Except where noted, all events will take place in the Cafritz Foundation Theatre on the second floor of the Clarice Smith Performing Arts Center.
Alice Carli, Music Scores Preservation Workshop
Note: This workshop requires separate registration Location: Clarice Smith Performing Arts Center Schoenbaum Rehearsal Studio, Room 3732 This workshop will provide a hands-on experience in repair techniques and preservation strategies for musical scores. Participants will learn to bind sheets using a variety of methods, including: gluing sheets into folios with and without tape; making cover sheets and pamphlet binders; adding pockets to a binder; and sewing a pamphlet into a binder with a spine cover cloth. Participants will also practice repair of several types of damage. The registration fee covers all materials and tools, and several tools (awls, bone folders, brushes) will be takeaways for participants to keep. Following the hands-on portion of the workshop Alice Carli will offer a one-hour presentation on decision trees for music preservation. Participants have the option of purchasing a box lunch at the time of registration and time will be provided between the hands-on workshop and the decision trees presentation to eat and socialize with fellow attendees. No experience is necessary. The workshop should be of interest to music library staff and aspiring librarians who wish to gain hands-on experience working with paper materials, conservation professionals who wish to learn about unique aspects of music preservation, and anyone with an interest in the care and binding of printed music.
Registration and Lunch
Registration will be in the Clarice Upper Pavilion, immediately outside the Cafritz Foundation Theatre, where the paper sessions will be held. If you ordered a box lunch through Eventbrite it will be available in the Clarice's Faculty/Staff Lounge (Room 3300). Otherwise, lunch on your own. The closest spot is Applause located right outside the Cafritz Theatre, where the meeting will be held.
Welcome and Opening Remarks
Dean Adriene Lim of the University of Maryland Libraries will welcome attendees.
Alice Carli, Music Preservation Decision Making
Once the decision has been made to purchase a library score, several more decisions will need to be made over the course of its working life: how to bind it, whether and how to repair it if it is damaged, and how to replace it once that becomes necessary. Different libraries will make different decisions for individual volumes depending on mission and circumstances, but the decision making process can be largely automated. In this workshop, we will walk through decision points so that individual attendees can build decision trees that fit their particular library.
Carl Rahkonen, Whatever Happened to Music Bibliography?
I have taught a graduate course entitled “Bibliography of Music” since 1987. Although the world of information has experienced a revolution since then, I have continued to teach the same basic topics in that course which include: bibliographical citation, catalogs, indexes and databases, encyclopedias and dictionaries, bibliographies, thematic catalogs, collected editions, popular and world music, and copyright. I have revised the course substantially over the years, even adopting a flipped method of instruction since 2015, which greatly increased the transparency and communication in the course. As I learned more about how the current generation of students undertake research and how they conceive of information, I have begun to question the relevance of the traditional topics of music bibliography. This year I gave my students a pre-test (survey) to assess their knowledge of these topics and find better ways to teach them. My presentation will take a critical look at where we have been and where we are with regards to the traditional topics of music bibliography and suggest some possible directions to increase their relevance to the current generation of students.
Matt Testa and Andre Avorio, Building a Data Set of the Baltimore Symphony Orchestra’s Performance History
This presentation will discuss a collaboration between the Baltimore Symphony Orchestra, the Peabody Institute's Arthur Friedheim Library, the Music Library Association's Atlantic Chapter, and the Open Music Library to create a publicly accessible data set of the BSO's performance history. This resource, now online but still in development, displays information about thousands of the orchestra’s public performances since 1967, including where and when the concerts took place, what pieces the orchestra played, and who performed as a conductor or soloist. Work on this project required a strategic approach to data normalization and many careful actions. Although project staff had access to an existing internal database of BSO performance data, refining more than 30,000 entries for consistency and usability proved to be challenging. Some fundamental questions had to be answered: What kinds of research questions would we want this data set to help answer? What fields would be most essential? What tools and techniques would be most efficient in standardizing a complex and messy data set? What could we learn from similar published data sets of other performing arts organizations? With an eye toward creating "good enough" data, we focused our attention on some of the most critical areas. This presentation will explore the materials, methods, and problems involved in the creation of this data set. It will also describe challenges for the next stages of the project and lessons learned that could be applied to similar projects.
Location: Clarice Smith Center Faculty and Staff Lounge (across the hall from the Cafritz Theatre and up the stairs above the Starbucks)
Kirk-Evan Billet, Diversity, Distinctiveness, Demographics, and Discovery in Score Collections
Music library score collections become more diverse when collection managers work strategically to increase holdings by composers from under-represented groups such as women, ethnic or racial minorities, and gender or sexual minorities. At the same time, an individual music library becomes more distinctive vis-à-vis its peers by building its collection in ways that result in less overlap with the collections of those peer libraries. In the current environment of heightened attention to resource sharing and collaborative collection development, the distinctiveness quotient may well carry greater importance than it has in the past; in any case, the diversity quotient is of widespread interest today. Advancing these dual collection virtues of diversity and distinctiveness benefits library patrons, who are increasingly interested in finding and selecting repertoire created by members of specific demographic groups. But collections must also find their users, and traditional discovery methods in library catalogs have generally not supported access through demographic terms—or any reliable means of access to music by composers from under-represented groups. The Library of Congress Demographic Group Terms (LCDGT), which emerged in 2015 and is still evolving, is a controlled vocabulary developed not only for creator/contributor characteristics but also for audience characteristics. This presentation will briefly introduce the organization of LCDGT, demonstrate the application of LCDGT terms for composers to bibliographic records for their scores, consider limitations and obstacles to providing access to music through creator characteristics, explore possibilities for indexing and display of demographic terms, and address ethical considerations involved when assigning an individual to a specific demographic group.
Raffaele Viglianti, The State of the Digital Score
Digital Libraries have grown substantially and are including a larger variety of content, including musical scores. In the US, the New York Philharmonic Leon Levy Digital Archives are an example of the richness and scholarly relevance of these resources; in Europe, Gallica (the digital library of the BnF), Digital Bodleian, the Berlin State Library, and more offer digitized musical scores to consult online. All these collections have this in common: they focus on primary sources (such as manuscripts) and provide scanned images as the only mode of access to the material. Distribution of images on the web rapidly became a reliable and efficient way of providing access to a library’s holdings, both because of advancements in digitization and the advent of standardized publication systems, in particular the International Image Interoperability Framework. A smaller number of digital libraries provide machine readable scores and these collections are more often positioned as data sets or corpora for large-scale music analysis. Machine readable scores, however, are also crucial to the creation of digital editions that can take full advantage of interactive web publication. A recent and notable example is the Digitale Mozart-Edition (https://dme.mozarteum.at/). This presentation will focus on this kind of digital scores: where are they being published and used? What are their affordances? How are they relevant to scholarship and music performance?
Sara Hagenbuch, Darwin Scott, and Brittany Jones, Outreach Revisited: Successful Patron Engagement Initiatives at Princeton University’s Arthur Mendel Music Library
Impactful outreach to students, faculty, and patrons fills every library’s mind these days, trending in music librarianship with the 2019 release of MLA’s Outreach for Music Librarians. In this presentation, Mendel Music Library’s Coordinator for Public Services and Outreach, Web Services Manager, and Music Librarian augment this manual by recounting their successes. Evolving outreach and marketing public-service goals mix programming, publicity, and training beyond standard social media, websites, LibGuides, faculty liaisoning, and orientations. Outreach is core for libraries and an oft-prescribed job requirement. Challenges include measuring success; engaging patrons beyond the usual realms of outreach; assessing a library’s unique environment, clientele, and community rather than blanket adoption of what works elsewhere; risking bold new ideas; instructive social media posts; zingy publicity; and training to advance employee skills. We will address specific examples from Mendel’s outreach and programming agenda and conclude with responses from the audience. Initiated spring 2019 with a successful first concert in Princeton’s new Lewis Arts Center Complex, the Library Music Live concert series revivifies in polished performances by staff, undergraduates, and graduate students rarely heard 16th-mid 20th-century music from early editions and manuscripts housed in Mendel’s locked stacks and the Department of Rare Books and Special Collections. Launched late spring 2017, Mendel Night at the Opera features a full opera streamed from a subscription-based resource. Despite a slow start, readjusted advertising, outreach, and scheduling drew a respectable audience to two such events in 2018-19. Without enthusiastic partnering with the university library’s communications director guiding poster design and publicity into Princeton and community channels, such public outreach faced failure. Mendel maintains active Facebook and Twitter feeds promoting campus music events, speakers, and content from online resources, with persistent links targeting searches in the catalog, RILM, and other e-resources to inspire exploration of related repertoire and bibliographies as a hook to draw followers deeper into our resources. Mendel trains specific students to post on musical anniversaries, new resource content, and other relevant topics replete with such deep-linking. Libraries employ students at circulation desks, but music demands rigorous training for guiding patrons to sought-after materials, particularly during night and weekend shifts. Mendel views this service point as a vital outreach connection, aspiring for our students to accurately fulfill, within reason, patron needs. We require a music background for all students, and to grow their skills, we have rigorous training with reference quizzes and detailed learning outcomes. We will review what worked or not with this training, tweaks, and challenges faced by students answering music queries.
Melissa Wertheimer and Vin Novara, MLA Archives on Display
Location: Clarice Smith Center Lower Pavilion MLA Archivist Melissa Wertheimer and SCPA Curator Vin Novara collaborate to bring ATMLA attendees a unique glimpse into the MLA Archives. Attendees will get up close and personal with important documents from MLA history, as well the histories of the Baltimore-Washington, Chesapeake, Pennsylvania, and Atlantic chapters. The display will run concurrently with the reception in the Clarice’s Grand Pavilion.
Location: Clarice Smith Center Lower Pavilion A selection of hors doeuvres and snacks will be served. Cash bar.