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)

s.n., s.n.

 CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 12 
CAML CONFERENCE 2011 – PROGRAMME AND ABSTRACTS 
CONGRÈS DE L'ACBM 2011 – PROGRAMME DU CONGRÈS ET  
RÉSUMÉS DE COMMUNICATIONS 
 
JUNE 2–5, 2011 / 2–5 JUIN 2011 
MOUNT ALLISON UNIVERSITY, SACKVILLE, NB 
 
TRADUCTION FRANÇAISE : HÉLÈNE BOUCHER, LISE VIENS 
 
 
FRIDAY 3 JUNE / VENDREDI 3 JUIN 
 
CAML / ACBM 1 
9:30–10:30 
Music Library Updates from the World of Cataloguing: Reports and Discussion Period  
 
Daniel Paradis (Concordia University) 
Joseph Hafner (McGill University) 
 
 
CUMS/SMUC et CAML/ACBM Plenary Session 1 / Séance plénière 1 
11:00–12:30 
Keynote Address / Conférence principale 
 
Robin Elliott 
Jean A. Chalmers Chair in Canadian Music, University of Toronto / titulaire de la chaire Jean A. 
Chalmers pour la musique canadienne à l’Université de Toronto 
 
 
Istvan Anhalt: A Portrait from Memory / Istvan Anhalt : un portrait de mémoire 
with / avec la collaboration de David Rogosin (Mount Allison University), piano 
 
Istvan Anhalt’s last composition, Four Portraits from Memory, was completed in 2006. Each of 
the work’s four movements is a reflection in sound about the qualities of a friend or relative of 
the composer. As I write this ab-stract in mid-March 2011, the composer is gravely ill, confined 
to bed in the cancer wing of the Kingston General Hospital. In the course of several visits to him 
in February and March of 2011, I have had occasion to reflect on his long career, and especially 
on the past 40 years, during which time he has been my teacher, colleague, and friend. In this 
portrait from memory, I reflect on what Anhalt has accomplished in his lifetime, and what his 
career and friendship have meant to me, to others with whom he has enjoyed close 
relationships, and to Canadian music in general. Topics to be discussed in this talk include post-
war composition and theory in Europe and Canada, émigré musicians in North America, and the 
relationship between teaching, learning, and scholarship. 
 CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 13 
Robin Elliott is a professor of musicology and Associate Dean, Undergraduate Education at the 
Faculty of Music at the University of Toronto, where he also holds the Jean A. Chalmers Chair 
in Canadian Music and is the Director of the Institute for Canadian Music. In addition to his 
administrative duties, he remains dedicated to classroom teaching at both the undergraduate 
and graduate levels. He is currently supervising the doctoral thesis work of a dozen students, 
eight of whom are working on various topics within the field of Canadian music studies. A book 
of essays titled Musical Traditions, Cultures, and Contexts, which he co-edited with Gordon 
Smith for Wilfrid Laurier University Press, was published in April 2010. 
 
La dernière composition d’Istvan Anhalt, Four Portraits from Memory, a été achevée en 2006. 
Chacun des quatre mouvements de l'œuvre est une réflexion sonore sur les qualités d'un ami 
ou un parent du compositeur. Au mo-ment où j'écris ce résumé à la mi-Mars 2011, le 
compositeur est gravement malade, alité dans l'aile de cancer du Kingston General Hospital. Au 
cours de plusieurs de mes visites en février et mars 2011, j'ai eu l'occasion de réflé-chir sur sa 
longue carrière, et en particulier sur les 40 dernières années, durant lesquelles il a été mon 
professeur, collègue et ami. Dans ce portrait évocateur, je réfléchis à ce qu’Anhalt a accompli 
dans sa vie, et ce que sa carrière et son amitié ont signifié pour moi, aux autres personnes avec 
lesquelles il a entretenu des relations étroites, et à la musique canadienne en général. Les 
sujets abordés dans cet exposé sont la composition et la théorie d'après-guerre en Europe et 
au Canada, les musiciens émigrés en Amérique du Nord, et la relation entre l'enseignement, 
l'apprentissage et la mission professorale. 
 
Robin Elliott est professeur de musicologie et vice-doyen, Études de premier cycle à la Faculté 
de musique de l'Uni-versité de Toronto, où il occupe également la Chaire de musique 
canadienne Jean A. Chalmers et dirige l'Institute for Canadian Music. En plus de ses fonctions 
administratives, il se consacre toujours à l'enseignement, tant au niveau du premier cycle 
qu’aux cycles supérieurs. Il supervise actuellement les thèses de doctorat d'une douzaine 
d'étudiants. Huit d’entre eux travaillent sur des sujets variés en musique canadienne. Un recueil 
d’essais intitulé Music Traditions, Cultures, and Contexts coédité avec Gordon E. Smith aux 
éditions Wilfrid Laurier University Press est paru en avril 2010. 
 
 
 
CAML / ACBM 2 
14:00–15:30 
Music Library Collection Development Policies and Their Impact on the  
Academic Enterprise 
Janneka Guise (University of Manitoba), chair 
  
Joseph Hafner (McGill University) 
Cynthia Leive (McGill University) 
Alastair Boyd (University of Toronto) 
 
 
 
 
 CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 14 
CAML / ACBM 3 
16:00–17:00 
 
Planning Meeting for IAML 2012 
 
 
SATURDAY, 4 JUNE / SAMEDI 4 JUIN 
 
CAML / ACBM 4 
9:00–10:30 
 
19th-century Canadian sheet music 
Peter Higham (Mount Allison University), Chair 
 
 
The Henry Frost Collection: Primary Source Material for Studying Music Education in 
Upper Canada 
James Mason (University of Toronto) 
 
The University of Toronto Music Library recently received a digital collection consisting of 
photographic images representing the music manual of Henry Frost. Henry Frost was an 
educator in the York Region of Upper Canada around 1835-1850. His manual consists of 12 
volumes of instructional material covering the basics and fundamentals of music. 
 
This presentation will address the historical context within which education and specifically 
music education played in Upper Canada. The contents of the manuals will be explored. Finally, 
the origins of the collection as well as the presentation and methods of accessing the collection 
will be discussed. 
 
La Collection Henry Frost : source primaire de documentation pour l’étude   
de l’éducation musicale dans le Haut-Canada 
 
La bibliothèque de musique de l'Université de Toronto a récemment reçu une collection 
numérique composée d’images photographiées du manuel de musique d’Henry Frost. Henry 
Frost fut un professeur dans la région de York du Haut-Canada dans les années 1835-1850. 
Son manuel comprend 12 volumes de matériel didactique couvrant les notions élémentaires et 
les principes fondamentaux de la musique. 
 
Cet exposé abordera le contexte historique de l’enseignement et plus particulièrement de 
l’enseignement de la musique dans le Haut-Canada. Le contenu des volumes sera étudié. 
Enfin, les ori-gines de cette collection ainsi que sa présentation et ses méthodes d'accès seront 
discutés. 
 
 
 CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 15 
Canadians in the Landscape: Music and Images Featuring Rural Themes  
in Early Canadiana Sheet Music, ca.1867–1920 
Tim Neufeldt (University of Toronto) 
 
The use of cover art on sheet music was commonplace in the late 19th century, with many 
North American and British publishing houses featuring illustrations on their covers as 
promotional devices intended to attract consumer interest in their product. Typical images were 
of well-liked dance-hall musicians or poignant moments in scenes from musicals. Given the 
commercial significance of these portrayals, the numerous Canadian publications that 
emphasize nature settings or humans in the landscape on their covers is a testament to the 
influence these images had in the minds of early Canadians. The illustrations directly appealed 
to the public’s sense of self image, solidifying the importance of mythologized nature as an 
underlying fabric of this country’s self identity and reinforcing a larger nationalist sentiment, 
albeit in words and images more than the fabric of the music itself. 
 
This virtual exhibition, drawn from the University of Toronto’s Faculty of Music Library, provides 
a window into the cultural mindset of a group of people who lived at a time in Canadian history 
when national identity was being forged. The many facets of the Canadian experience revealed 
by this exhibition are a testament to the endurance these individuals faced as they struggled to 
make a living from the incredibly harsh landscape. 
 
Les Canadiens dans la nature : musique et illustrations mettant en valeur les thèmes 
ruraux  dans la musique en feuilles canadienne d’antan, ca 1867-–1920 
 
L'utilisation d’illustrations sur les partitions était monnaie courante à la fin du 19e siècle, alors 
que de nombreuses maisons d'édition nord-américaines et britanniques illustraient les 
couvertures de leurs partitions dans le but d’attirer l'intérêt des consommateurs à l’égard de leur 
marchandise. Les illustrations typiques étaient celles de musiciens de bals populaires ou des 
moments intenses de scènes de comédies musicales. Étant donné l’importance commerciale 
de ces illustrations, les nombreuses couvertures de publications canadiennes illustrées de 
paysage ou d’êtres humains témoignent de l'influence que ces images pouvaient avoir sur 
l'esprit des premiers Canadiens. Ces illustrations reflétaient l’image que le public avait de lui-
même en renforçant l’importance de la nature, élevée au rang de mythe, en tant que facteur 
sous-jacent à la création de l'identité canadienne. Les paroles et les illustrations figurant sur la 
partition contribuaient à renforcer le sentiment nationaliste plus que la musique elle-même.  
 
Cette exposition virtuelle, créée par la Bibliothèque de la Faculté de musique de l’Université de 
Toronto ouvre une fenêtre sur la mentalité culturelle d'un groupe de gens qui vivaient à une 
époque de l’histoire canadienne où l'identité nationale se forgeait. Plusieurs aspects de la 
réalité canadienne révélés par cette exposition témoignent de l'endurance de ces gens face aux 
difficultés d’établissement dans un environnement incroyablement dur. 
 
 
 
 
 
 CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 16 
Pride and Progress: Sheet Music Publishing in Halifax, 1849 – 1860 
Michelle Boyd (University of Toronto) 
 
In the late 1840s, several Halifax book sellers entered into the sheet music industry, publishing 
works composed by local musicians. Examining the body of scores extant in Canadian archives, 
this paper contends that these publica-tions were a manifestation of the spirit of pride in Nova 
Scotian achievement burgeoning in the province in the mid-nineteenth century. 
 
Fierté et progrès: la publication des partitions musicales à Halifax, de 1849 à1860 
 
Vers la fin des années 1840, plusieurs libraires d’Halifax sont entrés dans l'industrie de la 
musique en feuille en publiant des œuvres composées par des musiciens locaux. Par l'examen 
de l’ensemble des partitions encore exis-tantes dans les archives canadiennes, cette 
communication allègue que ces publications représentaient une ma-nifestation de la fierté des 
Néo-Écossais réalisant un succès florissant dans la province au milieu du XIXe siècle. 
 
 
 
CAML / ACBM 5 
11:00–12:00 
 
Hot Topics for Music Librarians 
Brian McMillan, Chair 
 
 
 
 
CUMS/SMUC et CAML/ACBM  Plenary Session 2 / Séance plénière 2 
14:00–15:15 
 
Information Literacy for University Musicians /  
Compétences informationnelles pour les musiciens au niveau universitaire 
Suzanne Meyers Sawa (University of Toronto), Chair 
 
 
Lisa Philpott (University of Western Ontario) 
Cathy Martin (McGill University) 
Elizabeth Wells (Mount Allison) 
Kevin Morse (University of Western Ontario) 


French

CAML Conference 2011 – Programme and Abstracts / Congrès de l'ACBM 2011 – Programme du congrès et résumés de communications

Keillor, Elaine

Music Traditions, Cultures & Contexts (Book Review)

Guise, Paul

Beyond Talent: Creating a Successful Career in Music (Book Review)

a, n

Complete issue

Guise, Janneka

 
CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 3 
PRESIDENT’S REPORT / MESSAGE DE LA PRÉSIDENTE 
 
I am delighted to assume my new 
role as CAML President. It is an 
exciting time for CAML members, 
with more electronic music 
resources available to music 
librarians and our clients, the 
merger of MLA with the IAML-US 
chapter south of the border, and 
some great new initiatives in the 
works here in Canada. 
 
I would like to thank Kirsten Walsh 
for her hard work as CAML 
President over the past 2 years. I 
look forward to working with her in 
her role as Past President in the 
year to come. 
 
Thank you also to Cathy Martin, 
the CAML Review Editor, Cheryl 
Martin, Associate Editor, and 
Review Editor Desmond Maley, for 
producing this issue of the CAML 
Review. 
 
This year‟s CAML conference, held 
jointly with the Canadian University 
Music Society (CUMS), was a 
resounding success! We met in 
Sackville, NB, at Mount Allison 
University. Highlights of this year‟s 
programme included a stirring 
keynote address by Robin Elliott, 
Jean A. Chalmers Chair in 
Canadian Music at the University 
of Toronto. His address, titled 
“Istvan Anhalt: A Portrait from 
Memory” gave an account of the 
life and works of Anhalt, as well as 
personal reminiscences of Anhalt 
as a professor and mentor. Brian 
McMillan chaired a “Hot Topics” 
session that sparked lively 
discussion. It is always comforting 
to know others struggle with the 
same issues (e.g., online sheet 
 Je suis enchantée d‟assumer mon nouveau 
rôle à titre de présidente de l‟ACBM. Pour 
les membres de l‟ACBM, il se passe des 
moments passionnants : davantage de 
ressources musicales électroniques offertes 
aux bibliothécaires de musique et à notre 
clientèle, la fusion de la Music Library 
Association (MLA) et de la section 
américaine de l‟Association internationale 
des bibliothèques, archives et centres de 
documentation musicaux (AIBM), au sud de 
la frontière, et des nouvelles initiatives de 
travaux entreprises au Canada. 
 
J‟aimerais remercier Kirsten Walsh pour 
son travail assidu à titre de présidente de 
l‟ACBM au cours des deux dernières 
années. J‟ai hâte de travailler avec elle 
dans son rôle d‟ancienne présidente pour 
l‟année à venir. 
 
Merci également à Cathy Martin, éditrice de 
la Revue de l’ACBM, Cheryl Martin, éditrice-
adjointe, et Desmond Maley, éditeur des 
comptes rendus, pour la réalisation du 
présent numéro de la Revue de l’ACBM.  
 
Le congrès de l‟ACBM de cette année, tenu 
conjointement avec la Société de musique 
des universités canadiennes (SMUC), a 
connu un succès retentissant! Le congrès a 
eu lieu à l‟Université Mount Allison, 
Sackville, N.-B. Les points saillants du 
programme de cette année comprenaient 
une conférence principale passionnante 
présentée par Robin Elliott, de la Chaire de 
musique canadienne Jean A. Chalmers à 
l‟Université de Toronto. Sa présentation, 
intitulée « Istvan Anhalt : un portrait de 
mémoire » a témoigné de la vie et de 
l‟œuvre d‟Anhalt, de même que des 
réminiscences personnelles d‟Anhalt à titre 
de professeur et mentor. Brian McMillan a 
présidé une séance de « Sujets chauds », 
ce qui a suscité une discussion animée. 
C‟est toujours réconfortant de savoir que 
 
CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 4 
music, the future of listening 
stations), isn‟t it? (See Gillian 
Nowlan‟s report on the session in 
this issue.) The CAML/CUMS joint 
plenary session on Information 
Literacy was equally thought-
provoking. A panel of music 
librarians and music professors 
took turns sharing their thoughts 
on information literacy needs of 
today‟s music students. 
 
Suzanne Meyers Sawa 
(Programme Chair) put together an 
excellent programme, and Peter 
Higham took very good care of us 
as Local Arrangements Chair. This 
year‟s Audit Committee, consisting 
of Richard Belford and Brian 
McMillan, reviewed CAML‟s 
financial documents and presented 
a favourable report to the AGM. 
 
The CAML Board approved 
several exciting new initiatives at 
our meeting in Sackville. Watch 
CANMUS-L and future issues of 
the CAML Review for information 
on a CAML student paper award, 
and a special discounted 
registration fee for CAML members 
attending the International 
Association of Music Libraries 
conference (IAML 2012) in 
Montreal.  
 
Mark your calendars for IAML 
2012 (July 22-27, 2012) in 
Montreal! The co-chairs of the 
Organizing Committee (Joseph 
Hafner, Brian McMillan, and Daniel 
Paradis) are working overtime and 
there was a lot of buzz in Sackville 
as they unveiled the new IAML 
2012 logo and discussed 
programme ideas, possible 
keynote speakers, venues and 
events. It promises to be a 
wonderful experience and I hope 
d‟autres personnes ont des difficultés avec 
les mêmes questions (p. ex. : la musique en 
feuilles accessible en ligne, l‟avenir des 
postes d‟écoute), n‟est-ce pas? (Consultez 
le compte rendu de Gillian Nowlan de la 
séance dans ce numéro.) La séance 
plénière mixte ACBM-SMUC sur la maîtrise 
de l‟information a été aussi inspirante. Un 
panel a permis aux bibliothécaires de 
musique et professeurs de musique 
d‟échanger sur les besoins en matière de 
maîtrise de l‟information des étudiants 
actuels dans ce domaine. 
 
Suzanne Meyers Sawa (présidente du 
comité de programmation) a élaboré un 
excellent programme et Peter Higham a 
bien pris soin de nous à titre de président 
du comité de logistique. Cette année, le 
comité de vérification, comprenant Richard 
Belford et Brian McMillan, a révisé les 
documents financiers et présenté un rapport 
favorable à l‟assemblée générale annuelle. 
 
Le conseil d‟administration de l‟ACBM a 
approuvé plusieurs nouvelles initiatives 
passionnantes lors de notre rencontre à 
Sackville. Consultez la liste de diffusion 
CANMUS-L et surveillez les numéros à 
venir de la Revue de l’ACBM au sujet d‟un 
prix étudiant de la meilleure communication 
de l‟ACBM, et d‟une réduction spéciale des 
frais d‟inscription accordée aux membres de 
l‟ACBM qui participeront au congrès de 
l‟AIBM 2012 à Montréal. 
 
N‟oubliez pas de noter dans votre agenda le 
congrès de l‟AIBM 2012 (du 22 au 27 juillet 
2012) à Montréal! Les coprésidents du 
comité organisateur (Joseph Hafner, Brian 
McMillan et Daniel Paradis) travaillent 
d‟arrache-pied pour préparer ce congrès. 
De plus, on a dévoilé le nouveau logo de 
l‟AIBM 2012 à Sackville et on a présenté 
des idées de programme, de conférenciers 
de marque, de lieux de réunion et 
d'événements spéciaux. On s‟attend à ce 
que ce soit une magnifique expérience et 
j‟espère vous y retrouver. 
 
CAML REVIEW 39, NO. 2 (AUGUST 2011)   PAGE 5 
to see you there.   
 
Because Canada is hosting the 
International Association of Music 
Libraries annual conference in 
2012, in Montreal, we will not have 
a separate CAML conference in 
2012. Our Board meetings and 
Annual General Meeting will take 
place in Montreal during the IAML 
2012 conference.   
 
I, along with several other CAML 
members, am attending IAML 
2011 in Dublin, Ireland. There are 
four CAML members presenting 
papers in Dublin: Laura Snyder 
(University of Alberta) will present 
"„Next Generation‟ Search Tools: 
Do They Work for Music 
Materials?"; Andrew Hankinson 
(McGill University) will present 
"New Tools for Optical Chant 
Recognition"; Joseph Hafner 
(McGill University) will present 
"Overdrive @ McGill Library"; and 
Cheryl Martin (The University of 
Western Ontario) will present "An 
18th-Century Music Collection: 
Thomas Baker of Farnham, 
Surrey." We are all looking forward 
to a great programme, a beautiful 
and historic venue at Trinity 
College, a chance to connect with 
our international colleagues, and a 
chance to promote IAML 2012! 
 
 
Janneka Guise 
University of Manitoba 
jan_guise@umanitoba.ca 
 
Puisque le Canada sera l‟hôte du congrès 
annuel de l‟AIBM en 2012, à Montréal, 
l‟ACBM ne tiendra pas de congrès 
séparément en 2012. Nos réunions du 
conseil d‟administration et l‟assemblée 
générale annuelle auront lieu à Montréal, 
dans le cadre de ce congrès de l‟AIBM 
2012. 
 
Quelques membres de l‟ACBM et moi-
même participerons au congrès de l‟AIBM 
2011 à Dublin, en Irlande. Quatre membres 
de l‟ACBM y présenteront une 
communication : Laura Snyder (Université 
de l‟Alberta) présentera "„Next Generation‟ 
Search Tools: Do They Work for Music 
Materials?" (« Outils de recherche de la 
nouvelle génération : fonctionnent-ils pour 
la documentation musicale? »); Andrew 
Hankinson (Université McGill) présentera 
"New Tools for Optical Chant Recognition" 
(« Nouveaux outils de reconnaissance 
optique de musique »); Joseph Hafner 
(Université McGill) présentera "Overdrive @ 
McGill Library" et Cheryl Martin (Université 
Western Ontario) présentera "An 18th-
Century Music Collection: Thomas Baker of 
Farnham, Surrey" (« Fonds de musique du 
XVIII
e
 siècle : Thomas Baker de Farnham, 
Surrey »). Nous nous attendons à un très 
bon programme, dans un magnifique lieu de 
rencontre historique à Trinity College, nous 
permettant ainsi de rencontrer nos 
collègues internationaux et de promouvoir 
le congrès de l‟AIBM 2012! 
 
 
 
Janneka Guise 
Université du Manitoba 
jan_guise@umanitoba.ca 
 
 
TRADUCTION FRANÇAISE : PAULINE PRINCE, 
TERM. A. 
 
 


President's Report / Message de la présidente

Maley, Desmond

 CAML REVIEW 39, NO. 3 (NOVEMBER 2011)   PAGE 16 
THE ENCYCLOPEDIA OF MUSIC IN CANADA AT 30 
BY DESMOND MALEY 
LAURENTIAN UNIVERSITY 
 
 
As a librarian, I can attest that reference publications like The Encyclopedia of Music in 
Canada (EMC) are, if anything, all that much more important in the online era. The 
―born digital‖ generation, which has little experience with the traditional library, seems 
disinclined to spend time exploring print collections.1 But there is strong interest in the 
digital versions of such publications, which supply authoritative surveys of subjects as 
well as departure points for further investigation.  
EMC has been provided with open access on the Web by the Historica Foundation (now 
Historica-Dominion Institute) since 2003, when it was incorporated into The Canadian 
Encyclopedia (TCE). The not-for-profit institute celebrates the thirtieth anniversary of the 
publication of the first edition of EMC as it maintains and builds on that original work.   
EMC1, published in 1981 and followed by an expanded second edition in 1992, was a 
landmark event in the annals of Canadian letters. It also sparked considerable attention 
internationally. The prefaces to both editions, as well as Helmut Kallmann’s subsequent 
articles, remain essential reading for the genesis, editorial philosophy, and reception of 
this classic.  
Perhaps the greatest advantage of the print edition is that one can hold this ―tree of 
knowledge‖ in one’s hands and browse the alphabetical index to discover the variety 
that may be hidden in today’s online version. Care and attention were lavished on the 
quality of the writing, which made it accessible to a public readership. Despite the small 
typeface, one can still read it for pleasure. The lexicon is punctuated with well-chosen 
illustrations and reproductions of photographs that stimulate browsing. Both editions are 
admirable not only for the quality of their content, but for the directorial organization, in-
depth index, extensive cross-referencing, and thoroughness and clarity of the 
documentation.  
In contrast, with the online EMC, one tends to see only the ―branches.‖ The hopping 
from branch to branch has made usage more strategic than meditative. For those not 
accustomed to reading at length on a screen, printing may be required for the longer 
articles, which the website accommodates with printable versions of all entries. 
Nevertheless, searchability and the 24/7 universal access are enormous benefits. The 
online encyclopedia is also a leader in projects funded by the federal Canadian Heritage 
ministry in that it is the first to have a mobile version. When there is a standard e-reader 
with wide applicability that includes such features as text searching and note-taking, a 
downloadable EMC could well be in demand (particularly in the form of a contemporary 
app) – and reading for pleasure could make a comeback. 
                                                          
1. The pendulum may eventually swing back in terms of the valuation of print collections. There are 
unresolved issues of access, ownership, preservation, learning styles across the generations, 
technological change, and close reading in the online era.  
 CAML REVIEW 39, NO. 3 (NOVEMBER 2011)   PAGE 17 
Remarkable progress has been made in updating EMC’s entries as well as adding new 
ones, given the limited funding and small editorial team (six part-time editors). Additions 
to the encyclopedia include genres previously not covered, or given limited coverage. 
Photographs, videos and sound files are included, although the video and sound files 
are often only snippets because of copyright restrictions. All are searchable by media 
type. Plans are being carried out to embed public video sources within the context of the 
articles. Full-text searching by keyword is easy and there is a subject index for those 
who like to browse. Articles are hyperlinked to related content within EMC and most 
contain links to related sites such as the Canadian Music Centre, the home pages of 
individuals and organizations, and videos from YouTube. All external links are vetted for 
authority and suitability for classroom use.   
Updating and expanding content is a priority. Certainly articles have no lack of readers. 
According to Editor-in-Chief James Marsh, who oversees both the online The Canadian 
Encyclopedia and The Encyclopedia of Music in Canada, the site had 505,000 unique 
visitors during the month of September 2011. Of these, approximately 100,000 went to 
EMC, vastly more people than have had access to, or read, the print editions. Given the 
increased emphasis on the measurement of scholarly activity, academic contributors 
can not only note that they are writing for Canada’s premiere e-reference on music, they 
could also point to the number of visits the pages are drawing.  
The institute contracts out to have its site usage analyzed on a monthly basis. Visits to 
the EMC pages for university music programs are particularly frequent. The institute 
also tries to keep pace with hot topics such as pop phenom Justin Bieber. But it also 
remains responsible to its mandate to be comprehensive and inclusive, and less-visited 
entries are no less important in terms of offering a website of encyclopedic scope and 
breadth.  
The impetus to develop a digital EMC dates to the late 1990s. On the initiative of S. 
Timothy Maloney, who was then Director of the National Library of Canada’s Music 
Division, the EMC Board and the University of Toronto Press authorized digitization of 
EMC2 as a National Library project. A text-only version was mounted in 2001 using 
database software developed by the National Library’s information technology staff. 
EMC2 may still be viewed on the Library and Archives Canada website, although there 
is a message on the home page that directs visitors to the Historica-Dominion site. 
There were efforts to publish a third print edition of EMC. Canada Council grants were 
obtained to hire a contract researcher-writer, and Maloney volunteered to edit 
approximately 200 of the articles that were subsequently written. Proposals were also 
made to the Heritage ministry. Funding, however, was not forthcoming, and this time 
there was no Floyd Chalmers, the benefactor to whom both print editions were 
dedicated. 
Maloney, who by this point was EMC Board Chair, worked with James Marsh and the 
Historica Foundation to obtain funding from the ministry to incorporate the full content of 
EMC into the TCE website. The application was successful, whereupon the EMC Board 
dissolved and all of the rights were given to Historica (in 2009, Historica merged with 
the Dominion Institute to create the Historica-Dominion Institute). The institute, through 
 CAML REVIEW 39, NO. 3 (NOVEMBER 2011)   PAGE 18 
TCE, assumed responsibility for EMC under the editorship of Marsh with associate 
editor Laura Bonikowsky and a small but dedicated team. 
Given the fluid nature of websites, when can it be said that a new edition of EMC really 
emerged? A touchstone would be the revision of the major articles as well as new 
material on the twenty-first century musical landscape. One need look no farther than 
the pages of CAML Review to see how much Canada’s musical culture has evolved 
over the past twenty years – highlighted, for example, in Patricia Debly’s impressive 
survey of the shifting currents of musicology,2 or in the CD and book reviews on a rising 
generation of composers and performers.  
One theme, however, does remain a constant. It is incumbent upon Canadians to tell 
the story in all of its complexity and variety. That was true in 1981, and it remains no 
less true today. Occasionally there are worthwhile contributions from the international 
sphere, but nothing can match EMC for its comprehensiveness and richness. Let us 
hope that scholars, musicians, composers, librarians, teachers, journalists and other 
interested parties will take up the torch both in terms of providing content and ensuring 
that funding continues to be available for this important national resource.  
 
WORKS CONSULTED 
The author gratefully acknowledges email correspondence and/or telephone interviews 
with Laura Bonikowsky, Sarah Church, Florence Hayes, S. Timothy Maloney, and 
James Marsh.  
Beckwith, John. Music Papers: Articles and Talks by a Canadian Composer, 1961-
1994. Ottawa: Golden Dog, 1997. 
Kallmann, Helmut. ―The Making of a One-Country Music Encyclopedia: An Essay after 
an Encyclopedia.‖ Fontes Artis Musicae 41, no. 1 (1994): 3-19. 
 ———. ―Mapping Canada’s Music: A Life’s Task.‖ In Music in Canada / La Musique au 
Canada: A Collection of Essays, v. 1, edited by Guido Bimberg, 11-34. Bochum: 
Universitätsverlag Dr. Norbert Brockmeyer, 1997.   
 
Kallmann, Helmut, and Gilles Potvin. ―Preface.‖ In Encyclopedia of Music in Canada, 
2nd ed., edited by Helmut Kallmann and Gilles Potvin, xv-xvi. Toronto: University of 
Toronto Press, 1992. 
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters. ―Introduction.‖ In Encyclopedia 
of Music in Canada, xi-xiv. Toronto: University of Toronto Press, 1981. 
                                                          
2. Patricia Debly, ―Pirates, Humpty Dumpty and a Brazilian Bishop: The Myth of Musicology,‖ CAML 
Review 29, no. 2 (2001): 33-40. 
 


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CAML Conference 2011 – Programme and Abstracts / Congrès de l'ACBM 2011 – Programme du congrès et résumés de communications

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