The chapter will provide support for one member at a maximum of $500.00.

Applicants must reside in one of the states or territories comprising ATMLA (West Virginia, Southern New Jersey, Pennsylvania, Delaware, Maryland, District of Columbia, and Virginia), and also be in at least one of the following eligible categories:

a) A graduate library school student (by the time of the meeting) aspiring to become a music librarian;

b) A recent graduate (within one year of degree) of a graduate program in librarianship who is seeking a professional position as a music librarian;

c) A music librarian (holding a Master of Library Science degree or qualifications granting an equivalent status at her/his employing institution, e.g. a certified archivist with other graduate degree working extensively with music materials) in the first two years of her/his professional career, or;

d) A library paraprofessional/support professional working with music materials as a significant portion of his/her job responsibilities.

Applicants must submit the following to arrive by December 1, 2012:

1. A letter of application which includes an explanation of the reasons for attending the meeting, a justification of financial need, and a budget. For those applicants currently working in libraries or archives, justification of financial need must include evidence that one has sought financial support from one’s employing institution to attend the meeting and that such request was either denied or insufficiently met;

2. A current résumé or vita;

3. Two letters of support. Where applicable, one of the letters should be from a current supervisor.

Hotel accommodations will be funded at the double-occupancy rate, i.e. one-half of the daily rate plus tax.

Mail application and supporting materials to arrive by December 1, 2012 to:

Richard Griscom
Chair, ATMLA
University of Pennsylvania

Otto E Albrecht Music Library

3420 Walnut Street

Philadelphia, PA 19104-6206

If you have questions regarding the grant or the application process, please contact Richard at griscom@upenn.edu.

The recipient will be notified by December 17, 2012 and announced on ATMLA-L, the chapter’s electronic discussion list, immediately thereafter. Recipients who are not already members of ATMLA are expected to join before receiving their award. Annual student/paraprofessional membership in ATMLA is currently only $7.00; membership for librarians is $12.00.

We look forward to reviewing your application!

Sincerely,

The ATMLA Chapter Officers

The Music Library Association (MLA)–Atlantic Chapter and the MLA Educational Outreach Program are pleased to announce a preconference on “RDA and Sound Recordings Cataloging.” 

Friday, October 19, 2012
9:00 AM – 12:00 PM
Woolworth Center of Musical Studies
Princeton University–Princeton, NJ

Early registration is $20, if postmarked by September 26, or $25 after September 26.

The workshop will provide an overview of the significant differences in cataloging sound recordings between AACR2 and RDA, addressing both descriptive elements and access points. The workshop will include examples of RDA MARC 21 Bibliographic and Authority records and exercises.

Instructor

Kathy Glennan is the Head of Special Resources Cataloging at the University of Maryland and has more than 25 years of experience cataloging scores and sound recordings. She chaired MLA’s Bibliographic Control Committee from 2008-2012 and has been active in ALA’s Committee on Cataloging: Description and Access for many years, where she has worked on development of RDA instructions in relation to music materials. She has given numerous presentations on RDA, FRBR, and MARC Formats issues, including two 2011 ALCTS Webinars, “RDA Basics: Scores” and “RDA Basics: Sound Recordings.” She also authored an article in the March 2012 issue of Notes, “The Development of Resource Description and Access and Its Impact on Music Materials.”

Schedule

8:00 – 9:00 AM  Registration and continental breakfast

9:00 AM – 12:00 PM  Workshop (with a break)

All preconference attendees are welcome to attend the afternoon meeting of the Music Library Association–Atlantic Chapter.

12:00 – 1:00 PM Lunch (on your own)

1:00 – 5:00 PM  Music Library Association, Atlantic Chapter Meeting

A registration form, directions and other information can be found at: http://libguides.princeton.edu/content.php?pid=317212&sid=2970453

For more information, please contact:

David M. King, chair
Educational Outreach Program
Carnegie Library of Pittsburgh

kingd@carnegielibrary.org

412-622-3105

Outside of the Mendel Music Library Princeton University

Mark your calendars! The Atlantic Chapter fall meeting will take place at Princeton University, October 19-20, 2012. Our host is Darwin Scott, and we will meet in the Woolworth Music Building, also home to the Mendel Music Library.

Possible tours before our conference include a docent-led tour of the Princeton University Art Museum, and a tour of the Frank Gehry-designed Lewis Science Library. An organ concert at the University Chapel is also in the works.  Arrangements are being made for us to stay at the Marriott Courtyard at a discounted rate of $99.00 per night (plus 15% taxes = $113.85 total per night)

More details coming soon  on the Meeting Website — we hope you can join us!

L'Amant anonime by Chevalier Joseph Bologne de Saint-Georges

Linda Wright Moore, senior communications officer of the Robert Wood Johnson Foundation, moderated an illustrious panel of musicians and music scholars including: Joseph Conyers, string bassist with the Philadelphia Orchestra; Clipper Erickson, Nathaniel Dett scholar; Gary Galván, consultant-scholar from the Fleisher Collection; Jay Fluellen, musician/composer St. Thomas Episcopal Church; and André Raphael, conductor and music director of the Wheeling West Virginia Symphony.  Panelists spoke of their backgrounds and what led them to their interests in black composers of classical music.  The panelists all expressed the importance of music in the home, and the opportunities provided by music programs in schools at all levels from primary through university.  The speakers all expressed concern about current funding cuts to education forcing the scaling back or cancelling of music programs that are vital to students and their communities.  Dr. Norment, chair of African American Studies at Temple University spoke about ensuring that the works of black composers are included in university music curriculums and discussed in undergraduate classes as well as studied and researched at the graduate level.  The importance of training teachers to be aware of this vast and neglected repertoire, and how to include music of black classical composers in their teaching was discussed.  Another idea posed was that teaching music composition at a young age provides students with a deep understanding of the value of music as expression.   Radio stations and internet radio stations need to include more repertoire of black classical composers.  All participants felt the power of music in building a community of experience.  Music brings people together.

Music librarians Anne Harlow of Temple University and Steven Landstreet of the Free Library of Philadelphia were introduced as guides to finding scores and recordings of classical music by black composers at the Free Library and at Temple University Libraries.

How about you?  How much do you know about Black Composers of classical music? Take this quiz to find out!

Want to find out more?  See Temple University Libraries’ research guide on Black Composers of Classical music.

—Anne Harlow, Temple University Libraries

—-Jane Cross, Music Librarian, U.S. Marine Band, Washington, D.C.

After beginning and finishing library school, I interned in the American Folklife Center at the Library of Congress. The single-most important and exciting contribution I made there was identifying a trove (read: 200+ stash) of transcriptions made by Charles Seeger, Ruth Crawford Seeger, and Sidney Robertson Cowell for a never-published anthology of American folk-tunes. Shortly after that exhilarating discovery I finished my internship and began working at Haverford College.

I’ve been at Haverford as music librarian since April of 2010, and I’ve loved every minute of it! I’ve learned so much, and I’m continually realizing how much I don’t know. But, that ever-present opportunity for learning is precisely why I became a librarian in the first place…”

——Adam Crandell, Music & Languages Librarian, Haverford College

Lisa Woznicki (Towson State University) presented her research on the songs of Alma Schindler Mahler that grew out of work with the Mahler-Werfel Papers housed at the University of Pennsylvania. Only a handful of Alma Mahler’s songs survive, and these were presented in the context of the biographical details of Alma’s life.

Library programming from a different perspective was our next presentation, by Laura Krulikowski (Indiana University Pennsylvania). Drawing on her experience with programming live concerts at the Orendorff Music Library, she provided a wealth of practical tips on organizing a live music series.  Stephen Marvin, Librarian at West Chester University spoke about his activist approach to copyright and fair use.

Stephen Marvin and Paul Emmons

Two guest speakers from the faculty of West Chester University presented on Saturday morning.  Julian Onderdonk led us through close readings of several Vaughan Williams settings in The English Hymnal,  with his Folksong, English Hymnody, and Bach’s Chorales: Ralph Vaughan Williams and ‘the Greatest of All Musicians, illustrating how Vaughan Williams used similar methods that Bach used, reworking chorales with a popular orientation. Our last presentation was on West Chester’s favorite son, Samuel Barber. Patricia Powell, assisted by Tatyana Oksyuk, Kimberly Reighley, and Emily Bullock,  gave a lecture recital on the collaborative works of Samuel Barber,  which included performances of several of Barber’s works.

We ended with our business meeting, with reports from committees, a spirited discussion of how we can reach out to new members, and a hearty round of applause to Paul Emmons, our host.

Darwin Scott announced plans for our next chapter meeting, which will be held at Princeton University, October 19-20, 2012.

James Alberts has worked in libraries since 1995, primarily in technical services positions. He started as a cataloging technician at Brandeis and Harvard Universities while doing graduate work in music history. In 2001 he received the MLS from the University of Maryland, where he was graduate assistant in music cataloging under Alice LaSota. His first professional position was Catalog Librarian at the Curtis Institute from 2001 to 2003. In 2003 he became Assistant Music Librarian at Cornell University, where he supervised the music technical services staff, selected sound and video recordings, cataloged music in all formats, and provided reference and instruction services. In 2010, he moved to the Recorded Sound Section of the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress, where he is a cataloger. He was a member of the MARC Formats Subcommittee of MLA for eight years, serving as chair from 2006 to 2010, and is currently a member of the Descriptive Cataloging Subcommittee.

Trained as a double bassist, Jim now plays and teaches fiddle, mandolin, and mountain dulcimer, and studies Appalachian and Irish traditional music.

Michael Fitzgerald is Electronic Services Librarian at the University of the District of Columbia, where he also works closely with the Felix E. Grant Jazz Archive. He holds two degrees in jazz studies from Rutgers University and an MSLS from The University of North Carolina at Chapel Hill. Fitzgerald is co-author of the award-winning biography Rat Race Blues: The Musical Life of Gigi Gryce (Berkeley Hills, 2002) and a contributor to the book Perry Robinson: The Traveler (iUniverse, 2002). He serves as editor of the open access journal Current Research in Jazz and as jazz research director for the website jazzdiscography.com. The Map of Jazz Musicians project, of which he is co-director, was awarded a 2010 Digital Humanities Start-up Grant from the National Endowment for the Humanities. Fitzgerald has published in ARSC Journal, Coda, Jazz Educators Journal, Jazz Research News, Notes, and Signal To Noise, and has written liner notes for CDs on the Verve, Mosaic, Prescription, and Uptown labels. Prior to entering the library profession he taught instrumental music in the New Jersey public schools for ten years and has recently been conductor of the Music Library Association Big Band for its performances at the annual conferences.

Outside the U.S. Marine Band Library

The Atlantic Chapter of the Music Library Association had its fall meeting on October 15-16 in Washington D.C., hosted by Nobue Matsuoka-Motley, Music Librarian at American University. After a morning pre-conference tour of the U.S. Marine Band Music Library, led by Master Sargeant Jane Cross, we assembled at the Katzen Arts Center at American University.

The afternoon session began with Jim Cassaro (University of Pittsburgh) presenting “Haydn in Latrobe : The Musical Legacy of Boniface Wimmer (1809-1887).” Wimmer was a Benedictine Monk from Munich who settled in Latrobe, Pennsylvania in 1846.  Along with 18 candidates for the monastery, he founded the St. Vincent Archabbey, the first Benedictine Community in the United States.  The Boniface Wimmer Music Collection at the Latimer Family Library at St. Vincent College consists of approximately 3500 items, 75% of which were gathered by Wimmer. Among the many treasures in the collection are manuscript parts by Joseph Matthias Kracher , an autograph manuscript of Michael Haydn, and copyist manuscripts of works by Micheal Haydn, Joseph Haydn, and Mozart, as well as several early printed music editions.

Steven Gerber (George Mason University) then presented  “Bigamy Scandal Sinks Sacred Music Group! A case-study of the rise and fall of the Church Music Association, 1869-1874,” the story of a semi-professional 19^th century American choral group with increasingly successful seasons (including the American premiere of Beethoven’s Missa Solemnis) whose rising success was demolished when it was discovered that the “star” conductor of the group was a bigamist. Framed as a “case-study of a socioeconomic experiment in musical infrastructure,” this story of George Templeton Strong’s Church Music Association illustrates the precarious nature of producing large ensemble concerts in nineteenth century America.

Lisa Shiota and Nobue Motsuoka-Motley

We adjourned for a coffee break and musical interlude, with performances by chapter members Dick Griscom, Lisa Shiota, and our meeting host, Nobue Matsuoka.

Next we heard a report on “The Music Genre/Form Project at the Library of Congress,” by Geraldine Ostrove (Library of Congress) which was an enlightening account (particularly for this non-cataloger) on what this project means and the progress thus far. Library of Congress Subject Headings (LCSH) describe what something is about, whereas Library of Congress Genre/Form Terms describe what something is. The benefits of implementing the new genre/form terms are numerous: to provide more discriminating searches, to make it easier to find out how controlled terms are related to each other, to improve the controlled vocabulary that subject searching is based on, and to generally facilitate the ability of searchers to find what they are looking for. The basic structure of the Library of Congress Genre/Form Thesaurus (LCGFT) was discussed, as well as many of the details and intricacies that the LC Music Genre/Form Project Group is working out. For more on this, see the Library of Congress Genre/Form Web site.

Our last speaker of the afternoon, Winston Barham (University of Virginia) described the recording archives and workflow at the University of Virginia Music Library, in “Preserving Virginia’s Recorded Concerts.” The UVA Music Library preserves, digitizes, and delivers both historical recordings and current Music Department concerts.  One of the oldest examples in the collection is the premiere of Randall Thompson’s Testament of Freedom, performed by the UVA Glee Club in 1943, which was commissioned to commemorate the 200^th birthday of Thomas Jefferson.  Other interesting recordings continue to turn up from different corners of the campus, including a fifty year old recording of a lecture that Milton Babbitt had given on campus.

On Saturday morning, we met at American University Bender Library’s “Mud Box,” and after a continental breakfast, enjoyed two presentations. The first was by American University Professor Marc Medwin, whose “Devils and Details: The Secret History of Fusion,” examined the various musical implications of what is meant by “fusion,” starting with Miles Davis’ Bitches Brew, the 1969 album that is traditionally recognized as the “first” jazz-rock fusion album.  Professor Medwin then took us on a ride through years prior Bitches Brew–from the Beatles, to The Byrds, Mellow Yellow, and Larry Coryell–when “both jazz and rock musicians engaged in an intercontinental, experimental and increasingly complex dialogue.”

Our final presenter was Marcia Farabee, Principal Librarian of the National Symphony Orchestra, who spoke to us on “Major Orchestra Librarians’ Association: Fish, Woven Blouses, AND Performance Librarians!” She provided a brief history of MOLA, and described how she found her way into music ensemble librarianship, plus the skill set that is required to do this type of work. We looked at four different National Symphony concert programs, as she walked us through the highlights and details of preparing for each concert. From researching keys and cuts for singers to obtaining permissions for parts for a concert of film music, to working with conductors, orchestra musicians, soloists, and other ensemble librarians throughout the country, we were provided with a fascinating snapshot of a day in the life of an orchestral music librarian.

Marcia Farabee, Principal Librarian, National Symphony Orchestra

—Linda Dempf

Prior to the start of our formal chapter meeting at American University, a group of us toured the United States Marine Band facilities and Library, led by Chief Librarian Master Sergeant Jane Cross. It was a fascinating look at the country’s oldest military band, with its impressive spaces for rehearsal, recording, and administration. We had an extensive tour of the Marine Band Library, which includes the performance collection of over 50,000 music titles for band, orchestra, chamber groups, dance band, and piano. A music reference collection, plus books, periodicals, sound recordings and video support the research needs of band members and visitors. The library also houses the Military Music Collection, which documents the history of the band with archives and artifacts, including those of its most famous leader, John Philip Sousa. It was a fascinating look at the work involved in providing access to music for hundreds of concerts each year –for state functions at the White House, ceremonial concerts, the band’s Washington D.C. area concert series, music for social events, plus the Marine Band’s yearly national tour.