   PAGE 3 
PRESIDENT’S REPORT / MESSAGE DE LA PRÉSIDENTE 
 
Welcome to Spring, everyone!   
 
I was fortunate to attend the 81st Annual 
Meeting of the Music Library Association 
(MLA) in Dallas, Texas (February 15-19, 
2012).  It was wonderful to see over a 
dozen CAML members there, including 
some new faces.  Some highlights of the 
conference for me were:  the evening out 
at the Dallas Symphony concert, during 
which the MLA members got to sit in the 
choir loft BEHIND the orchestra; the 
opening plenary session on Thursday 
which highlighted jazz special collections 
at the University of North Texas; a very 
moving baroque concert on Thursday 
afternoon celebrating the life and work of 
Lenore Coral, to kick off the fundraising 
campaign for the Lenore F. Coral IAML 
Travel Grant; and our own Andrew 
Hankinson (McGill University) talking 
about the Optical Chant Recognition 
project he’s working on.  Read Carolyn 
Doi’s report in this issue to learn more 
about the meeting’s sessions and 
events. 
 
CAML was invited to coordinate and staff 
the IAML table in the MLA Exhibit Hall 
this year, and our members willingly 
gave up some of their free time to stand 
at the table and promote IAML 
membership to MLA passers-by.  We 
also took the opportunity to promote the 
upcoming IAML 2012 conference in 
Montreal.  A big THANK-YOU to 
everyone who helped out! 
 
Speaking of IAML 2012, the local 
organizing committee (Joseph Hafner, 
Brian McMillan, and Daniel Paradis) 
continues to work tirelessly in Montreal.  
The program and events are posted 
online (http://iaml.montreal2012.info), 
and Early-Bird registration is open until 
May 13th. The conference Facebook 
page 
(http://www.facebook.com/aibm.iaml.2012) 
 Cordiales salutations printanières à chacun! 
 
Du 15 au 19 février 2012, j’ai eu le privilège 
d’assister à la 81e assemblée annuelle de la Music 
Library Association (MLA) à Dallas, au Texas. 
J’étais heureuse d’y voir plus d’une dizaine de 
membres de l’ACBM, y compris des nouveaux. À 
mon avis, certains des points culminants de ce 
congrès ont été le concert de la Dallas Symphony 
au cours duquel les membres de la MLA ont pu 
s’asseoir dans la corbeille DERRIÈRE l’orchestre; 
la séance d’ouverture du jeudi où les collections 
spéciales de jazz de la University of North Texas 
ont été mises en valeur; un concert baroque très 
émouvant, donné le jeudi après-midi, où l’on 
célébrait la vie et l’œuvre de Lenore Coral pour 
amorcer la campagne de financement de la 
subvention de voyage Lenore F. Coral de l’AIBM; 
ainsi que l’exposé de l’un des nôtres, 
Andrew Hankinson (Université McGill), qui nous a 
entretenus d’un projet auquel il travaille : la 
reconnaissance optique du chant grégorien. Pour 
en savoir plus sur les séances et les événements 
de cette assemblée, veuillez lire le rapport de 
Carolyn Doi dans le présent numéro.  
 
Cette année, on avait invité les membres de 
l’ACBM à tenir le kiosque de l’AIBM et à 
représenter l’association dans la salle des 
exposants de la MLA, et nos membres ont 
volontiers donné de leur temps libre pour le faire. 
En plus de promouvoir l’adhésion à l’AIBM auprès 
des passants, ils ont également saisi cette 
occasion pour faire la promotion du prochain 
congrès AIBM 2012 à Montréal. Un grand MERCI 
à tous ceux qui nous ont prêté main-forte! 
 
En ce qui concerne l’AIBM 2012, le comité 
organisateur régional à Montréal, composé de 
Joseph Hafner, de Brian McMillan et de 
Daniel Paradis, y travaille sans relâche. Le 
programme et les événements ont été affichés sur 
le site http://aibm.montreal2012.info; vous pouvez 
vous inscrire à l’avance jusqu’au 13 mai. Sur la 
page Facebook du congrès 
(http://www.facebook.com/aibm.iaml.2012), vous 
trouverez des cartes, ainsi qu’une liste de 
restaurants locaux. Des événements et des 
   
 
CAML REVIEW 40, NO. 1 (APRIL 2012)   PAGE 4 
highlights local restaurants, maps, 
events, and festivals that will be taking 
place while we’re in Montreal.  Why not 
“like” the page and post your own 
Montreal “must-see” suggestions? 
 
The IAML Strategy Committee would like 
your feedback!  They are preparing 
recommendations on the “Future of 
IAML.”  Each national branch has been 
asked to respond to a series of questions 
about the organization.  You can view 
the questions on the CAML site:  
http://www.yorku.ca/caml/drupal/?q=en/n
ode/108. If you have feedback you would 
like to share, I would love to hear from 
you at jan_guise@umanitoba.ca.  
 
It was with great sadness that we noted 
the passing of Dr. Helmut Kallmann on 
February 12, 2012. (Please see Maria 
Calderisi’s “In Memoriam: Helmut 
Kallmann (1922-2012)” in this issue.) Dr. 
Kallmann was a co-founder of CAML, 
and was the first Chief of the Music 
Division at the National Library of 
Canada.  For an overview of his projects, 
achievements, and influence, see his 
entry in The Encyclopedia of Music in 
Canada:              
http://www.thecanadianencyclopedia.co
m/articles/emc/helmut-kallmann. The 
next issue of the CAML Review (August 
2012) will be devoted to Dr. Kallmann’s 
life and work. A call for contributions will 
go out soon.  
 
Periodically, CAML presents the Helmut 
Kallmann Award for Distinguished 
Service relating to music libraries and 
archives.  This year, the Kallmann Award 
will be presented on Monday night, July 
23 at the BAnQ reception during the 
IAML conference. 
 
Janneka Guise 
University of Manitoba 
jan_guise@umanitoba.ca 
festivals se tenant à Montréal pendant le congrès y 
sont également inscrits. Pourquoi ne pas cliquer 
sur « Like » et afficher vos suggestions quant aux 
activités à ne pas manquer à Montréal? 
 
Le comité de stratégie de l’AIBM aimerait avoir 
votre opinion tandis qu’il prépare des 
recommandations relatives à l’avenir de l’AIBM. On 
a demandé à chacun des bureaux nationaux de 
répondre à une série de questions relatives à 
l’organisation. Vous pouvez les lire sur le site de 
l’ACBM : 
http://www.yorku.ca/caml/drupal/?q=fr/node/109. 
Pour toute rétroaction, veuillez m’écrire à l’adresse 
suivante : jan_guise@umanitoba.ca. Je me ferai 
un plaisir de lire vos commentaires.  
 
C’est avec beaucoup de tristesse que nous avons 
appris le décès de M. Helmut Kallmann, LL. D., le 
12 février 2012. (Voir l’article de Maria Calderisi 
« In Memoriam : Helmut Kallmann (1922-2012) » 
dans le présent numéro.) M. Kallmann a été le 
cofondateur de l’ACBM de même que le premier 
chef de la Division de la musique à la Bibliothèque 
nationale du Canada. Pour en savoir plus sur ses 
projets, ses réalisations et l’influence qu’il a 
exercée, voir l’entrée suivante dans l’Encyclopédie 
de la musique au Canada : 
http://www.thecanadianencyclopedia.com/articles/fr
/emc/helmut-kallmann. Le prochain numéro de la 
Revue de l’ACBM (août 2012) sera consacré à la 
vie et à l’œuvre de M. Kallmann. Nous vous 
demanderons bientôt de nous fournir des articles à 
cet égard. 
 
Tous les deux ou trois ans, l’ACBM présente le 
Prix Kallmann à un candidat qui s’est distingué par 
l’excellence de ses services au sein des 
bibliothèques ou des archives de musique. Cette 
année, le Prix Kallmann sera décerné le 
lundi 23 juillet, lors de la réception de la BAnQ qui 
se tiendra pendant le congrès de l’AIBM. 
 
Janneka Guise 
Université du Manitoba 
jan_guise@umanitoba.ca 
 
Traduction : Marie-Marthe Jalbert 
Révision : Francine Lemay 
      
 


Miller, Mark

 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 16 
THE GENTLEST OF GENTLEMEN 
 
BY MARK MILLER 
 
 
When Richard Green asked me in February if I would like to prepare a few remarks that 
could be read at the memorial service held at that time for Helmut in Ottawa, he did so 
with the suggestion that I was, as he put it, the “last surviving member of the EMC 
editorial team.” 
 
That’s an alarming thought, and not entirely true, inasmuch as my fellow associate 
editors of the second edition of the Encyclopedia of Music in Canada (EMC)—Dr. Robin 
Elliott in Toronto and Claire Versailles in Montreal—are of course very much with us. 
  
But yes, we’ve now lost all of the senior members of EMC’s founding editorial team—
Mabel Laine first, then Gilles Potvin, Ken Winters last year, Pat Wardrop in January, 
and now Helmut. 
  
I joined that team in 1975 as Helmut’s researcher at the National Library. We were . . .  
an odd match. I was still in university and very much beholden to jazz in particular, and 
to pop music more generally, and, as such, worlds away from the classical traditions 
that were so dear to Helmut’s heart. But he made me welcome, he trusted the research 
that I did for him, and he started me on a path to what would soon become my life’s 
work. 
  
He was “Dr. Kallmann” to me in those early years, and “HK” on the editorial and 
research memos that flew back and forth between EMC’s Ottawa, Toronto and Montreal 
offices. In time, I came to feel that I could call him “Helmut,” and if he objected to my 
presumption of familiarity, he never let it be known. He was, always, unfailingly polite—
the gentlest of gentlemen. 
  
EMC was very much a product of its time—a time when cultural nationalism was in the 
air, and the funding to document the pride that we were beginning to take in this 
country’s achievements was readily available . . . a time, alas, that seems, on both 
counts, to have passed. 
  
Helmut had long before understood the importance of Canada’s music history—and of 
documenting that history. His Catalogue of Canadian Composers from 1952 and his 
History of Music in Canada from 1960 were seminal works, both in terms of establishing 
the field of study and in terms of setting the standards to which EMC, in particular, 
would aspire. He was, therefore, the logical person to play a central role when John 
Beckwith, Floyd Chalmers, Keith MacMillan, Michael Koerner, and others, each in their 
way, set EMC in motion more than 40 years ago. 
  
 CAML REVIEW 40, NO. 2 (AUGUST 2012)   PAGE 17 
Helmut was of course abetted editorially in the first edition by Ken Winters and Gilles 
Potvin, and in the second by Gilles and to a lesser degree, Pat, Claire, Robin and me. 
Helmut, Ken and Gilles all had their own, designated responsibilities—Helmut’s was 
content, Ken’s was style and Gilles’ was Quebec—but in truth they freely assumed each 
others’ mantles. Those of us who worked on the first edition remember well, if ruefully, 
the “triangling” sessions that would find them in a room together for two or three days, 
once or so a month, going over every word of every article. Helmut was especially good 
when it came to details. 
  
It is to Helmut’s great credit as content editor—and to Ken’s and Gilles’, too, in their 
respective roles—that EMC, from the first, held its door open to all musical activity in 
Canada, no matter the editors’ personal thoughts about any given aspect of it. 
  
As a respectful aside, I have to say that I don’t think Helmut ever quite “got” jazz; more 
than once, he asked me if there were scores that he could follow . . . 
  
But he understood the importance of making EMC all-embracing, all-inclusive. EMC 
was that much more valuable for it, and Canada has been that much richer for EMC. 
  
It was a honour and a privilege to have worked with him on it. 
 
~~~~~~~~~~ 
 
MARK MILLER is the author of 10 books about jazz, including several about jazz in 
Canada, and served from 1978 to 2005 as the jazz critic for The Globe and Mail. 
 
 
 
 
 


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