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.]

Quebec chapter photos / Photos de de la Section québécoise de l'ACBM

s.n., s.n.

Minutes of the CAML/ASBM Annual General Meeting, 2009

Kirsch, Erika

 25 
 
Resources: Searching for Music for Performance (Scores and Parts) 
 
Compiled by Erika Kirsch, McGill University 
 
Sources of information about sheet music 
 
 Emusicquest: The Music-in-Print Series (online version of the original print series) 
 WorldCat 
 Karlsruhe Virtual Catalog:  http://www.ubka.uni-karlsruhe.de/kvk_en.html 
 Bonner Katalog: Verzeichnis reversgebundener musikalischer Aufführungsmateriale.     
Berlin: Walter De Gruyter, 2009. 
 Library and Archives Canada; Library of Congress 
o http://www.collectionscanada.gc.ca/ 
o http://www.loc.gov/ 
 Local catalogues of other institutions with music collections 
 Oxford Music Online – useful for verifying opus numbers, correct titles 
 Library of the institution where the composer taught 
 IAMIC (International Association of Music Information Centres) 
o http://www.iamic.net/ 
 Religious or ethnic music information centres 
o e.g. Milken Archive of American Jewish Music:  http://www.milkenarchive.org/ 
 PROs (Performing Rights Organizations) 
o BMI – Broadcast Music, Inc.:  http://www.bmi.com/ 
o ASCAP – American Society of Composers, Authors and Publishers 
http://www.ascap.com/index.aspx 
o SOCAN – Society Of Composers, Authors and Music Publishers of Canada 
http://www.socan.ca/ 
 MPA (Music Publishers Association); CMPA (Canadian Music Publishers Association) 
o http://mpa.org/ 
o http://www.musicpublishercanada.ca/ 
 Composer web pages, including those maintained by scholarly institutes 
 Guides to repertoire by ensemble type 
o Daniels, David. Orchestral Music: A Handbook. 4th ed. Lanham, MD: Scarecrow Press, 
2005.  Well-known for its instrumentation, publication, and timing information. 
 Orchestral Music Online (online version of Daniels’ book) 
o Eaton, Quaintance. Opera Production: A Handbook. 2 vols. Minneapolis, MN: 
University of Minnesota Press, 1961-1974. Handy for opera orchestra instrumentations. 
o Shrock, Dennis. Choral Repertoire. Oxford: Oxford University Press, 2009. 
o Rehrig, William H. Heritage Encyclopedia of Band Music: Composers and Their Music. 
3 vols. Westerville, OH: Integrity Press, 1991-1996.  
o Manning, Lucy. Orchestral "Pops" Music: A Handbook.  Lanham, MD: Scarecrow Press, 
2009. 
 26 
 
 
 Schneider, Klaus. Lexikon Programmusik. 2 vols. Kassel: Bärenreiter, 1999-2000.  
This resource can help you plan your program by suggesting themes. 
 Chwialkowski, Jerzy. The Da Capo Catalog of Classical Music Compositions. New York: Da 
Capo Press, 1996.  
This book breaks down large works into their various parts (by movement, by aria, etc.). 
 Other ensemble librarians: Major Orchestra Librarians’ Association (MOLA) 
o http://www.mola-inc.org 
 
Sources for acquiring sheet music 
 
 Petrucci Music Library, which includes the Choral Public Domain Library 
o http://imslp.org/wiki/Main_Page 
 Educational Music Service, or any other local music dealer/supplier 
o http://www.emsmusic.com/ 
 Hal Leonard Corporation 
o http://www.halleonard.com/ 
 Reprint houses: Kalmus, Luck’s, Broude Brothers 
o http://www.kalmus-music.com/ 
o http://www.lucksmusic.com/ 
o http://www.broude.us/ 
 Publisher websites 
o http://www.schott-music.com/ 
o http://www.universaledition.com/ 
o http://www.henle.de/ 
o http://www.baerenreiter.com/ 
o http://www.breitkopf.de/ 
o http://www.edition-peters.com/home.php 
 Rental agents  
o http://www.boosey.com/ 
o http://www.schirmer.com/ 
o http://www.eamdllc.com/ (European American Music Distributors) 
o http://www.cpmusiclibrary.ca/ (Canadian agent for Oxford University Press, Edition 
Peters, and others) 
 Canadian Music Centre 
o http://www.musiccentre.ca/ 
 Edwin A. Fleisher Collection of Orchestral Music 
o http://libwww.freelibrary.org/collections/collectionDetail.cfm?id=14 
 Orchestra Musician’s CD-ROM Library 
 Sources for jazz charts 
o http://www.marinamusic.com/ 
o http://www.uncjazzpress.com/ 
o http://www.otterdist.com/ 


Resources: Searching for Music for Performance (Scores and Parts)

Jurkowski, Edward

3 Concerti (CD Review)

Walsh, Kirsten

  3 
 
President’s Report / Message de la présidente 
 
 
It was good to see so many of you at 
our recent conference in Regina, and I 
hope that you enjoyed the meeting. 
The joint program of CAML and 
CUMS (Canadian University Music 
Society) offered stimulating sessions 
on many topics, and included a 
number of concerts. Some of the 
twenty-seven CAML attendees also 
found time to attend sessions of the 
other two societies who were meeting 
conjointly, the Canadian Society for 
Musical Traditions and the Canadian 
branch of the International 
Association for the Study of Popular 
Music. 
 
A big thank-you must go to the 
friendly and welcoming folks at the 
University of Regina, especially Bill 
Sgrazzutti, who handled our local 
arrangements and worked with his 
CUMS colleagues to ensure that 
everything ran smoothly. They also 
organized several excellent receptions 
and our closing banquet. The 
delicious buffet was served in the 
elegant Hotel Saskatchewan, a CPR 
hotel which opened in 1927. 
 
Thanks also to Jan Guise and the 
Program Committee for organizing a 
great program, and to the session 
chairs and presenters. The abstracts 
are included in this issue. One of the 
highlights was the Keynote session 
“Great Debate 2010,” where four 
plucky debaters argued the pros and 
cons of the question: “Be it 
resolved…music librarians don’t 
need music degrees.” Speaking in the 
affirmative, Brian McMillan and 
Kenneth Delong did their eloquent 
  
Ce fut bien agréable de rencontrer un 
bon nombre d’entre vous lors de notre 
dernier congrès à Regina, et j’espère que 
vous l’avez aimé. Le programme 
combiné de l’ACBM et de la Société de 
musique des universités canadiennes 
(SMUC) a offert des présentations 
stimulantes sur plusieurs sujets et inclus 
quelques concerts. Parmi les 27 
participants de l’ACBM, certains ont 
trouvé le temps d’assister aux 
présentations des deux autres sociétés 
qui tenaient un congrès mixte, la Société 
canadienne pour les traditions musicales 
et la section canadienne de l’Association 
internationale pour l’étude de la musique 
populaire. 
 
Des remerciements sincères s’adressent 
aux personnes si amicales et 
accueillantes de l’Université de Regina, 
particulièrement à Bill Sgrazzutti, 
président du comité de logistique, qui a 
travaillé avec les membres de la SMUC 
afin de s’assurer que tout marche 
rondement. Ces personnes ont aussi 
organisé quelques réceptions 
exceptionnelles et notre banquet de 
clôture. Notre délicieux buffet a été servi 
dans le chic Hotel Saskatchewan 
construit par le Canadien Pacifique en 
1927. 
 
Des remerciements s’adressent 
également à Jan Guise et au comité de 
programmation pour avoir organisé un 
très bon programme, aux présidents de 
séance et aux communicateurs. Vous 
trouverez dans le présent numéro les 
résumés de communications. Un des 
faits saillants a été la séance plénière II 
intitulée « Grand débat 2010 », où 
quatre courageux participants ont 
  4 
 
best to convince the audience, while 
Lisa Rae Philpott and Barbara Reul 
argued passionately against the 
resolution. It was both entertaining 
and thought-provoking, and the 
affirmative team did sway some 
votes, but in the end, the majority of 
the audience vote remained negative.  
 
The results of our spring election 
were announced at the Annual 
General Meeting. Jan Guise was 
acclaimed as Vice-President/ 
President-Elect, and Laura Snyder 
was acclaimed for her second term as 
Secretary. Kyla Jemison was 
appointed Membership Secretary, and 
Stacy Allison-Cassin joined the 
Board as Communications Officer. 
Peter Higham completed his four-
year term as Vice-President/ 
President-Elect, President and Past 
President. I would like to thank Peter 
for his dedication and contributions to 
CAML, and for his support during 
my first year as President. Our first 
Audit Committee, consisting of Brian 
McMillan and Lucinda Walls, 
reported on their review of the 
accounts. Their work enables us to 
save paying the considerable cost of 
an audit, and we thank them for their 
efforts. 
 
Cathy Martin makes her debut as 
Editor of CAML Review with this 
issue. Cheryl Martin deserves a 
special thanks for her many years of 
dedicated work as Editor, and for 
providing ongoing support to Cathy 
as Associate Editor. 
 
Lisa Emberson has handed the 
responsibility for RILM Canada over 
to Gilles Leclerc, and has been 
training him to co-ordinate the 
débattu le pour et le contre de la 
question suivante : « Qu’il soit résolu 
que… les bibliothécaires de musique 
n’ont pas besoin de diplômes en 
musique ». Ceux qui étaient en faveur de 
cette résolution, Brian McMillan et 
Kenneth Delong, ont tenté de convaincre 
l’assistance avec éloquence, tandis que 
Lisa Rae Philpott et Barbara Reul ont 
débattu avec passion contre la 
résolution. Ce fut à la fois divertissant et 
inspirant, et l’équipe du pour a obtenu 
bon nombre de votes, mais à la fin, la 
majorité de l’assistance a appuyé 
l’équipe du contre. 
 
Les résultats de notre élection du 
printemps ont été annoncés à 
l’assemblée générale annuelle. Jan Guise 
a été nommée présidente désignée et le 
mandat de Laura Snyder a été renouvelé 
au poste de secrétaire. Kyla Jemison a 
été nommée secrétaire aux adhésions et 
Stacy Allison-Cassin a joint les rangs du 
conseil d’administration à titre de 
directrice des communications. Peter 
Higham a terminé son mandat de quatre 
ans à titre de président désigné, 
président et président sortant. Je tiens à 
remercier Peter pour son dévouement et 
son apport à l’ACBM et pour son appui 
au cours de ma première année à titre de 
présidente. Notre premier comité de 
vérification, composé de Brian 
McMillan et Lucinda Walls, a fait 
rapport de sa révision des comptes. Le 
travail du comité nous permet 
d’économiser les frais considérables 
d’une vérification, et nous remercions 
les membres du comité pour leurs efforts 
déployés. 
 
Avec le présent numéro, Cathy Martin 
fait ses débuts à titre d’éditrice de la 
Revue de l’ACBM. Cheryl Martin mérite 
des remerciements bien particuliers pour 
  5 
 
submission of abstracts to RILM.  
Gilles joined the Music Division of 
Library & Archives Canada last year.  
Thank you, Lisa, for your many years 
of dedicated work on our behalf.   
 
Next year’s conference will again be 
held jointly with CUMS, and will 
take place at Mount Allison 
University in Sackville, New 
Brunswick from June 2–5, 2011. 
Peter Higham has kindly offered to 
host us, and Suzanne Meyers Sawa 
will chair the Program Committee. 
Mark your calendars, and I hope you 
will be able to attend.  
 
 
 
Kirsten Walsh 
University of British Columbia 
kirsten.walsh@ubc.ca  
ses nombreuses années de dévouement à 
titre d’éditrice et pour son appui 
constant à Cathy comme éditrice 
adjointe. 
 
Lisa Emberson a transmis ses 
responsabilités de la section canadienne 
du Répertoire international de littérature 
musicale (RILM), section Canada, à 
Gilles Leclerc et l’a formé pour 
coordonner les propositions de résumés 
de communications au RILM. Gilles 
s’est joint à la Division de la musique de 
Bibliothèque et Archives Canada l’an 
dernier. En notre nom, merci, Lisa, pour 
tes nombreuses années de dévouement.   
 
L’an prochain, un congrès mixte se 
tiendra à nouveau avec la SMUC, et 
cette fois-ci il se déroulera à l’Université 
Mount Allison à Sackville, au Nouveau-
Brunswick, du 2 au 5 juin 2011. Peter 
Higham s’est gentiment proposé de nous 
accueillir, et Suzanne Meyers Sawa sera 
présidente du comité de programmation. 
Notez-le dans votre agenda car j’espère 
vous y retrouver. 
 
 
 
Traduction française : Pauline Prince, 
term. a. 
 
 


French

President's Report / Message de la Présidente

Cornfield, Eitan

Canadian Composers Portraits: A Look Back

22 
 
What is Ensemble Librarianship? 
Erika Kirsch 
McGill University 
 
Within the world of the information profession, music librarianship is a highly specialized area. 
In addition to dealing with books and journals, music librarians work with sources unique to the 
discipline: scores, numerous recording formats, discographies, repertoire guides and thematic 
catalogs, to name a few. But what about ensemble librarianship—the mysterious cousin of music 
librarianship—a subset of this specialization? Where do ensemble librarians work, and what do 
they do? 
 
Ensemble librarians are found in professional performing organizations of many types: 
orchestras, opera companies, and ballet companies, as well as in military branches. There are 
those of us who work in the music departments of universities, colleges and conservatories. 
Finally, ensemble librarians are employed by the rental departments of many publishers and 
publishers’ agents.  
 
In some shape or form, ensemble librarians all perform the following functions: acquiring, 
cataloguing, processing, circulating and maintaining all the separate scores and parts for large 
and small ensembles – orchestra, wind symphony and band, contemporary music ensemble, jazz 
ensemble, chamber ensemble, opera orchestra, choir, etc. In other words, they manage all the 
sheet music those people crowded onto the stage and in the orchestra pit are using to create the 
magic of live concerts. Ensemble librarians collaborate with conductors to make sure that 
important markings are put into the parts, including errata markings, rehearsal systems and cuts. 
Those of us working in the university setting have the added challenge of circulating parts to a 
constantly rotating list of students in different ensembles. Ensemble librarians have incredible 
collective knowledge about performing editions and how to find them, and numerous creative 
techniques for binding the pages of parts and scores together. They have a special understanding 
of copyright laws related to the use of sheet music for public performances, recordings, 
dramatized performances, and “-casts”—webcasts, broadcasts, podcasts. Finally, ensemble 
librarians are adept at handling the complexities of renting music from agents and publishers and 
are well-versed in the varied and sometimes obscure resources used for finding large ensemble 
music. 
 
University ensemble librarians have the unique opportunity to work with composers in the earlier 
stages of their development. They are on hand to help answer young composers’ questions on 
creating their first sets of parts and scores and, in so doing, they facilitate the first live 
performances of  their works.  An added bonus is that this helps budding composers make a good     
 
 
 
 
------------------------------------ 
© 2010 The author and the Canadian Association of Music Libraries, Archives and Documentation Centres / L’auteur et 
l’Association canadienne des bibliothèques, archives et centres de documentation musicaux 
23 
 
impression on fellow students who are creating these premieres. Later in their careers, composers 
might again encounter ensemble librarians who, as part of a professional performing 
organization, are involved in working out the details of commissioning agreements.  
  
The professional organization that ties ensemble librarians together is the Major Orchestra 
Librarians’ Association (MOLA). Founded in 1983, it has grown into an international association 
of more than 250 organizations, represented by more than 400 ensemble librarians. The skills 
and knowledge of ensemble librarianship have not traditionally been taught inside music or 
library science degree programs. Instead, mentoring and informal one-on-one teaching/learning 
have been the norm, with the annual conference enabling us to gather together, share information 
and resources, and discuss the most current and relevant issues we face. 
 
However, MOLA’s Education Committee recently made a grand step in this area by planning 
and holding its first regional workshop, bringing the knowledge of our experienced members to 
those less experienced – a sort of “house call”! The workshop was held on October 9, 2010, on 
the Evanston campus of Northwestern University (NU) in the Chicagoland area. Co-sponsored 
by NU’s Bienen School of Music, the workshop attracted nearly 40 attendees. The presenters 
were Mark Swanson, Carole Keller and Peter Conover (all 3 from the Chicago Symphony 
Orchestra), Wendy Skoczen (Chicago Lyric Opera), Michael Shelton (Grant Park Music 
Festival) and Pat McGinn (Milwaukee Symphony Orchestra). Topics presented were: Materials 
and Resources; Customer Service and Communication; Music Preparation, Repair and Binding; 
Acquisitions and Rental; Research Methods; and Copyright. 
 
The presentations were excellent, and many even included informative handouts. Most ensemble 
librarians are not used to speaking in front of large groups—it is definitely not a regular part of 
the job for most of us!—but you would never know it from this crew; they seemed completely at 
ease discussing their various topics in front of the attendees. It was enlightening to hear Pat 
McGinn and Peter Conover speak about communication and elaborate on the reality that our 
unique positions mean we are constantly feeling our way delicately and diplomatically through 
many different types of situations. Carole Keller and Wendy Skoczen discussed acquisitions and 
rental issues expertly, providing an excellent bridge between the discussions of research and 
copyright. The information on copyright shared by Wendy Skoczen and Michael Shelton was an 
eye-opener for many. This is a murky and difficult area in ensemble librarianship, but an 
important subject to broach, especially for those who don’t have many years of experience. 
 
The presenters took questions throughout the sessions, and there was a Q & A session at the end; 
the attendees were quite keen and asked many relevant questions. Everyone in attendance, 
regardless of their level of experience, went away having learned something new. I, for one, 
learned from the presentation on resources that there is a forthcoming volume on finding opera-
related excerpts being prepared by John Yaffé and David Daniels. I heard many attendees talking 
about how helpful it was to see all the tools of the trade displayed: hinging tape, binding supplies 
and correction tape, among others. They also appreciated the demonstrations of part binding, and 
valued learning about the various resources for finding music for performing ensembles.  
 
The number of attendees and their enthusiasm was an encouraging indication that there are many 
people interested in learning about our specialized field. Some people came from university 
24 
 
library science programs, some from local performing ensembles, and still others were students 
at college/university music degree programs in the Chicagoland area. People learned about the 
workshop from the MOLA website, from emails and snail mail sent by the committee, or from 
the various listservs on which information was posted.  
 
In closing, I will mention a couple of valuable resources. To learn more about ensemble 
librarianship you can visit the MOLA website: http://www.mola-inc.org. The site contains links 
to many useful resources, including music preparation guidelines for composers, information on 
searching for elusive publications, and a listing of both summer jobs and 
internships/fellowships/assistantships in the field of ensemble librarianship. In addition, Russ 
Girsberger, who is the Ensemble Librarian at the Juilliard School, has authored a fine book on 
ensemble librarianship, A Manual for the Performance Library (Scarecrow Press, 2006). 
 
If you have questions about the field, you can contact any one of the MOLA members through 
the email addresses provided on the MOLA website.  
 
 
 
 
    http://www.mola-inc.org 


Not a member yet

Quebec chapter photos / Photos de de la Section québécoise de l'ACBM

Minutes of the CAML/ASBM Annual General Meeting, 2009

Resources: Searching for Music for Performance (Scores and Parts)

3 Concerti (CD Review)

President's Report / Message de la Présidente

Canadian Composers Portraits: A Look Back

What is Ensemble Librarianship?

Complete Issue

A Librarian’s Reflections on the Emerging Bibliography of Film Music

President’s Report / Message du président by Peter Higham

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