Basic Music Reference : A Guide for Non-specialist Librarians, Library Assistants, and Student Employees 9780895797452

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MLA_Manual_Duffy_PAN200c 1/8/13 11:45 AM Page 1

M u s i c L i b ra r y A s s o c i a t i o n B a s i c M a n u a l S e r i e s , Vo l u m e 8 BM 8

A Guide for Non-specialist Librarians, Library Assistants, and Student Employees

M u s i c L i b ra r y A s s o c i a t i o n B a s i c M a n u a l S e r i e s , Vo l u m e 8

Basic Music Reference is a quick-start guide designed to introduce library employees to the basic tools and techniques involved in answering questions related to music. As in every specialist subject area, music has its own terminology, but unlike most, it also has a multitude of formats—on paper and other materials—as well as special notation and frequent use of foreign languages in titles and texts. These features make it particularly difficult for library employees to answer users’ questions and thus a guide

Basic Music Reference

such as this one is essential.

A Guide for Non-specialist Librarians, Library Assistants, and Student Employees

Not all libraries with a music collection can afford to hire a music reference librarian. Even libraries with such a specialist rely on support staff and student employees to answer questions when the music librarian is not available. Whatever the scenario, this volume will serve as a helpful training tool for library employees to learn about the basic music reference tools, and to develop the techniques of greatest use

Alan Green and Michael J. Duffy, IV

when answering the most common types of music-related questions.

About the Authors Alan Green is associate professor and head librarian for music and dance at the Ohio State University, where he also teaches courses in music research methods and bibliography. He is an active member of as Project Coordinator for Répertoire International d’Iconographie Musicale (RIdIM). Green is the author of Allen Sapp: A Bio-Bibliography and has published articles in College Music Symposium, Music Reference Services Quarterly, and Notes: Quarterly Journal of the Music Library Association. Michael Duffy is associate professor and music librarian at Northern Illinois University, where he is responsible for reference, instruction, collection development, and cataloging. He has written pieces for publication in Music Reference Services Quarterly, Notes, The Reference Librarian, and Choice. He is formerly book review editor of Music Reference Services Quarterly.

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Basic Music Reference Green and Duffy

the Music Library Association and the International Association of Music Libraries, and currently serves

Í A-R Editions, Inc.

MLA_Manual_Duffy_PAN200c 1/8/13 11:45 AM Page 2

QUICK REFERENCE

QUICK REFERENCE

THE LIBRARY OF CONGRESS CLASSIFICATION FOR MUSIC

THE LIBRARY OF CONGRESS CLASSIFICATION FOR MUSIC

M (MUSIC)

ML (LITERATURE ON MUSIC)

M1-3

Collections containing both instrumental and vocal music

ML1 ML5 ML48-54

Periodicals published in the United States Periodicals published internationally after 1800 Librettos

M2 M3

Anthologies of masterworks Composers’ complete works

M5-1490

Instrumental music

ML100-109

Dictionaries and encyclopedias of music

M6-14 M20-39 M180-298 M300-386 M400-486 M500-586 M600-686

Organ music Piano music (M23: piano sonatas) Duets Trios Quartets (M452: string quartets) Quintets Sextets

ML100 ML105-107

Dictionaries and encyclopedias, general Dictionaries and encyclopedias, bio-bibliographical

ML128 ML134

Bibliographies by topic Composer bibliography

ML156-158

Discographies

M1000-1075

Orchestra

ML159-3785

Music history and criticism

M1001 M1010-1011 M1012-1013

Symphonies Piano concertos (M1010: full orchestral score, M1011: accompaniment arranged for piano) Violin concertos (M1012: full orchestral score, M1013: accompaniment arranged for piano)

ML385-429 ML430-455 ML549-1093 ML1400-3275

Biography (ML410: Composer biographies, arranged alphabetically) Composition Musical instruments Literature about vocal music

M1100-1160 M1200-1270 M1366 M1473

String orchestra Band Jazz ensembles Electronic music

ML3845-3877

Philosophy and aesthetics of music

M1497-2199

Vocal music

MT1 MT5.5-7

General works on musical instruction and study Music theory

M1497-1998

Secular vocal music

MT70-71

Orchestra and orchestration

M1500 M1503 M1530-1546 M1547-1600 M1611-1624 M1619 M1620

Opera full scores Opera vocal scores (accompaniment arranged for piano) Secular choruses with ensemble accompaniment Secular choruses with piano or unaccompanied Secular songs for one voice Song collections (two or more composers) Song collections (one composer)

MT90-145

Analytical guides (including program notes)

MT95-100 MT125-130 MT140-145

Opera and ballet Orchestral music Chamber music

MT170-810

Instrumental techniques (including method books)

M1990-1998

Secular vocal music for children

M1999-2199

Sacred vocal music

M2000-2007 M2020-2036 M2060-2101 M2102-2114 M2115-2146

Oratorios Sacred choruses and cantatas (with ensemble accompaniment) Sacred choruses with piano or unaccompanied Sacred songs for one voice Hymnals

MT180-198 MT220-255 MT259-338 MT339-538 MT539-654 MT655-722

Organ Piano String instruments Wind instruments Plucked instruments Percussion instruments

MT820-949

Singing

MT (MUSICAL INSTRUCTION AND STUDY )

Continued on the inside back cover

Music (M) Classifications are on the inside front cover

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BASIC MUSIC REFERENCE: A GUIDE FOR NON-SPECIALIST LIBRARIANS, LIBRARY ASSISTANTS, AND STUDENT EMPLOYEES

01_FM_ppi-x 12/26/12 12:20 PM Page ii

Music Library Association Basic Manual Series Jean Morrow, Founding Editor Deborah Campana and Peter Munstedt, Co-Editors 1. Music Classification Systems by Mark McKnight (2002) 2. Binding and Care of Printed Music by Alice Carli (2003) 3. Music Library Instruction by Gregg S. Geary, Laura Snyder, and Kathleen A. Abromeit (2004) 4. Library Acquisition of Music by R. Michael Fling (2004) 5. Audio and Video Equipment Basics for Libraries by Jim Farrington (2006)

6. A Manual for the Performance Library by Russ Girsberger (2006) 7. Money for the Asking: Fundraising in Music Libraries by Peter Munstedt (2012) 8. Basic Music Reference: A Guide for Non-specialist Librarians, Library Assistants, and Student Employees by Alan Green and Michael J. Duffy IV (2013)

01_FM_ppi-x 12/26/12 12:20 PM Page iii

BASIC MUSIC REFERENCE: A GUIDE FOR NON-SPECIALIST LIBRARIANS, LIBRARY ASSISTANTS, AND STUDENT EMPLOYEES

by Alan Green and Michael J. Duffy IV

Co-published by Music Library Association and

Í A-R Editions, Inc. Middleton, Wisconsin

01_FM_ppi-x 12/26/12 12:20 PM Page iv

Excerpt from Wolfgang Schmieder, ed., Thematisch-systematisches Verzeichnis der musikalischen Werke J. S. Bachs on p. 33 © Breitkopf & Härtel, Wiesbaden. Used with permission for publication in this book.

Library of Congress Cataloging-in-Publication Data Green, Alan, 1962– Basic music reference : a guide for nonspecialist librarians, library assistants, and student employees / by Alan Green and Michael Duffy. p. cm. — (Basic manual series ; v. 8) Includes bibliographical references and indexes. ISBN 978-0-89579-745-2 1. Music librarianship. 2. Reference librarians—Training of. I. Duffy, Michael J., IV. II. Title. ML111.G74 2012 025.5’27678—dc23 2012024103 ISBN 978-0-89579-745-2 A-R Editions, Inc., Middleton, Wisconsin 53562 © 2013 All rights reserved. Printed in the United States of America 1 3 5 7 9 8 6 4 2

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Table of Contents

Acknowledgments Introduction

ix xi

PART ONE: BASIC CONCEPTS AND TOOLS

1

Distinctive Materials: Scores and Recordings Know Your Scores! Recordings Come in Different Shapes and Sizes Languages

1 1 2 10

Chapter One: Library Catalogs

11

When to Use a Library Catalog How to Use a Library Catalog Basic Search Concepts Keywords Personal Names Phrase vs. Keyword Boolean and Proximity Operators Truncation and Masking Combining Concepts Controlled Vocabulary Searching with Subjects Controlled Vocabulary Searching with Names Controlled Vocabulary Searching with Uniform Titles Classification Systems Limiting Searches by Format

11 11 12 12 12 12 14 16 16 16 18 18 20 21

Chapter Two: Music Reference Tools

23

Guides to Music Reference Literature When to Use One of These Music Reference Guides

23 24

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Dictionaries and Encyclopedias What Are Dictionaries and Encyclopedias? When Should You Use Dictionaries and Encyclopedias? Periodical and Literature Indexes What are Periodical and Literature Indexes? Sidebar: Four-letter Words That Start with “R” When Should You Use Periodical and Literature Indexes? Special Indexes and Bibliographies Indexes to Dissertations and Theses Composer Indexes Song Indexes Thematic Catalogs Sidebar: BWV, K., and D. Numbers. What Are These? Composer Bibliographies Discographies Frequently Used Web Sites Article Indexes Books Classified Lists of Web Sites Music Discovery Obituaries Tune Identification Videos Web Site Search Engines Wrapping It Up

24 24 25 25 25 27 27 27 28 28 29 31 32 35 36 37 37 37 38 38 39 39 39 39 40

PART TWO: USING BASIC SKILLS TO ANSWER FREQUENTLY ASKED QUESTIONS

41

Chapter Three: General Reference Skills

43

The Reference Interview Closing the Transaction Referring Reference Questions Three Frequently Asked Directional Questions

43 45 45 47

Chapter Four: Searching for Specific Items

49

Specific Works Uniform Titles Sidebar: When Your Catalog Doesn’t List Uniform Titles

49 49 51

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CONTENTS

vii

Sidebar: Finding Scores or Recordings Using Work or Composer Catalog Numbers Generic Uniform Titles Distinctive Uniform Titles Generic Uniform Titles and Variant Popular Titles Collective Uniform Titles Arrangements Sidebar: Browsing Uniform Titles for Arrangements of Compositions Shorter Works Orchestral Parts Art Songs and Arias Sidebar: Using Keyword Searching for Aria and Song Titles Sidebar: High or Low Voice? Sound Recordings of Art Songs and Arias Popular Songs Sound Recordings by a Particular Performer or Group Sidebar: Music Minus One: Classical Karaoke Translation and Pronunciation Guides Questions about Serials Problems with Citations Quotations about Music or Musicians Images of Manuscripts Images of Musicians

53 53 54 54 55 55 56 56 57 58 59 59 61 61 63 63 64 65 66 67 68 68

Chapter Five: Factual and Short-Answer Questions

71

Contact Information Dates and Obituaries Name This Tune Citation Style Questions Factual Information about Works

71 72 73 74 77

Chapter Six: Topical Questions

79

Researching a Particular Work Analyses of a Particular Work Researching Music from a Particular Country Researching Musical Instruments In Closing

79 80 81 82 82

Appendix: The Library of Congress Classification for Music

83

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BASIC MUSIC REFERENCE

Notes

87

Glossary

97

Bibliography of Works Cited

103

About the Authors

114

Index

115

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Acknowledgments

The music reference volume in the Music Library Association’s Basic Manual Series was originally proposed by and awarded to Leslie Troutman at the University of Illinois. When she became ill shortly thereafter, she asked me to complete her book project, and I agreed. Her outline called for a much larger study of music information, going well beyond the scope of the current volume. Working with my coauthor, Prof. Michael Duffy, we were nearing completion of the first draft of a manuscript based on Prof. Troutman’s outline when in 2008 and 2009, in quick succession, three books that covered much of our original scope were published: A Guide to Library Research in Music by Pauline Shaw Bayne; Music Library and Research Skills by Jane Gottlieb; and Music Research: A Handbook by Laurie J. Sampsel. In consultation with the editorial board of the MLA Basic Manual Series, it was decided to thoroughly revise our scope and outline to reflect the more modest aim of the current volume, focusing on a brief introduction to the major music information sources in part 1 (written primarily by my coauthor, Michael Duffy) and a guide to answering typical music reference questions in part 2. This volume is dedicated to the memory of our friend and colleague, Leslie Troutman. I would also like to thank my colleagues at the Ohio State University Music and Dance Library: Michael Murray, Sean Ferguson, Gretchen Atkinson, Nick Wilkenson, Vicki Underwood, Stephen Long, and Laura Bernazzoli. Not only did they keep the library running smoothly while I was working on this book, but many times I sought their opinions on various topics related to music reference work. A.G.

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I would like to acknowledge my colleagues at the Northern Illinois University Libraries for their support and encouragement while working on this project. I also wish to thank my supervisors, Earl Shumaker, Byron Anderson, Chalermsee Olson, and Mary Grosch, for granting me research leave time to work on the book. I would like to thank my colleague Charles Larry for his assistance with scanning images. I wish to thank Mark McKnight for assisting me with my understanding of the Dewey Decimal System as it is applied to music. Finally, I would like to express my deep gratitude for the support I have received from my wife, Kristin, and my children, Nora and Charles, while working on this project. M.D.

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Introduction

This volume is a quick-start guide designed to introduce library employees to the basic tools and techniques involved in answering questions related to music. As in every specialist subject area, music has its own terminology, but unlike most it also has a multitude of formats—on paper and other materials—as well as special notation and a frequent use of foreign languages in titles and texts. The nature of music makes it particularly difficult for library employees to answer users’ questions, and thus a guide such as this one is essential. Not all libraries with a music collection can afford to hire a music reference librarian. Even those that have such a specialist rely on support staff and student employees to answer questions when the music librarian is not available. Whatever the scenario, this volume will serve as a helpful training tool for library employees to learn about the basic music reference tools and to learn the techniques of greatest use when answering the most common types of music-related questions. Three excellent books on music research have been published in recent years: A Guide to Library Research in Music by Pauline Shaw Bayne (Lanham, Md.: Scarecrow Press, 2008); Music Library and Research Skills by Jane Gottlieb (Upper Saddle River, N.J.: Pearson Prentice Hall, 2009); and Music Research: A Handbook by Laurie J. Sampsel (New York: Oxford University Press, 2009). These three volumes are intended primarily as textbooks for use in graduate or upper-level undergraduate courses in music research methods and bibliography. This book differs from them in two significant ways. First, our aim is to introduce library employees to the major tools and techniques of answering music reference questions. After reading this book, employees wishing to learn about more advanced research techniques and sources would do well to consult the books cited above. Second, this book presents techniques to answer the various types of most frequently asked questions, based on studying a very large sample of actual questions asked in music libraries, from the Music Library Association’s adaptation of the Wisconsin-Ohio Reference Evaluation Program.1 Only the most frequently asked types of questions are presented in part 2, with suggestions on ways to handle each type of question. For managers of reference services where music-related reference questions are frequently handled, this book may be used as a training manual for new student or paraprofessional employees. Kathleen A. Abromeit’s “Reference Assistants on the Front Line in the Music Library,” in Music Library Instruction (Lanham, Md.: Scarecrow Press, 2004) should also be consulted for additional music-specific reference training concepts and exercises. While our book is addressed directly to the employee, Abromeit describes her well-established music reference training program for undergraduate music majors who serve as the “front line” personnel at the music reference desk at the Conservatory Library of Oberlin College. xi

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Permanent staff beginning work in a music library or department, but lacking formal musical training, may find it useful to take a self-paced course in the fundamentals of reading and interpreting standard musical notation and music theory. Two popular programmed textbooks accompanied by CDs with audio examples are: •Clough, John, Joyce Conley, and Claire Boge. Scales, Intervals, Keys, Triads, Rhythm, and Meter: A Programmed Course in Elementary Music Theory, with an Introduction to Partwriting. 3rd ed. New York: W. W. Norton, 1999. •Harder, Paul O., and Greg A. Steinke. Basic Materials in Music Theory: A Programmed Course. 12th ed. Upper Saddle River, NJ: Pearson Education, 2010. New staff members should familiarize themselves with introductory books on styles of music with which they may be unfamiliar or have not had sufficient experience in order to gain confidence in answering reference questions. For classical music, your library probably has several books cataloged with the subject heading “Music appreciation.” Two popular music appreciation books are: •Forney, Kristine, and Joseph Machlis. The Enjoyment of Music: An Introduction to Perceptive Listening. 11th ed. New York: W. W. Norton, 2011. •Tobias, Marianne Williams. Classical Music without Fear: A Guide for General Audiences. Bloomington: Indiana University Press, 2003. For introductory readings in jazz appreciation, search in the library’s public catalog under the subject heading “Jazz — Analysis, appreciation.” Two popular jazz appreciation books are: •Gridley, Mark C. Jazz Styles: History and Analysis. 11th ed. Boston: Pearson Education, 2012. •Kernfeld, Barry Dean. What to Listen for in Jazz. New Haven: Yale University Press, 1995. To locate introductory texts on other styles of music in library catalogs, use the same pattern of subject heading, e.g., “Popular music — Analysis, appreciation,” “Rock music — Analysis, appreciation,” and “World music — Analysis, appreciation.” We realize that many libraries lack the best reference sources to answer a particular musicrelated question. Therefore readers will find that we have cited many free resources that can be found on the Internet. This book contains many examples of searches performed in databases, web search engines and other electronic resources. The actual characters entered in the searches are printed in sans serif typeface. The citations in our bibliography are arranged topically, and then alphabetically within each topic. Only reference works cited in parts 1 and 2 are included, and thus the bibliography is highly selective. For more comprehensive treatment of the music reference literature consult

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INTRODUCTION

xiii

the books on music research by Bayne, Gottlieb, and Sampsel cited above. For a particularly thorough, but dated, bibliography of music reference works, see Music Reference and Research Materials: An Annotated Bibliography, 5th ed., by Vincent H. Duckles and Ida Reed (New York: Schirmer Books, 1997). Library users present questions in the library when their own search strategies have failed or they have no idea where to begin. It is very satisfying to be able to assist users to find the information or materials they are seeking and to introduce them to new sources and searching techniques that they may be able to use again for future research needs. Library public service employees can fulfill an essential role in the educative process in guiding users not only to locate their desired information or materials but also to help them to become confident and knowledgeable users of libraries. It is hoped that this volume will help many new library public service employees to guide researchers within music collections.

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PART ONE BASIC CONCEPTS AND TOOLS

Part 1 is an overview of basic concepts and the tools available in a library music collection with guidance on how to use them. Every library collection is unique, so the tools presented here may not be present in your library, but the concepts should be applicable everywhere. Get to know the tools in your local collection as well as you can. As you proceed through part 1, please look up the titles we use as examples in your local library catalog, pull them from the shelf, and take a good look at them. When we refer to classification numbers, we will use the Library of Congress (LC) classification scheme. Because of the many variations possible with the Dewey Decimal Classification (DDC), different numbers can be applied to the same item, so we do not provide Dewey numbers.1 DISTINCTIVE MATERIALS: SCORES AND RECORDINGS

Most libraries have books, periodicals, microforms, and electronic resources, but only libraries with music collections have substantial numbers of scores and musical recordings. Music reference, unlike general reference, involves connecting library users with these scores and recordings. Scores can come in many different manifestations. KNOW YOUR SCORES!

“Score” is a generic term used in libraries for printed music. Strictly speaking, a person should be able to see the notation for all parts (or at least most parts) of a work when looking at a score. In bibliographic records, printed music will be described as a score if it is for two or more instruments and/or voices, if it shows the parts simultaneously. Music for only one instrument or voice will not be described as a score, though this music will likely be shelved with scores (and would be included in a search limited to scores).2 Your music collection probably has many different kinds of scores. Sometimes you will find a score for piano and another instrument with a part for the other instrument in the back or in a pocket. You might also find any or all of the following types of scores in your library: • orchestral or band scores in miniature size—possibly described as “1 miniature score (255 p.) ; 15 cm.” • orchestral or band scores in full size—possibly described as “1 score (255 p.) ; 32 cm.” (see figure 1.1) • concerto scores with accompaniment rewritten for piano, with a separate solo part— possibly described as “1 score (15 p.) + 1 part (3 p.)” (see figures 1.2 and 1.3)

1

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2

BASIC MUSIC REFERENCE

• enormous scores that use many, many staves and possibly graphic notation (symbols other than commonly accepted musical notation)—possibly described as “1 score (55 p.) ; 70 cm.” • opera scores with the accompaniment rewritten for piano—possibly described as “1 vocal score (325 p.)” (see figures 1.4 and 1.5) • scores for the same operas showing all the orchestral parts—possibly described as “1 score (408 p.)” • chamber music scores and parts—possibly described as “1 score (80 p.),” if only a score, “1 score (80 p.) + 4 parts” if a score and parts, or “4 parts” if only parts without a score • hymnals or other song books—possibly described as “1 close score (583 p.)” (see figure 1.6) • music for a single instrument—possibly described as “25 p. of music” (see figure 1.7) Different kinds of scores for the same work may have different call numbers. For example, a violin concerto with full orchestral accompaniment would be classed under M1012, but a score of the same concerto with the accompaniment rewritten for piano would be classed under M1013. RECORDINGS COME IN DIFFERENT SHAPES AND SIZES

Adding to the complexity of item types in a music collection, recordings can be found on many different media types. Physical carriers of sound recordings include analog discs, digital optical discs, and magnetic tape. Analog discs are typically played on a turntable and read by a stylus on a tone arm. They typically appear in 7-, 10-, or 12-inch sizes. Each of these sizes may be played at different speeds: 7-inch discs at 45 rpm (“singles”), and 10-inch and 12-inch discs at 33⅓ rpm (“LPs”) or 78 rpm, though there are exceptions. Digital optical discs can be compact discs (CDs), DVDs, or some other digital format. They are almost always 4¾ inches in diameter and are played in CD players, DVD players, or Blu-ray Disc3 players. Magnetic tape can be found on reels of various sizes and can be played at several speeds on “reel-to-reel” players. Other media using magnetic tape include cassettes, videotapes, and, more rarely, four- or eighttrack cartridges. Though many of these formats are not currently available in the commercial marketplace, they are often found in library collections. Increasingly, sound recordings are distributed electronically, either as discrete computer files—such as the MP3 or AAC files available for download through vendors such as iTunes or Amazon—or via streaming audio. Since most end-user licenses prohibit the use of commercially distributed MP3 files in a library setting, subscription-based streaming audio services are the option libraries generally choose to provide electronically distributed music to their users.4 Some examples of streaming audio services include Naxos Music Library, Classical Music Library, and DRAM.

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BASIC CONCEPTS AND TOOLS

Figure 1.1. Edward Elgar, Symphony no. 1 in A-flat, op. 55 (London: Novello, 1908), 1.

3

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Figure 1.2. A score of a concerto with the accompaniment arranged for piano. Henri Vieuxtemps, Concerto no. 4 in D Minor, op. 31 (New York: C. Fischer, 1905), 1.

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BASIC CONCEPTS AND TOOLS

Figure 1.3. An example of a solo violin part. Solo part to Henri Vieuxtemps, Concerto no. 4 in D Minor, op. 31 (New York: C. Fischer, 1905), 1.

5

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Figure 1.4. A vocal score for an opera with the orchestral parts arranged for piano. Richard Wagner, Parsifal, arr. Karl Klindworth (Mainz: B. Schott’s Söhne, 1902; New York: G. Schirmer, 1904), 1. The voice parts have not yet entered.

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BASIC CONCEPTS AND TOOLS

Figure 1.5 Another page of a vocal score for an opera, showing the entrance of the first voice part, with the orchestral accompaniment arranged for piano. Richard Wagner, Parsifal, arr. Karl Klindworth (Mainz: B. Schott’s Söhne, 1902; New York: G. Schirmer, 1904), 8. Note the vocal part for Gurnemanz.

7

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Figure 1.6. A hymnal is described in a library catalog as a “close score.” Benjamin Shepard and William M. Lawrence, eds. Hymns of the Centuries for Use in Baptist Churches (New York: A.S. Barnes, 1911), 1.

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BASIC CONCEPTS AND TOOLS

Figure 1.7. Music for one instrument, piano in this case, is not described as a score, but as pages (p.) or volumes (v.) of music. Johannes Brahms, Hungarian Dance no. 1 (New York: G. Schirmer, 1898), 1.

9

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LANGUAGES

Before discussing the different kinds of resources in the music reference collection, it is important to note that music reference often involves working with languages other than English. Many reference sources are written in other languages (often German), and scores are often annotated in the chief language spoken where published. Your music reference collection may contain foreign-language dictionaries that might help you translate foreign texts. Look for them under LC call numbers beginning with “P.” You can also use bilingual and multilingual music terminology dictionaries, found in ML108, as they can also be useful in interpreting information from non-English reference works.

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Chapter One LIBRARY CATALOGS A library catalog is a database of bibliographic records, and its primary purpose is to keep track of the items in a library’s collection. The database includes bibliographic records for books, scores, and recordings. You can also find records for subscriptions to periodicals in catalogs, but not usually records for individual articles published in these periodicals. Catalogs can usually be searched by keywords within a bibliographic record, and they can be searched by looking for words within a specific data field, such as a title, author, or subject heading. Specific fields often use controlled vocabularies, or standardized forms of terms. A catalog can cover the collection of a single library (a local catalog), a few libraries in close proximity (a shared catalog), many libraries within a region (a regional or consortial catalog), many libraries within a country (a national catalog), or many libraries in many countries (an international catalog). The best example of an international catalog is OCLC’s WorldCat.1 WHEN TO USE A LIBRARY CATALOG

You should use a catalog when you wish to find out if a library holds a particular book, recording, score, or periodical subscription. Most library catalogs do not index periodical articles. You may also be able to find titles of chapters of books or tracks on recordings in a catalog, if the record for the book or recording has a detailed listing of the contents. Not every catalog record has this level of detail, however, and you may have to consult specialized indexes to find chapters, tracks, or other subordinate parts of items. We will cover this in chapter two (“Special Indexes and Bibliographies”; see p. 27). HOW TO USE A LIBRARY CATALOG

Before beginning a catalog search, you should learn what the user already knows about the topic of the search. There are two broad categories of library catalog searches: known item searches, where the user is looking for a particular book, score, or recording; and topical or general searches, when the items sought are as yet unknown to the user. When looking for a known item, the user probably knows the title or author/composer /principal performer of the item (composers and performers are treated as authors in a library catalog). In this case, you can search for the title, author, or both, in the catalog. To help users find what they want quickly, you should begin by searching your local catalog. If your local catalog does not yield satisfactory results, you should ask if the user has time to wait for materials to be delivered from another library. If so, search a larger catalog such as

11

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WorldCat or the local catalog of another library. If you locate desired items in another catalog, you will need to advise the user on how to obtain items through interlibrary loan services. Your music collection will not have everything everybody wants, and you should be ready to help users with interlibrary loan. You should be familiar with your local policies, particularly who is eligible to use interlibrary loan and how to go about initiating a request. If you are fortunate enough to work in a library that is close in physical proximity to another library with a large music collection, you should know how to search the other library’s catalog, and what that library’s policies are regarding your users. BASIC SEARCH CONCEPTS KEYWORDS

In a general keyword search, you enter one or more search terms, and the catalog system searches for items with that word (or combination of words) in all major parts of the catalog record (author, title, subject, table of contents, etc.). For example, if you enter world music as a keyword phrase, you might get “world music” as a subject, “world music” as words in a title, or “world music” as it appears elsewhere in the catalog record for an item (see figure 1.8). General keyword searches are a good way to retrieve a lot of records, but they are typically not very precise in what they retrieve. Most catalog systems will return results from keyword searches in rank order by relevancy. In some catalog systems, the list of results will show the relevancy ranking of each returned item. PERSONAL NAMES

Catalogs list names of persons both as authors and subjects. An author is a person who is responsible for creating an item. For instance, for a sound recording of Wynton Marsalis playing the trumpet, Marsalis is an author. For a score of Ludwig van Beethoven’s Fifth Symphony, Beethoven is an author. For the book Beethoven: The Music and the Life, by Lewis Lockwood,2 Lockwood is an author and Beethoven is a subject. For the documentary series Jazz, directed by Ken Burns, Burns is an author (see figure 1.9).3 PHRASE VS. KEYWORD

You can search groups of terms at the same time in most catalog systems. You can search for each term independently of the others, in which case they are all keywords, or you can search for them all together as a phrase. Searching for groups of terms as a phrase is more precise, and will typically result in a much smaller group of results than searching for a group of terms as keywords. For example, the terms marching and band would each retrieve results in their own right. They could be used as keywords and would probably bring up many records, including irrelevant hits like the hypothetical children’s book The Band of Marching Grasshoppers. Searching

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Title: Series:

World music in music libraries / edited by Carl Rahkonen. MLA technical report, no. 24 MLA technical reports ; no. 24. Canton, Mass. : Music Library Association, 1994.

13

Published: Physical Description: xi, 77 pp. ; 22 cm. Includes: Includes bibliographical references and index. Subject: World music –Congresses. Ethnomusicology –Congresses. Music libraries –Congresses. Other Name: Rahkonen, Carl John, 1955Notes: Consists chiefly of papers presented at a plenary session of the Music Library Association in Baltimore, Md. on Feb. 19, 1992. Figure 1.8. Bibliographic record for a book that would result from a keyword search on world music. Note that the words “world music” appear in bold in this record. When displaying results, catalogs frequently emphasize graphically the term that was searched.

Figure 1.9. Chart for finding items based on names.

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the words in order as a phrase (“marching band”) would retrieve fewer results, but most (if not all) would be related to the concept of marching band. In most library catalogs, enclosing keyword terms in double quotation marks will search them as a phrase. BOOLEAN AND PROXIMITY OPERATORS

By combining terms, searches can be made more precise. In this section, we’ll look at ways to refine searches through the use of Boolean operators, proximity operators, and truncation and masking. Most catalog systems allow you to use Boolean operators (AND, OR, NOT) to combine different search terms together to yield different results. If you are looking for two different terms, such as trumpet and cornet, you can use the operators to determine your results. AND If you enter trumpet AND cornet in a general keyword search, the catalog will find records that have both terms somewhere in the record. If you enter the same terms as a subject keyword search, the catalog will return records with both terms in subject heading fields, thus retrieving items about both the trumpet and the cornet. OR If you enter trumpet OR cornet in a general keyword search, the catalog will find records that have either term somewhere in the record (or if you do this in a subject keyword search, the catalog will find records with either term in a subject heading). This will give you a much larger pool of results, as the terms are dissociated from one another. NOT Another useful operator is NOT. If you enter trumpet NOT cornet in a general keyword search, the catalog will return records that have trumpet in them, but not cornet. For a visual illustration of how this works, see the Venn diagram in figure 1.10. There are two overlapping circles. The one on the left represents all the bibliographic records retrieved by a general keyword search of trumpet (records with the word “trumpet” somewhere in them). Let’s assume that this would retrieve 1,000 records. The one on the right represents all the records retrieved by a keyword search of cornet and hypothetically represents 500 records retrieved. If you use the AND operator between the keywords trumpet and cornet, the results of the search will only come from the overlapping area, which represents 150 hypothetical records that contain both terms. If you use the OR operator, the results will come from the overlapping area and all the rest of the area of both circles, or 1,350 records (as 150 records contain both terms). This shows that a Boolean OR search will, in theory, retrieve many more results. If you use the NOT operator between the two keywords (trumpet NOT cornet), the results will come from the circle on the left (850 records), except for the portion where both circles overlap, excluding any results with “cornet” in the bibliographic record.4 Proximity operators allow you to search for terms that are close to each other in a record. Searches using proximity operators are generally more precise in returning relevant items in the

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Figure 1.10. Venn diagram for Boolean searching with “trumpet” and “cornet.”

results of a search than Boolean AND searches. Many library catalogs allow the use of proximity operators to search for two terms near each other. You might wish to check your catalog system to see if it will allow proximity searching by looking for “proximity” in a list of searching tips or in a help screen. If your catalog system will allow you to use this kind of search, you may be able to specify multiple terms that must be within a certain number of words of each other. To find items about intonation problems on the violin, you might try a proximity search of the terms violin and intonation. For example, you could search for items with the two terms no more than ten words apart from each other. In WorldCat on FirstSearch, that search would be constructed violin n10 intonation. In this case, n10 means “within ten words of.” Other catalog systems that allow this kind of searching may work differently. For example, a similar proximity search of the catalog of the Ohio State University Libraries would be constructed “violin intonation”~10. Many catalogs, such as the free version of WorldCat (http://worldcat.org), automatically use proximity behind the scenes as one factor to rank highly relevant items near the top of the list of retrieved records.

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TRUNCATION AND MASKING

Truncation allows you to enter the beginning of terms while allowing flexibility in the endings by using a wildcard symbol, such as an asterisk (*) or question mark (?).5 Some catalog systems allow truncation on the beginning of words as well. Check the help screens or searching tips on your catalog to see which character is used for truncation. Truncation is useful because you can leave off part of a word, thereby increasing the number of potentially relevant results. If you entered improvis* in a keyword search, the catalog will return records containing “improvise,” “improvisation,” “improvisational,” “improvising,” and so on. Internal masking is a similar search strategy. For example, in a catalog or database system that permits masking, entering wom?n will return items containing either the term “woman” or “women.” COMBINING CONCEPTS

To search keywords about multiple concepts, it is a good idea to make a list of possible search terms. You can use a thesaurus if you need suggestions. By creating a simple two- or three-column chart, you can then place each group of related terms into its own column and combine the concepts using Boolean or proximity operators. For example, assume you are looking for information on intonation related to orchestral string instruments. You could make a list of subject terms that might be helpful, such as: Column A 1A. Violin 2A. Viola 3A. Cello 4A. Violoncello 5A. Bass

Column B 1B. Intonation 2B. Pitch* 3B. Interval* 4B. Control*

By numbering each term, you can search each combination of terms in a systematic way, for example, 1A with 1B (violin AND intonation), 2A with 1B (viola AND intonation), 3A with 1B (cello AND intonation), etc. By pairing search terms systematically, you can combine them using the same Boolean or proximity operators for each set of terms. A rigorous search of a catalog or database can be conducted following this method. CONTROLLED VOCABULARY SEARCHING WITH SUBJECTS

Library catalogers have created ways to search for items by subject, author, or title with remarkable precision. This is achieved by using a concept called controlled vocabulary. A controlled vocabulary is a set of authorized forms for subject headings, name headings, and title headings. For example, if you want to search for materials related to the mellophone, you would search on the term alto horn in the subject field. We know to use this term because it is listed in

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the Library of Congress Subject Headings (LCSH ) as the authorized form. When we look up “Mellophone” in LCSH, we see “Mellophone, USE Alto horn.”6 If you conduct a subject search for mellophone in a library catalog, you will probably not retrieve any results. By changing that to a keyword search, you would probably get some hits. If you find a book with “mellophone” in the title, and the book is actually about mellophones, the bibliographic record would have “Alto horn” as a subject heading, not “mellophone.” Many catalog systems allow you to browse headings by clicking on them in the bibliographic record. If this is the case for your catalog, when you click on the hyperlinked “Alto horn” heading, you should get a list of all items with this subject heading.7 A subject heading for a piece of music sometimes simply designates the medium of performance: • Ukelele music • Tuba and piano music If the music is in a standard musical form, like a concerto or sonata, you would find “Concertos” or “Sonatas” as the first word in the subject heading. Symphonies for orchestra are found under “Symphonies,” though symphonies for band are found under “Symphonies (Band).” Concertos for solo instrument and orchestra simply list the solo instrument. Concertos for solo instrument and another type of ensemble list the ensemble as well, as in “Trumpet with band” for a concerto for trumpet and band. Headings for concertos with the accompaniment rewritten for piano contain the qualifier “Solo with piano.” • Sonatas (Viola and piano) • Symphonies • Symphonies (Band) • Concertos (Piano) • Concertos (Trumpet with band) • Concertos (Violin) – Solo with piano Songs are divided into secular and sacred and are often qualified by voice range. • Songs (High voice) with piano • Sacred songs (Low voice) with organ Large-scale vocal or choral works include the following: • Operas • Oratorios • Cantatas, Sacred • Cantatas, Secular • Choruses, Sacred • Choruses, Secular

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Headings for cantatas and choruses often indicate the accompanying ensemble or instruments.8 CONTROLLED VOCABULARY SEARCHING WITH NAMES

Libraries use controlled name headings in their catalogs to differentiate people who have the same name. The composer John Adams has the same name as the second president of the United States. In order to list the composer’s works under a unique name heading, catalogs use the heading “Adams, John, 1947–.” This heading will further distinguish John Adams, the contemporary composer, from John Luther Adams, another contemporary composer, whose works will be found under the name heading “Adams, John Luther, 1953–.” Name headings can also be used to bring together works published under variant spellings of a composer’s name. For example, Peter Tchaikovsky’s name may be transliterated in many different ways, and some versions may begin with the letter “C” instead of “T.” By using the authorized heading “Tchaikovsky, Peter Ilich, 1840–1893,” libraries can list all works by Tchaikovsky under a single name heading, irrespective of how the name may be spelled on the individual items. Name headings for composers should appear in the catalog records of their works in your library. You can also search the Library of Congress authority file at http:// authorities.loc.gov. The Library of Congress authority file can also be used to find subject headings, title headings, and name-title headings. (See the section on searching with uniform titles below for more on name-title headings.) CONTROLLED VOCABULARY SEARCHING WITH UNIFORM TITLES

Music collections typically contain multiple versions of musical works. For a common work like Beethoven’s Fifth Symphony, a music collection may contain study scores and conductor scores (each in different editions), sound or video recordings of the work by various orchestras and conductors, and possibly orchestral parts for one or more instruments. These items may be published under a variety of titles, in a variety of languages: “Symphony no. 5,” “Fifth Symphony,” “Beethoven’s Fifth Symphony,” or “Symphonie Nr. 5.” Catalog librarians add uniform titles to bibliographic records to create one title to use for all the possible variations in language, format, or spelling. If your library catalog is well designed and configured,9 uniform titles will be clearly identified in catalog records, and librarians and users will be able to browse works by composer and uniform title. Figure 1.11 shows the results of a search of the Northern Illinois University (NIU) Library Catalog for Claude Debussy.10 The composer’s last name must be entered first, then the composer’s first name or initial. Note that in the results, the composer’s name is listed first, followed by the uniform title of each work, arranged first in numerical and then in alphabetical order. These combinations of the heading for the composer paired with the title of a work are called name-title headings. The NIU Library Catalog provides hyperlinks on authorized headings to a list of bibliographic records

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Figure 1.11. Results of catalog search in the Northern Illinois University Libraries catalog for name-title headings (search performed on June 6, 2012).

with that heading. Headings labeled “See Also” are non-authorized versions. The catalog also provides links from the non-authorized heading to the authorized version of the heading. Uniform titles group together all instances of works and identify those instances with a controlled heading. Uniform titles are divided into three categories: generic uniform titles, collective uniform titles, and distinctive uniform titles. Generic uniform titles are used when a composition is known only by its form (and perhaps a number, instrument or combination of instruments, or key). Some generic uniform titles are the following:

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• Symphonies • Concertos • Quartets • Sonatas The name-title heading for Ludwig van Beethoven’s Fifth Symphony is “Beethoven, Ludwig van, 1770–1827. Symphonies, no. 5, op. 67, C minor.” All scores and recordings of this work owned by a library could be found by searching by author (beethoven, ludwig van) then browsing to the “S” portion of the list of works and locating “Symphonies, no. 5.” (Unfortunately, many library catalogs do not present the results of an author search in alphabetical order by title. See the sidebar on page 51 for more suggestions on what to do if this is the case for you.) Browsing to the “S” portion of the alphabetical list for a prolific composer like Beethoven may take several minutes of clicking on “Next Page” links, though many catalogs have “Jump to” or “Locate in results” shortcuts on the top or bottom of results screens following author searches.11 Generic uniform titles are given in English in library catalogs in Englishspeaking countries. Generic uniform titles are plural unless only one composition of a particular genre is known. For example, if a composer wrote only one symphony (as did Paul Dukas), the generic uniform title for this work would begin with “Symphony.” Distinctive uniform titles are used when the work is known by a unique name rather than a generic name, which is frequently the case with titles of operas, ballets, and symphonic poems, for example. Distinctive titles are given in the original language. To illustrate, all scores and recordings of Prokofiev’s Cinderella are given a uniform title in the original Russian, Zolushka, and all scores and recordings of Rossini’s Barber of Seville are given a uniform title in the original Italian, Barbiere di Siviglia. Collective uniform titles, in many cases, are simply generic uniform titles representing more than one composition. For example, a compact disc collection of Beethoven’s symphonies is assigned a uniform title of “Symphonies,” which means all of Beethoven’s known symphonies are represented. Items containing more than one composition for a particular medium but in multiple forms—such as a recording of music for flute and piano containing both sonatas and variations—would be assigned a performance medium collective uniform title “Flute, piano music.” If the item described is a complete collection of the composer’s known works (in multiple forms and performance media), it would be assigned the collective uniform title “Works.” For more information on searching library catalogs for uniform titles, please consult Indiana University’s excellent tutorial on the subject, available at http://library.music.indiana .edu/collections/uniform/uniform.html.12 CLASSIFICATION SYSTEMS

Your music collection is probably arranged according to either the Library of Congress (LC) Classification for Music or the Dewey Decimal Classification (DDC) system. We have in-

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cluded in the appendix (pp. 83–85) a chart for the LC Classification for Music to use for your reference as a guide to finding things quickly in your collection. This chart is only a brief guide to the most widely used classification system used in academic libraries in the United States.13 Implementation of the DDC system varies by library so we have elected not to provide a guide to the DDC.14 If your library uses the DDC system, classification decisions will be made locally. For a reference chart of Dewey Decimal Classification numbers for music, consult the most recent edition of the Dewey Decimal Classification and Relative Index.15 You may also wish to ask if your cataloging department has a guide on local application of Dewey numbers. The simplified chart in the appendix has been modified from a handout in use at the Northern Illinois University Music Library. For a complete outline of the LC music classification, see the Library of Congress’s published guide.16 LIMITING SEARCHES BY FORMAT

If you know you are looking for an item in a particular format—such as a sound recording, score, or book—you should familiarize yourself with how your catalog system can limit searches by format. For example, if a user wants to hear Miles Davis play trumpet, that person would prefer to retrieve only sound recordings, not books or scores. If you limit your search to sound recordings, the resulting list of items will be much more relevant to the user’s needs.17

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Chapter Two MUSIC REFERENCE TOOLS GUIDES TO MUSIC REFERENCE LITERATURE

Several guides are available to help you navigate the vast array of music reference tools. They allow you to determine which music reference source would best meet the needs of a user. Look in the indexes and tables of contents of these reference guides to explore the possibilities.1 • Bayne, Pauline Shaw. A Guide to Library Research in Music. Lanham, MD: Scarecrow Press, 2008. This is intended as a textbook for music research courses. Its three parts address the research process, using libraries for research, and music bibliography. One of its express purposes is to provide an update to the Duckles (see below) bibliography.2 It does not contain an annotated bibliography, but rather the last part is a bibliographic essay with references to important tools. The bibliography at the end of the book covers reference sources mentioned in the text, chapter by chapter. Author-title and subject indexes provide access to the content. • Crabtree, Phillip D., and Donald H. Foster. Sourcebook for Research in Music. 2nd ed., rev. and exp. by Allen Scott. Bloomington, IN: Indiana University Press, 2005. This guide is not as extensive as the Duckles bibliography, but it is more recent. Like the Duckles bibliography, it is classified, so individual entries on like subjects are grouped together. Unlike the Duckles guide, the entries are neither numbered nor annotated. The sections of this work contain helpful introductions that serve as guides to the entries. Fortunately, this book contains two indexes: one for names (authors, composers, etc.), and one for titles. The first chapter of this book contains very helpful guides to bibliographical terms in English, French, and German, as well as guides to Library of Congress Classification and Dewey Decimal Classification systems. • Duckles, Vincent H., and Ida Reed. Music Reference and Research Materials: An Annotated Bibliography. 5th ed. New York: Schirmer Books, 1997. The standard bibliography of the music reference literature, this guide consists of thirteen chapters of classified, annotated entries. Though it unfortunately has not been updated since 1997, it covers a broad base of literature, and provides an excellent guide to music reference materials. It is thoroughly indexed, and every entry is given a serial number that begins with the chapter number (entry 5.457 is citation 457 in chapter 5).

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• Gottlieb, Jane. Music Library and Research Skills. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. This book is intended to serve as a text for music bibliography courses. It consists of twelve chapters on different topics that could be covered in such a course. The chapters contain bibliographic essays, and bibliographies on a multitude of topics are sprinkled in throughout this text. Some of the bibliographic citations are annotated and some are not. The appendix defines German musical/bibliographical terms as well as bibliographical terms in English. A single index provides access to the content. • Sampsel, Laurie J. Music Research: A Handbook. New York: Oxford University Press, 2009. This book is also intended to serve as a text for students rather than as a research tool. However, it is still an excellent annotated bibliography. Its contents are arranged topically, in sixteen chapters. The first fourteen deal with the bibliography of research tools and the last two cover writing and documentation—that is, how to make proper footnotes, endnotes, and bibliographic citations. A single index provides access to the content, and entries are numbered by chapter and citation, like the Duckles bibliography. WHEN TO USE ONE OF THESE MUSIC REFERENCE GUIDES

Think of these books as road maps or atlases, guiding you to the best reference books and databases for a particular topic. Suppose you know that someone wants general information on a topic that could possibly be found in an encyclopedia or other specialized reference work. Reference guides will help you locate specialized reference sources for the user. If you are not sure what kind of source might provide the desired information, these guides can help you decide which type of reference source to consult. For the remainder of this chapter, we will examine the major categories of reference books and databases and introduce you to selected examples. Use the music reference guides listed above to expand your knowledge of these categories of reference tools. DICTIONARIES AND ENCYCLOPEDIAS WHAT ARE DICTIONARIES AND ENCYCLOPEDIAS?

Dictionaries and encyclopedias are basic reference sources that provide definitions and general information about a multitude of topics. Generally speaking, dictionaries tend to be shorter works with more concise definitions, while encyclopedias strive to be longer and more exhaustive in scope. Sometimes, however, these two terms are freely interchanged. For example, most people would consider The New Grove Dictionary of Music and Musicians (New Grove) to be an encyclopedia, because of its lengthy articles and the fact that it spans twenty-nine volumes in its most recent printed edition.3 Some dictionaries and encyclopedias are available online, so check the library catalog to see the ones to which your library subscribes.

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WHEN SHOULD YOU USE DICTIONARIES AND ENCYCLOPEDIAS?

Dictionaries and encyclopedias are great resources when a user does not know where to begin looking for information on a certain topic. If a user is looking for a quick answer to a simple question, then looking up a term in a dictionary might yield a satisfactory answer. Good dictionaries for this kind of use are The Harvard Dictionary of Music 4 and The Oxford Dictionary of Music.5 If a user wants to start a research project on an unfamiliar topic, you might suggest the New Grove or another encyclopedia. The articles in the New Grove are arranged alphabetically, with topics such as “Cajun music,” “Canada,” “Cantata,” interfiled with biographical articles such as “Caruso, Enrico.” The articles are generally quite lengthy and detailed. They are frequently written by leading experts in the topic and often contain bibliographies and other useful information, such as lists of composers’ works. If currency is important, you should use the online version, which is updated periodically. For world music topics, you might consult The Garland Encyclopedia of World Music.6 This work is arranged geographically, with each volume covering the music of a different region. The first nine volumes delve into world music topics extensively, while the tenth volume is useful for quick definitions. You can look up topics in the index in volume ten, pages 569–1017. For popular music topics, you might try The Encyclopedia of Popular Music.7 This encyclopedia contains a wealth of information on popular music groups and artists. You might also try Contemporary Musicians, a serial publication that features short biographical articles on over 4,500 musicians, from all styles of popular music and jazz.8 Look in the back of the most recent volume for the cumulative index to the series. If you are looking for brief biographical sketches of musicians and composers, try Baker’s Biographical Dictionary of Musicians.9 This dictionary contains articles on many well-known musicians up to 2001. Many of the entries contain bibliographies and/or discographies. Some of your users will probably search Wikipedia (http://en.wikipedia.com), a free encyclopedia written and edited by anonymous volunteers from all over the world. As such, it is not a consistently reliable source of scholarly information, but it can be useful for finding information not available for free elsewhere, particularly about new and emerging musicians and genres of popular music. Wikipedia articles are usually more reliable if they contain citations. Citations should always be verified. Wikipedia can be recommended as a reference source if you explain its nature to users and caution them about reliability.10 PERIODICAL AND LITERATURE INDEXES WHAT ARE PERIODICAL AND LITERATURE INDEXES?

Simply put, a periodical index is a database to help locate articles in periodicals (journals, magazines, etc.). Historically, these were published in print form, and you could typically look up articles if you knew the author’s name or the subject of the article. These databases are now

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usually available online, often for a subscription fee. They can be searched by author, subject, and keyword, and results can usually be limited by language, year of publication, and publication type. Literature indexes include periodical articles as well as other types of publications, such as books, chapters of books, dissertations, conference reports, and so forth. The three major music periodical indexes, which cover the latter part of the twentieth century to the present, are: • The Music Index11 • International Index to Music Periodicals (IIMP )12 • RILM Abstracts of Music Literature (RILM ).13 The Music Index and IIMP are periodical indexes, and RILM is a literature index. Here are three other specialized music indexes: • RIPM (Retrospective Index to Music Periodicals), an index of nineteenth- and earlytwentieth-century periodicals14 • Bibliographie des Musikschrifttums, a literature index similar to RILM, except it does not contain abstracts (freely available at http://www.musikbibliographie.de)15 • CAIRSS for Music, a free online index of journal articles in music education, music therapy, and music psychology (available at http://ucairss.utsa.edu)16 Periodical databases that index music articles as well as articles in other disciplines include: • EBSCO’s Academic Search databases17 • JSTOR, which serves as an index as well as a database of full image reproductions of articles from selected scholarly periodicals.18 Some scholarly music journals have started using the open-access publishing model.19 One of the salient features of this model is that the content is freely available to the public online. Access can be gained through the Directory of Open Access Journals at http://www.doaj.org.20 Google Scholar (http://scholar.google.com) is another resource that can be used to find scholarly literature in all fields.

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Four-letter Words That Start with “R” There are currently four international bibliographic projects undertaken by the International Musicological Society and the International Association of Music Libraries, Archives, and Documentation Centres that librarians and scholars sometimes refer to as the “R projects.” These are: •RILM, Répertoire international de littérature musicale, or International Repertory of Music Literature, an annotated literature index, covering all scholarly literature 1967 to the present and conference proceedings and Festschriften from 1835 to the present (http://www.rilm.org) •RIPM, Répertoire international de la presse musicale, or Retrospective Index to Music Periodicals, an international periodical index covering the period of roughly 1800–1950 (http://www.ripm.org) •RISM, Répertoire international des sources musicales, or International Inventory of Musical Sources, an extensive project that indexes and documents musical source material, such as manuscripts and early editions in several series of publications, both in print and online (http://www.rism.info) •RIdIM, Répertoire international d’iconographie musicale, a project to catalog art works featuring music-related objects, persons and places (http://www.ridim.org) Searching rilm or ripm as keywords in your catalog will help you determine if your library has subscriptions to these databases. Most RISM publications are still only available as printed volumes, but their index of music manuscripts after 1600 (RISM Series A/II) is freely available on the web at http://opac.rism.info (click on the British flag to see instructions in English). RIdIM is also available as a free database from their web site, http://www.ridim.org (click on “RIdIM Database”).

WHEN SHOULD YOU USE PERIODICAL AND LITERATURE INDEXES?

The first and probably most important use of these indexes is to find periodical articles. Remember, you cannot find periodical articles in most library catalogs. Literature indexes like RILM and Bibliographie des Musikschrifttums can also be used to find chapters in books. Sometimes, academic books come as collections of chapters by different authors, edited by one person or a small group of people. These books are sometimes called collections of essays, or edited volumes, and if they were put together to honor a particular scholar or musician, they are called Festschriften. Like library catalogs, indexes use controlled vocabularies, but they do not use the same controlled vocabularies. Most American library catalogs are controlled using Library of Congress Subject Headings and authorized name and title headings. Periodical indexes maintain their own lists of authorized headings, often called thesauri. Remember the subject heading example from the Library of Congress Subject Headings? “Mellophone” is listed under “Alto horn.” In The Music Index headings list, it is listed under “Mellophone.”21 In the headings lists of IIMP and RILM, mellophone and alto horn are not listed at all. IIMP and RILM, however, use a heading for the more common related instrument, “horn.”22 SPECIAL INDEXES AND BIBLIOGRAPHIES

Indexes are essential for finding smaller items in larger publications, such as songs in collections or chapters in books. As we noted earlier, articles in periodicals can be found using periodical indexes; similarly, some of the indexes that follow will cover other smaller works within larger publications that often cannot be found in library catalogs.

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There are many different indexes available to help researchers find information on many topics. Here we will cover a few of the most useful special indexes and bibliographies. Some of these are online, and some only exist in print. INDEXES TO DISSERTATIONS AND THESES

If you or your users are looking for dissertations or theses, you should consult ProQuest Dissertations and Theses.23 This subscription database allows searching for dissertations and theses in most disciplines from most academic institutions in the United States and many from other countries. This database allows keyword searching as well as field-specific searching, including author, title, and subject, as well as other fields relevant to dissertations, such as advisors’ names and institutions. The only subject headings used by ProQuest Dissertations and Theses relevant to music are “music” and “music education.” “Subject” should be thought of as a discipline field rather than a subject field. As such, it is not useful as a field to search for documents about any particular aspect of music. When you locate relevant documents, you can help users obtain them. If your library has a subscription to the full-text version of ProQuest Dissertations and Theses, you may be able to display or download the full text immediately. If not, you can assist users in initiating interlibrary loan requests to borrow dissertations. If your library doesn’t subscribe to ProQuest Dissertations and Theses, you may also find indexing for dissertations in: • • • • •

WorldCat RILM The Music Index 24 OAIster 25 Doctoral Dissertations in Musicology 26

COMPOSER INDEXES

An excellent source for finding biographies of musicians (including composers) is the World Biographical Index of Music.27 This may be shelved in ML105, with the biographical dictionaries. Another great source for locating musicians’ biographies, or anyone’s biography for that matter, is the Biography and Genealogy Master Index,28 available online via subscription. This index allows you to track down citations for biographies in many different resources, like biographical dictionaries, encyclopedias, or Who’s Who publications.29 Richard Green’s Index to Composer Bibliographies 30 is a good, though dated, starting point for finding bibliographies of studies about composers. It is a list of bibliographies, arranged alphabetically by composer, with citations listed chronologically within each composer’s entry. Books, articles, chapters in edited volumes, and dissertations and theses are included. Most entries are annotated. This work is essentially an annotated bibliography, but it also functions as a

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rather specialized index because it includes annotated citations for many journal articles and other document types. SONG INDEXES

Bibliographies on topics within music can be found under ML128. Within the ML128 classification, you can find such works as bibliographies on the literature of certain voice ranges, musical instruments, and styles of music, among other topics. One of the most frequently used types of reference sources in this section are song indexes, found in ML128.S3. If a user comes to you looking for a particular song, you will, more often than not, need to consult a song index. Songs are most frequently published in collections, and many of these collections will not be fully indexed in your library catalog. To explain how song indexes work, we will refer to Ellen Luchinsky’s Song Index of the Enoch Pratt Free Library.31 We chose this index because it was published relatively recently and is held in many libraries.32 The index is divided into two volumes, each divided into two main parts. The first volume begins with a bibliography of the 2,120 song collections used to create the index. The next part—the part that you will probably use first—is the song index, which lists every song in the 2,120 song books in alphabetical order (with the exception of a few songs on the first page whose titles begin with numbers). Using the principle of controlled headings, cross references point from nonauthorized versions of a title to the authorized version. If you look up a title, and find that it has a cross reference (“see” or “see also”), you should check the title that it lists. If the title is an authorized title, it will include a bibliography number. You should turn back to the bibliography and look up that number to find the citation of the song collection. If your library does not own a copy, you could assist the user in placing an interlibrary loan request. Suppose a user asked you to locate Franz Schubert’s setting of “The Erl King.” The entry in the song index (p. 226) lists numbers that refer back to two song collections in the bibliography.33 On the same page, you will also see a citation for the song under its German title, “Erlkönig.” Numbers for two additional song collections are listed under that title. The song can be found in any of these four collections. For example, the first is entry 710. Looking back in the bibliography under 710, we learn that the song is included in the collection “Elson, Louis Charles. Modern Music And Musicians for Vocalists V.1* New York: The University Society, 1918.”34 You can use your catalog to search for this title. If your library has the title, you can go to the shelf, retrieve the song book, and look up the song. We find the song beginning on page 76 of this volume.35 The second volume of Luchinsky’s index contains the last two parts, the index of composers and the index of sources. If you look up “Schubert” under composers, you will see a list of all the songs Schubert wrote that are included in this index.36 In the index of sources, you can look up the titles of larger works (such as song cycles and operas) or other sources (such as plays, movies, and television shows) to find the songs from those larger sources that are listed in

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the index. For example, if you look up Schubert’s Winterreise, you will find a list of all the songs from that cycle in the index.37 Other song indexes you may want to consult include: • Abromeit, Kathleen A. An Index to African-American Spirituals for the Solo Voice. With a foreword by François Clemmons. Music Reference Collection, no. 76. Westport, CT: Greenwood Press, 1999. • Bradley, Carol June. Index to Poetry in Music: A Guide to the Poetry Set as Solo Songs by 125 Major Song Composers. New York: Routledge, 2003. • Cushing, Helen Grant. Children’s Song Index: An Index to More than 22,000 Songs in 189 Collections Comprising 222 Volumes. Standard Catalog Series. New York: H.W. Wilson, 1936. • De Charms, Desiree, and Paul F. Breed. Songs in Collections: An Index. Detroit, MI: Information Service, 1966. • Havlice, Patricia Pate. Popular Song Index. Metuchen, NJ: Scarecrow Press, 1975. 1st supplement, 1978. 2nd supplement, 1984. 3rd supplement, 1989. 4th supplement, 2005. • Leigh, Robert. Index to Song Books: A Title Index to Over 11,000 Copies of Almost 6,800 Songs in 111 Song Books Published between 1933 and 1962. Stockton, CA: Robert Leigh, 1964. • Sears, Minnie Earl. Song Index: An Index to More than 12,000 Songs in 177 Song Collections Comprising 262 Volumes and Supplement, 1934. Song Index originally published in 1926, Supplement originally published in 1934, both as part of the Standard Catalog Series, H. W. Wilson. Reprint, n.p.: Shoe String Press, 1966. Free Sources: The indexes below are available free on the World Wide Web: • The Aria Database (http://www.aria-database.com) A great resource for information on operatic arias. The arias are listed with vital information, such as the opera to which they belong, a synopsis of the plot at the time of the aria, the range and tessitura of the voice part (sometimes included), a sound file to aid in aural identification (sometimes included), a link to the text and translation, links to recordings for sale on Amazon.com, and information about vendors offering scores for purchase. The database can be browsed, or searched using a quick search or an advanced search to query multiple data fields. • California Library Systems Cooperative Song Index (http://www.sjvls.org/songs) An index of songs in collections held by California Library System Reference Centers. It is a tool mainly intended for public library staff in California to search for songs. However, anyone can search the index and look up song collections referenced in a library catalog. • The Folk Song Index (http://www.oberlin.edu/library/con/singout.html) A collaborative project between the Oberlin College Libraries and the periodical Sing Out!, this database indexes songs from both the Oberlin College Libraries and the Sing Out! Resource Center. Individual songs can be searched in the database, and the collections, including contents, can be browsed.

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• The Hymn Tune Index (http://hymntune.library.uiuc.edu) The online version of the four-volume printed index of the same name by Nicholas Temperley, and others. Hymn tunes are indexed by tune name, attribution, collection (hymnal), tune number (as assigned by Temperley), tune incipit, and text. • Sheet Music Consortium (http://digital2.library.ucla.edu/sheetmusic) A database of library records for sheet music collections and digitized sheet music hosted by the University of California at Los Angeles, this site provides access to collections from many academic and research libraries. The collections may be browsed or searched by a variety of access points. • Song Index of the Evanston Public Library (http://www.epl.org/index.php?option =com_content&view=article&id=242&Itemid=343) An index of the songs in collections in the Evanston Public Library. It indexes more than 1,100 song collections and more than 51,400 songs. It is updated as the library adds new song books to its collection.38 • UT Song Index (http://www.lib.utk.edu/music/songdb) An index of the songs in collections held by the University of Tennessee’s George F. DeVine Music Library. Though it is specific to this library, it indexes a sufficiently large number of song collections (over 1,500) to be useful to the library community at large. THEMATIC CATALOGS

Thematic catalogs list the complete works—or an identified subset of works—of a composer, along with musical notation representing the beginnings of each work or section of each work. In libraries using LC classification, these are shelved under ML134, together with composer bibliographies, and they are arranged in alphabetical order by composer. Typically, a thematic catalog will give information vital to each work, such as the voices or instrumentation required to perform it, the date of its composition, the details of the first performance, the description and location of manuscripts and early published editions. To illustrate, let’s take a look at the standard thematic catalog of Johann Sebastian Bach’s works, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV), by Wolfgang Schmieder.39 First, note that most of the text is in German. Thoughtfully for users who speak English, the catalog was published with English translations of the prefaces to the first (p. xxii) and second (p. xxxv) editions and the introductory remarks (p. xliii). If you read the preface to the first edition, you will learn about the history and goals of the project to catalog all of J. S. Bach’s works, the various problems with undertaking such a task, the various editors who oversaw the project, and the disasters that could have sabotaged the project. More important, though, for providing reference service, you will gain an understanding of how the work is put together. You will see that vocal works are placed before instrumental works, and that misattributed works and works of doubtful authorship are

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placed in the appendixes. The preface to the second edition is much shorter, and it highlights the revisions between the first and second editions. If you don’t read German, be sure to have a German dictionary handy when consulting the catalog. Good lists of German musicological and bibliographical terms can be found in Crabtree, Foster, and Scott’s Sourcebook 40 and Gottlieb’s Music Library and Research Skills.41 Some of the German musical terms are easily translated into English, because they look like the English equivalents (or the words from other languages that have become accepted into English-language musical circles). For example, Kantaten in German is “cantatas” in English, Motetten is “motets,” Messen is “masses,” and so forth. These terms are all found in the table of contents, or the Inhaltsverzeichnis (p. [v]). Other important terms in the table of contents are Anhang (a list of appendixes) and Verzeichnis der Abkürzungen (index of abbreviations). BWV, K., and D. Numbers. What Are These? Users will frequently refer to a composition by reciting its “BWV” number or Schmieder (S) number (J. S. Bach), Köchel (K) number (W. A. Mozart), or Deutsch (D) number (Schubert). Now you know what they are talking about! These terms are abbreviations for the authors or short titles of thematic catalogs. The thematic catalog numbers can be helpful in finding scores and recordings in keyword searches. For example, BWV 565 is J. S. Bach’s famous Toccata and Fugue in D minor. Entering bwv 565 in a keyword search in a library catalog should easily locate scores and recordings of this work. Numbers are usually included in the uniform title for a work if that uniform title is a generic uniform title, as in “Symphonies, K. 183, G minor” (W. A. Mozart). Some composers’ works are identified by opus numbers, (work numbers assigned by the composer or publisher, often abbreviated “op.”). For example, Kinsky’s catalog of Beethoven’s works, Das Werk Beethovens: Thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen, is arranged according to opus numbers. In this case, a title keyword search by the opus number with an author keyword search on the composer, joined by a Boolean AND will retrieve works with opus numbers in their uniform titles, such as “Symphonies, no. 5, op. 67, C minor” (Beethoven). In a catalog system that will allow searching more than one data field at a time (often in an “advanced” search), the search would be constructed op. 67 (in title) AND beethoven (in author).

Each of the sections on the different types of musical compositions lists individual works of that type, and each work has its own number. For example, let’s take a look at BWV 823, or Suite f-moll (Suite in F minor), which is listed in the catalog under Werke für Klavier (keyboard works) (see figure 2.1).42 Under the title, you will see the boldface heading Besetzung (performing forces). BWV 823 is for Klavier (Cembalo) (keyboard, or harpsichord in particular). Works for ensembles list the required instruments and voices in Besetzung. If you were looking at a work with sung text, you would see the heading Text above Besetzung. This section provides identification of the text source Bach used for the setting. Below the text source (if there is a text) and performing forces, you will find a series of notes following the abbreviations BGA, NBA, and EZ. By consulting the Verzeichnis der Abkürzungen on pages xxxvii and xxxix, you will know that the notes after BGA and NBA tell you where to find this work in the two collected editions of Bach’s works. The notes after EZ (Entstehungszeit, or date of origin) refer to the factors surrounding the composition of the

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Figure 2.1. Wolfgang Schmieder, ed.,Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV), 2nd ed. (Wiesbaden: Breitkopf & Härtel, 1990), 624. Used with permission.

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work, such as the date and place of composition, and so forth. Under these notes, you will see a series of short musical excerpts that represent the beginnings of the movements or important sections of the work. Their presence is what makes this a “thematic” catalog rather than just a bibliographic catalog. After the musical excerpts, you will find the heading Handschrift or Handschriften followed by notes that give the shelfmarks for manuscripts of this work in libraries and archives as well as details on published facsimiles, if available. The notes after Drucke identify published editions of the work. The notes after Literatur are bibliographic references to writings about this work. You may also encounter the headings Textdruck(e) (published editions[s] of the text) and Drucke und Ausgaben besonderer Art (other printed editions of the composition) after the incipits. The last part of the book, following the appendixes, contains a chronological table of works, a list of manuscripts and published works before 1750, a table of cantatas in the liturgical year, a thematic index of instrumental works, an alphabetical listing of the beginnings of the texts of the vocal works, and a name and subject index.43 Note that thematic catalogs can also be used as song indexes, allowing you to refer users to collected works editions, which are excellent modern scholarly editions of musical works, carefully prepared by consulting the best original sources of works, such as the autograph manuscripts and first editions. Some thematic catalogs are arranged in chronological order, as in the catalog of W.A. Mozart’s works by Köchel. Thematic catalogs are available for many composers; some of the most well known ones are: • Bach, Johann Sebastian Schulze, Hans-Joachim, and Christoph Wolff. Bach Compendium: Analytischbibliographisches Repertorium der Werke Johann Sebastian Bachs (BC). Frankfurt: C. F. Peters, 1985–89. (As of this writing, this multi-volume catalog covers only the vocal works of Bach.) • Beethoven, Ludwig van Kinsky, Georg. Das Werk Beethovens: Thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen. Edited by Hans Halm. München: G. Henle, 1955. • Brahms, Johannes McCorkle, Margit L. Johannes Brahms: Thematisch-bibliographisches Werkverzeichnis. Edited with Donald M. McCorkle. München: G. Henle, 1984. • Handel, George Frideric Eisen, Walter, and Margret Eisen. Händel-Handbuch. Kassel: Bärenreiter, 1978–86. • Haydn, Joseph Hoboken, Anthony van. Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis. Mainz: B. Schott’s Söhne, 1957–78.

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• Mozart, Wolfgang Amadeus Köchel, Ludwig Ritter von. Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts: Nebst Angabe der verlorengegangenen, angefangenen, von fremder Hand bearbeiteten, zweifelhaften und unterschobenen Kompositionen. 8th ed. Wiesbaden: Breitkopf & Härtel; New York: C. F. Peters, 1983. • Schubert, Franz Deutsch, Otto Erich. Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge. Kassel: Bärenreiter, 1978. For a more complete list of thematic catalogues, consult Thematic Catalogues in Music: An Annotated Bibliography by Barry S. Brook and Richard Viano.44 COMPOSER BIBLIOGRAPHIES

If your library uses LC classification, you will find composer bibliographies shelved with the thematic catalogs in ML134. These works are very useful for beginning research on particular composers. Also, composer bibliographies can be excellent places to turn to when someone asks a question about a composer and you are not familiar with the standard resources for the composer. Some publishers refer to these kinds of publications as “bio-bibliographies” (particularly Greenwood), or “guides to research” (particularly Routledge or Garland). Here are some examples: • Berlioz, Hector Langford, Jeffrey, and Jane Denker Graves. Hector Berlioz: A Guide to Research. Garland Composer Resource Manuals, no. 22. New York: Garland Publishing, 1989. • Brahms, Johannes Platt, Heather. Johannes Brahms: A Guide to Research. Routledge Music Bibliographies. New York: Routledge, 2003. • Copland, Aaron Skowronski, JoAnn. Aaron Copland: A Bio-Bibliography. Bio-Bibliographies in Music, no. 2. Westport, CT: Greenwood Press, 1985. • Handel, George Frideric Parker, Mary Ann. G.F. Handel: A Guide to Research. 2nd ed. Routledge Music Bibliographies. New York: Routledge, 2005. • Haydn, Joseph Grave, Floyd K., and Margaret G. Grave. Franz Joseph Haydn: A Guide to Research. Garland Composer Resource Manuals, vol. 31. Garland Reference Library of the Humanities, vol. 740. New York: Garland Publishing, 1990.

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• Liszt, Franz Saffle, Michael. Franz Liszt: A Guide to Research. 2nd ed. Routledge Music Bibliographies. New York: Routledge, 2004. • Shostakovich, Dmitri Hulme, Derek C. Dmitri Shostakovich: A Catalogue, Bibliography, and Discography. 3rd ed. Lanham, MD: Scarecrow Press, 2002. DISCOGRAPHIES

Discographies, like bibliographies, are lists of items that may or may not be found in a particular library. What makes discographies special is that they are lists of sound recordings. Discographies can be arranged in many different ways, and they can cover many different topics. Your library may include discographies on particular styles of music, such as jazz or popular music. You also might find record company catalogs and lists of the most popular songs in a particular year. Some discographies cover a specific artist or performing group, and some cover specific instruments. Printed discographies fall into the LC call number range of ML156–ML158. Examples of discographies include: • Albin, Steve, and Michael Fitzgerald, eds. Jazz Discography. http://www.jazzdiscography .com. A very large selection of expertly compiled discographies for specific jazz artists and ensembles. • Allmusic. http://www.allmusic.com. Formerly known as All Music Guide, this source is an excellent, easy-to-use web site for discographical information. Includes information on art music as well as popular music. • Rust, Brian. The American Dance Band Discography, 1917–1942. New Rochelle, NY: Arlington House, 1975. Arranged alphabetically by artist, this two-volume discography lists recordings chronologically and provides the record labels and label numbers as well as the musicians and instrumentation when known. • ________. Jazz Records, 1897–1942. Rev. ed. London: Storyville Publications, 1969. Also arranged alphabetically by artist, this two-volume discography provides similar information to The American Dance Band Discography. • Spottswood, Richard K. Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893–1942. Urbana, IL: University of Illinois Press, 1990. This massive seven-volume work lists recordings first by language, then alphabetically by artist. Entries are arranged chronologically by recording date, indicating musicians and instrumentation when known. Spottswood has provided matrix and label numbers in the entries as well.

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• Whitburn, Joel. Joel Whitburn’s Top Pop Singles, 1955–1990. Menomonee Falls, WI: Record Research, 1991. This discography contains a list of top hits from Billboard’s top singles charts, arranged alphabetically by artist. FREQUENTLY USED WEB SITES

There are an immense and growing number of web sites available that could be used in music reference. Here are only a handful of the more interesting examples of what is available on the web. You may wish to consult Laurie Sampsel’s Music Research, chapter 14, which covers Internet searching for music resources in greater detail.45 Your library may also maintain its own list of recommended web resources for music. ARTICLE INDEXES

• Bibliographie des Musikschrifttums. http://www.musikbibliographie.de. Mentioned earlier in the periodical and literature index section, this database is freely available and covers a very large number of current periodicals in music in all major languages, as well as other forms of music literature. • Google Scholar. http://scholar.google.com With this search engine, you can locate scholarly articles and books available on the web. Searching is relatively intuitive for those used to Google. Google Scholar has an advanced search screen to help with precision. It can be particularly helpful for finding articles when you do not have access to a subscription-based online periodical index such as The Music Index, RILM, or IIMP. BOOKS

• Google Books. http://books.google.com. This tool allows searching within books that were scanned by Google from the collections of many libraries around the world. (For more information, see http://books.google.com/intl /en/googlebooks/about.html.) For older books that are in the public domain—and some newer books where the copyright holders have given consent—you can even access the full text. For newer books still in copyright, a very limited amount of text is sometimes available for reading.46 • HathiTrust. http://www.hathitrust.org. A vast library of digitized books and periodicals, HathiTrust allows users to find items of interest by searching either the bibliographic information in catalog records or the full text of the items themselves. Full text is provided for items in the public domain. Items protected by copyright are not available in full text, but words or phrases can be searched and located. Additionally, users may assemble groups of materials in the HathiTrust library (called collections) to share with the public.

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CLASSIFIED LISTS OF WEB SITES

• American Musicological Society. “WWW Sites of Interest to Musicologists.” http://www.ams-net.org/www-musicology.php. A classified listing of web sites related to music, with a focus on the needs of scholars. Tangentially related resources are included, such as Bible search tools, translation tools, government funding sources, and jokes. • Indiana University School of Music, William and Gayle Cook Music Library. “Worldwide Internet Music Resources.” http://library.music.indiana.edu/music_resources. A topically classified list of web sites related to music, “Worldwide Internet Music Resources”—despite its many old links—remains a good starting point for finding information. For any non-functioning links, search the title on Google or another internet index to attempt to locate the current link. • Sibelius Academy. “Music Resources.” http://www2.siba.fi/Kulttuuripalvelut/music .html. Another topically classified listing of music web sites. Unfortunately, this site also contains many links that have not been updated. MUSIC DISCOVERY

• Pandora Radio. http://www.pandora.com. This is a free Internet radio service supported by advertising. Users can specify a song or artist they would like to hear. Pandora Radio then creates a “radio station” that plays music similar to the original request. Like Shazam (see below), it functions as a music discovery tool, suggesting music you might like based on similarities to the music you request. Pandora Radio uses data from the Music Genome Project to suggest music based on many aural factors. 47 • Playlist. http://www.playlist.com. A search engine that retrieves music files on the web, Playlist is particularly useful for finding popular music. The site plays files through a player that can be embedded in another web application. A search on Playlist will result in a list of results that link directly to sound files as well as to the web sites that host the sound files. The site includes copyright notices indicating its purpose to provide legal access to music on the web. Users who wish to download are encouraged to visit the iTunes store, and the site provides links for this purpose. Additionally, Playlist pays performance licensing fees. • Shazam. http://www.shazam.com. This site offers software that makes it possible for your smartphone to identify recordings by capturing only a few seconds of sound. Shazam has a searchable database of artists, albums, and tracks. Results within the database often have a link to “explore.” When this link is clicked, the site suggests similar artists, albums, or tracks.

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OBITUARIES

• Washington University Libraries, Gaylord Music Library. “Musicians Necrology.” http://library.wustl.edu/units/music/necro. If you need to know if a musical personality has died, this is the place to check. The necrology file lists references to published accounts of deaths of musicians. Obituaries can be valuable sources of biographical information for composers and other musicians not covered by other music reference sources. It is also very useful for musicians preparing concert programs, which typically list the birth and death dates of composers. See pp. 72–73 for more details. TUNE IDENTIFICATION

• Center for Computer Assisted Research in the Humanities, Stanford University, and Cognitive and Systematic Musicology Laboratory, Ohio State University. Themefinder. http://www.themefinder.org. This site was created by David Huron at the Ohio State University; it functions much like Barlow and Morgenstern’s Dictionary of Musical Themes,48 which provides a way for researchers to look up a melodic theme based on its opening pitches. Themefinder succeeds A Dictionary of Musical Themes as the way to look up themes to many famous classical compositions. See p. 74 for more details. • Musipedia. http://www.musipedia.org. If you know the melody for a musical work but don’t know the title of the work, you can enter the melody on a web keyboard, or even enter it by singing. The site will compare the melody you entered to its database of tunes and return likely matches. Musipedia will also search the web for your melody. • Shazam. http://www.shazam.com. Shazam can be used to identify recordings by means of a software application that can be downloaded to smartphones. VIDEOS

• YouTube. http://www.youtube.com. A searchable video sharing service, this site allows users to watch videos as well as upload and share their own videos. The YouTube player can be embedded in other web applications to allow the sharing of videos on web sites and through social networking sites. Many people and corporations have created YouTube channels, where their videos can be shared in one convenient place. You may use YouTube to find instructional videos, videos of famous performances, and many other music-related videos on the web.

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WEB SITE SEARCH ENGINES

• Google. http://www.google.com. Google is the first stop for many people when it comes to searching for web content. It is probably the most far-reaching search engine available. Google also searches many other kinds of documents available on the web, such as the books in Google Book Search, Google Scholar, or many scholarly documents available through Project MUSE49 or JSTOR.50 • Google Blog Search. http://blogsearch.google.com. This site will search the contents of blogs (short for “web logs,” which are journal-like web sites with new articles and announcements added periodically). Blogs are published by institutions as well as individuals. Blog reading is a good way to monitor trends in musical popular culture, current events, and opinion. Blogs can easily be followed by subscribing to their RSS feeds using a feed reader such as Google Reader (http://www.google.com/reader) or FeedReader (http://www.feedreader.com). If a user asks you to help find blogs on a topic, or a particular blog, Google Blog Search (http://www.google.com/blogsearch) may be used to find these. WRAPPING IT UP

In this chapter, we covered the basic kinds of tools you will use to handle reference questions in a music collection or music library. These include dictionaries and encyclopedias, periodical and literature indexes, bibliographies, special indexes, and web sites used in music reference. In part 2 we will show how these tools and library catalogs are used to answer typical music reference questions.

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Chapter Three GENERAL REFERENCE SKILLS Questions come to library staff through in-person contact, over the phone, via the post or e-mail, instant messaging or online chat. No matter the route, the first step is to identify the question’s type: directional or reference. The former comprise requests for information concerning the services your library provides (such as “What hours are you open?”) and the location of services (“Where is the photocopier?”). The latter—reference questions about music— are the ones we will focus on in the following chapters. One formal definition distinguishes the two by describing reference questions as “information consultations in which library staff recommend, interpret, evaluate, and/or use information resources to help others to meet particular information needs. Reference transactions do not include formal instruction or exchanges that provide assistance with locations, schedules, equipment, supplies, or policy statements.”1 Your library may require you to report statistics on the number and type of public service questions you attempt to answer, so be sure to familiarize yourself with the system used to gather the statistics. THE REFERENCE INTERVIEW

After identifying the type of question asked, the second task is to attempt to discover and clearly understand the actual research need of the user. Users will frequently first ask a very general question, when in fact they have a much more specific research need. Consider the following interaction between a library employee and a user: User: Where do you keep your music scores? Employee: On the second floor, to the left as you exit the elevator In this case, the user would perhaps browse on the second floor for a while and may accidentally find the desired score, but if not, the user may leave the library unsatisfied and empty handed. Had the employee simply asked a follow-up question, the real question might have emerged and more specific advice and searching assistance could have been offered to the user: User: Where do you keep your music scores? Employee: On the second floor, to the left as you exit the elevator. Are you looking for a particular score? User: Yes, Symphony no. 7 by Sibelius. Now the library employee can make a precise search of the catalog for a specific item and give the exact call number of the desired score.

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Asking follow-up questions is part of what is sometimes referred to as “the reference interview,” and it may take several follow-up questions to arrive at the real question or the specific research need of the user. For example, if the user is looking for printed music for a particular work, especially for chamber music, it is important to ask if a score with separate parts for each instrument is desired, or simply a full score for study purposes. For score requests for operas and choral works with orchestra, be sure to ask the user if a full score or a vocal score is preferred. For concertos, ask if he or she would like a full score or (more likely) a score with the orchestral accompaniment arranged for piano, with separate part(s) for the soloist(s). If you do not clearly understand the user’s needs, ask several follow up questions. Listen carefully and phrase your responses clearly. This is the point when familiarity with specialist vocabulary is important. In an academic setting, if the question is related to a particular course, you may find it useful to examine the syllabus, assuming the student has one at hand. If you are still unclear, you should refer the question to a more experienced member of the library staff. Once you have a clear idea of the question, then select one or two of the most distinctive terms and perform a keyword search (with truncation and proximity operators if appropriate) using the techniques introduced in chapter one. Perform this first search in the best database for the topic. Frequently users only need a few sources, not a comprehensive literature search, so selecting the one best database or other reference source will help you quickly satisfy the user’s need in most cases. RILM is probably the best database to begin with for most searches pertaining to music history, ethnomusicology, and music theory. You may find that Music Index is the best first database to search for articles related to instrumental and vocal performance, IIMP for popular music and reviews of recordings, and either Music Index or IIMP for music education topics.2 Sometimes the question is broad enough that the information is more likely to be found in books rather than articles in periodicals—for example, if the user is seeking a biography of a musician, or books on music theory or orchestration. In this case, library catalogs would be the best first database, starting with your local catalog. If the user needs only an overview of the topic, perhaps a dictionary or encyclopedia article may be the best place to start, such as Grove Music Online (one of the major music reference tools available through Oxford Reference Online). In keyword searches, try not to use more than two terms in each search, remembering the principle that the more terms you enter in a search, the fewer items you will retrieve. Also, remember that you never need to use the word “music” in a music-specific database, such as RILM or Music Index. You could also perhaps help the user form a chart of synonyms for the two (or three) most distinctive terms for their search, then show how to methodically search each term with the other, a technique discussed in chapter one. Lastly, if your user identifies one or more citations as being good possibilities, you could examine the subject headings assigned to those citations and suggest performing a second search on those headings to find additional related literature.

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If possible, you should take the time and effort to actually search with the user rather than just direct them where to look. Research has shown that when library employees search alongside the user, the rate of success in answering questions is much higher than when the user is given only verbal directions and suggestions.3 Sometimes it is not possible to leave the reference or circulation desk because of inadequate staffing, but if you are free to leave the desk, take the opportunity to instruct users by performing the search with them in the reference books or databases, or walking to the stacks with them. CLOSING THE TRANSACTION

It is also a good practice to ask for feedback after you have completed helping a user with their search, such as the following: “Is this the type of information you are looking for?” “Did that completely answer your question?” “May I help you find anything else?” If there was any miscommunication about the type of information needed by the user, this will give them a second chance to describe their research need. It is important to ask a closing question such as this during each reference transaction in order to make the user feel welcome to take more of your time to assist them. Many users simply go away unsatisfied or partially satisfied unless they receive a follow-up question. REFERRING REFERENCE QUESTIONS

If you are unable to fully answer a user’s question, the next step is to attempt to refer the question to other persons who may be able to help satisfy the user’s research need. If you refer a question to a more experienced member of your staff, you can also perhaps learn about new sources or techniques to help you answer a specific type of reference question. If a more experienced staff member is not readily available to handle the question, it is a good idea to have a paper reference question referral form, such as the one in figure 3.1, ready for such occasions and to ask the user to write out the question and their contact information. This form can then be used to send the question to a more experienced member of the library staff or to a staff member at a nearby library, at a later time. Your library management might prefer handling referrals using an electronic reference referral system (for example, an “Ask-A-Librarian” link on the library web page). Another method of requesting help in answering particular questions is to send an e-mail message to the Music Library Association Mailing List, MLA-L. You must first subscribe to this free electronic mailing list. There are two ways to subscribe to MLA-L: 1. Send e-mail to [email protected] 2. Write to the list owners ([email protected]) with a request to be added.

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May we help you? Use this form to request assistance with a research topic when a reference librarian is not on duty. A reference librarian will contact you as soon as possible. You may also call us at 555-1212. Today’s date: _________________________ Time: _________________ A.M. / P.M. Your name: ____________________________________________________________ Campus phone: _____________________ Best time to call ____________ A.M. / P.M. Home phone: _______________________ Best time to call ____________ A.M. / P.M. Cell phone: ________________________ Best time to call ____________ A.M. / P.M. E-mail: _______________________________________________________________ Question or problem (please be specific): Figure 3.1. Sample reference referral form. Once you have confirmed that you are subscribed to MLA-L, you can then send the question to all of the subscribers of the list, consisting of over 1100 persons4 who are mostly professional music librarians or library staff members at music libraries in the United States, Canada, and several other countries. The e-mail address to send messages to MLA-L is mla-l@indiana .edu. For complete instructions on how to use MLA-L, please consult http://musiclibraryassoc .org/member.aspx?id=67. You may also choose to send the question to the International Association of Music Libraries, Archives and Documentation Centres mailing list, IAML-L. This is a mailing list very similar to MLA-L, except most of its members are from countries other than the United States and Canada. However, many music librarians subscribe to both lists, regardless of where they live. To subscribe to IAML-L, send a message to [email protected]. The message’s subject line should be simply join, and the body of the message should be blank. Once you have confirmed that you are a member, you may send your question by e-mail to the following address: [email protected]. For complete instructions on how to use IAML-L, please consult http://www.iaml.info/publications/iaml-l.

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THREE FREQUENTLY ASKED DIRECTIONAL QUESTIONS

Most directional questions are specific to each library. Some of the most frequently asked directional questions are about: • • • • • • • • • •

Circulation policies, including fines, returned item claims, loss, and damage Location of equipment Interlibrary loan requests Maps of the library, campus, local area, city, and bus routes Organizational structure of the library and referrals to other staff Complaints Course reserve lists (in academic libraries) Donation of items, collections, or equipment to the library Technical assistance with computers, photocopiers, and other equipment or software Technical assistance with external access to databases and other electronic resources

Your library’s documentation of local policies and procedures will allow you to handle these properly. However, three frequently asked directional questions are fairly universal. “I CAN’T FIND THIS ON THE SHELF.”

• Search the catalog to see if the call number and location are correct, or if the item is checked out. Should a user ask the name of the person who has an item checked out, respond by saying that the information is confidential. (This applies to all users, including faculty at academic institutions.) If the user persists, refer the user to your supervisor or the library administration. Your library probably has an official policy on library confidentiality to which you could refer in this situation.5 • Check reshelving shelves and carts in the library. • Look behind the books (or scores) on the shelf where the item was supposed to be. It may have fallen behind, or onto a nearby shelf. • Check on reading tables throughout the library and in locked or open carrels (if your library has them). • Look for that call number in other locations in the library. For example, if it is a missing reference book, check for that volume under the same call number in the circulating stacks, the reserve shelves, and other locations within the library. Also check under the number in all three shelving sequences (M, ML, and MT) in these locations. If the item could not be found, report it to your supervisor so that the catalog information can be updated for this item.

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“I CAN’T CONNECT TO A CERTAIN LIBRARY DATABASE OR STREAMING AUDIO SERVICE FROM MY OWN COMPUTER.”

Most libraries permit users to connect to proprietary reference databases (for example, RILM Abstracts of Music Literature) and streaming audio services (for example, Naxos Music Library) outside the library or off-campus through a proxy server. Look at your library’s web site front page, and you will likely find where users should click to enter their institutional username and password (a process called authentication) or other technical instructions to permit users to connect to subscription databases from off-campus. In all likelihood, the library will also have a “help” page on this topic. Sometimes the problem relates to a “time out” feature that disconnects a machine not used for a set period of time. This feature is necessary as libraries usually pay for a specific number of simultaneous users for an electronic resource and an apparently inactive machine will be dropped so that other library users can use the resource. If library users report this problem, urge them to reconnect. If they are unable to reconnect, the maximum number of simultaneous users may have been reached. In this case, urge them to keep trying until one of the current users disconnects, or is timed out. “I WOULD LIKE TO DONATE MATERIALS TO THE LIBRARY.”

Library employees are frequently contacted by persons wanting to donate materials. Be sure to acquaint yourself with your local library’s policy on handling this sort of question. Usually there are one or more members of the library staff who handle all contacts concerning donations of materials, so make the right referral.

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Chapter Four SEARCHING FOR SPECIFIC ITEMS In this chapter we will discuss frequently asked questions related to specific items and demonstrate some ways of answering them. Of course, questions are immensely varied and the ways of answering them hardly less so. What follows is a “quick start” guide to help you to answer some of the typical questions asked in music libraries. Beginning in 1996, a group of researchers from the Music Library Association began collecting data on music reference questions in selected academic music libraries in the United States and Canada.1 Part of the data collected from those libraries included a classification of the question type and “jotting down” the main subject of the question asked. In preparation for this section of the book, over 1,400 of these music reference questions were studied to determine the types most frequently asked. In each of the following categories, the questions listed are actual questions from libraries that participated in the Music Library Association study. We have provided one or more possible techniques to answer each type of question. SPECIFIC WORKS

Typically one third of the reference questions asked in music libraries are for assistance in finding a particular score, recording, book, or other item.2 This may sound like an easy type of question to answer, but the complexity of titles, formats, and languages can make it challenging. We offer some tricks and techniques that can help you find the items desired by your users. UNIFORM TITLES

Chapter one included an introduction to the three types of uniform titles: distinctive, generic (those based on form of composition), and collective (for items containing more than one composition). Our first sample questions will make use of searching uniform titles in order to quickly find scores and recordings for the desired musical composition or group of compositions.

Example 4.1. Specific item search with a distinctive uniform title: “Do you have a full score of The St. Matthew Passion by Bach?” There are several ways to find a full score of this work. If your catalog includes the names of authors in the keyword search, one of the quickest ways to find some scores (and recordings) of this work will be to enter a keyword search bach matthew passion. In all probability, this will produce only a partial listing of your library’s holdings—those published with an Englishlanguage title page. Since the St. Matthew Passion has a distinctive title, and uniform titles in

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such cases are constructed using the original language of the work or composer, we need to identify the German title, Matthäuspassion. Select one of the scores retrieved from this search and carefully examine the full bibliographic record. You may find the uniform title labeled “Unif. Title” or “Other title” and sometimes displayed in square brackets. If not, you may find it near the bottom of the bibliographic record following the composer’s name in a field labeled “additional authors,” “other name,” or something similar. Now that you have located the distinctive uniform title in its original language, perform another keyword search: bach matthauspassion. This search should retrieve all of the items with English titles found in the first search as well as many other scores (and recordings) with titles in German and other languages. Also note that in most library catalogs it is unnecessary to enter a keyword search with correct capitalization and foreign diacritical marks (in this case the “ä” in “Matthäuspassion”). An alternative route, which is useful for careful and organized browsing of your library’s holdings for a particular work, would be to perform an author phrase search for bach, johann sebastian. If your library catalog is properly configured,3 the response to this search should give you an alphabetical listing of all of J. S. Bach’s compositions (titles beginning with numerals first, then A through Z), displaying the uniform titles and see references. Skip to the page-listing for titles starting with M (for Matthäuspassion), and there you will find all editions (and recordings, too) for the St. Matthew Passion, no matter which language was used on the title page or cover. If you looked in the same alphabetic list of works by J. S. Bach and went to the entries beginning with S (for St. Matthew Passion), you would likely find a “see reference” for the uniform title, such as “St. Matthew Passion — See Bach, Johann Sebastian, 1685–1750. Matthäuspassion” Your catalog may have hundreds (if not thousands!) of entries under J. S. Bach as an “author.” In this case, advancing alphabetically one page at a time may be very time consuming. Some online catalogs have a feature allowing you to advance directly to a particular title within an alphabetical list following an author search, usually labeled “Jump to,” “Jump to title,” “Locate in results,” or something similar. Enter the first word of the uniform title (or title-page title if the results are not sorted by uniform title) to go directly to that place within the alphabetic list of titles. When browsing the alphabetical list of items by J. S. Bach, and remembering that the user wanted a full score, look for unmodified uniform titles—that is, “Matthäuspassion” only. Scores with the orchestral parts arranged for piano will have modifying terms following the title, for example “Matthäuspassion. Vocal score. English & German.” The modifier “English and German” tells you that there are two printed languages under the vocal parts: the original German text used by Bach, and an English translation. For some prolific authors, such as J. S. Bach, it may take too much time to advance alphabetically, page by page, to the desired uniform title following an author phrase search. As mentioned earlier, your catalog may have a feature allowing you to advance in the list of results to a particular place in the alphabetic sequence, labeled “Jump to title,” “Locate in results,” or

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My library catalog doesn’t give me an alphabetic list of uniform titles following an author search. Now what? The basic “author” search in some library catalogs is set to search terms as keywords rather than as a phrase. In such catalogs, you would retrieve the same results from an author search on johann sebastian bach and bach, johann sebastian. The retrieved list is frequently not presented in title alphabetic order; instead, recently added items may be presented first, in reverse chronological order. Some catalogs offer title sorting (usually on an “advanced search” screen), but this may only sort on the title-page title instead of the uniform title. Even if a library catalog does offer author “phrase,” “browse,” or “begins with” searching, the results may still not be ordered by uniform title, as they should according to the ALA Filing Rules.4 What to do? Remember that the uniform title is present in the bibliographic records for scores and recordings of this composition, even if it is not used for sorting retrieved records. The uniform title field is almost always included in keyword search indexes, so you can still use it to retrieve all scores and recordings of Matthäuspassion no matter which title is used on the title page or recording. Try this exercise: perform a keyword search johann sebastian bach matthew passion and note the results. In WorldCat, this retrieved 2,602 items. Now try substituting “matthew passion” with the uniform title “matthauspassion,” that is, johann sebastian bach matthauspassion. This search retrieved 3,771 items in WorldCat, an increase of 1,169 items simply by using the uniform title!5 Laurie Sampsel, in Music Research: A Handbook, gives an excellent real-world example of the value of including the uniform title in searches for musical compositions. “Once I was helping a student who was looking for the Henle [a highly-esteemed German music publisher] edition of the Bach English Suites. Her search on the title ‘English Suites’ had found fewer than ten hits, including only a couple of scores by American publishers. She was frustrated that we did not have the Henle. When we searched under the uniform title ‘Englische Suiten,’ more than double the entries were found, including the Henle edition, which, coincidentally, had the German title on the title page as well as being the uniform title in the catalog record. That is why the search using the English words did not retrieve the score.”6

something similar. If not, another useful method to find all recordings and scores of a particular composition is to select a distinctive word from the uniform title to use in a keyword search with the composer’s name, for example, bach matthauspassion. Keep in mind, however, that a simple keyword search will also retrieve books about J. S. Bach’s St. Matthew Passion as well as scores and recordings.7 A more precise method of field-specific keyword searching may be available in your library catalog, usually found on an “advanced search” screen. If so, you could enter bach (or more precisely, johann sebastian bach) in the author words search box, and matthauspassion in the title words search box. These two search boxes should be linked with the Boolean operator AND. The results from this search should list all scores and recordings of this work available in the library catalog, and should exclude most (if not all) books about this composition.8 The finest edition of this work in your library is likely contained within the most recently published edition of Bach’s complete works: Johann Sebastian Bach, Neue Ausgabe sämtlicher Werke, ed. Johann-Sebastian-Bach-Institut Göttingen and the Bach-Archiv Leipzig (Kassel: Bärenreiter, 1954–). Unfortunately, many libraries do not catalog the individual volumes within collected works sets, so you may not have found the St. Matthew Passion volume of this edition in your uniform title or keyword searches. If the user would prefer to examine this particular scholarly edition, there are several methods you could use to find it.

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First, to determine if your library has this edition, search by author phrase bach, johann sebastian then jump to the end of the list of titles looking for the collective uniform title “Works.” All complete works editions, or Gesamtausgaben, are assigned this uniform title. You may find two (or more) entries here, one for the modern Bärenreiter edition, and another for an earlier complete works edition published by Breitkopf & Härtel on behalf of the BachGesellschaft (1851–99; reprinted by J. W. Edwards in 1947). Note the call number for the Bärenreiter edition, then find the particular volume within this enormous set of over 200 volumes. There are several ways to do this: 1. Look up J. S. Bach’s entry in the New Grove Dictionary of Music and Musicians, 2nd ed. (or in Grove Music Online), and skip to the end of the article to “WORKS,” where Bach’s compositions are listed in classified tables. Note at the head of the “WORKS” section are citations for the two major complete works editions of J. S. Bach, followed by abbreviations in square brackets at the end of the citations: “BG” for the older Bach-Gesellschaft (Bach Society) edition, published by Breitkopf & Härtel, and “NBA” for the “Neue Bach Ausgabe” (New Bach Edition), which is the short title for the modern Bärenreiter edition cited above. Continue through the lists of works until you find the table labeled “PASSIONS, ORATORIOS.” There you will find two entries for this work under its Latin title Passio secundum Matthaeum (St Matthew Passion). The first is for the original version premiered in 1727, the second for a revised version premiered in 1736. The final two columns cite the volumes in the two complete-works sets. The second one is for the “NBA” edition, indicating that the St. Matthew Passion (1736 version) volume in this set is found in “II/v” indicating “Serie II, Band 5” (series two, volume five). 2. Check in the Bach thematic catalog: Wolfgang Schmieder, Thematischsystematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-WerkeVerzeichnis (BWV). The “Inhaltsverzeichnis” (table of contents) indicates that the “Passionen und Oratorien” (passions and oratorios) are listed beginning on p. 410, beginning with Matthäuspassion, BWV 244. Look in the information below the title but above the musical examples, where you will see a paragraph beginning with “BGA”, that is, Bach Gesellschaft Ausgabe, followed by a short citation. Following this and a dash, there is another short citation labeled “NBA II/5” that indicates that the work can be found in series two, volume five of the Bärenreiter “NBA” edition. 3. Although now rather dated, Anna Harriet Heyer’s Historical Sets, Collected Editions, and Monuments of Music: A Guide to Their Contents, 3rd ed. (Chicago: American Library Association, 1980) lists the volume contents of the major collected works series that were either announced or already published in the late 1970s. Using volume 1, turn to the entry for “BACH, JOHANN SEBASTIAN, 1685-1750” (pp. 38–50). The first collected edition listed is the BGA. Move forward to page 44, and you will see the citation for the modern NBA edition. Scanning through the various series and volumes, you will find the entry for “Matthäus-Passion” appearing as volume five of series two. 4. If your library subscribes to the Index to Printed Music: Collections & Series (IPM ) you could use this database to locate the volume reference for the St. Matthew Passion in the NBA edition. IPM is the catalog/index companion database to George R. Hill and Norris L.

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Stephens, Collected Editions, Historical Series & Sets & Monuments of Music: A Bibliography (Berkeley, Calif.: Fallen Leaf Press, 1997), the successor to Heyer’s catalog. IPM currently contains approximately 433,000 catalog entries for individual compositions within the series and collections indexed in the Hill and Stephens bibliography. A keyword search for bach and matthew and passion retrieves four entries, with two of them listing the volume locations for the St. Matthew Passion in the NBA and BGA.9 5. Go to the shelf at the call number for this edition (probably in the M3.B area), tilt your head sideways and try to read the small spine titles, printed in gold lettering on brown cloth—not very easy!

Finding Scores or Recordings Using Work or Composer Catalog Numbers If you know the distinctive work number for a composition, you may find that a quick way to retrieve some scores and recordings of a work is to enter a keyword search with the composer’s last name and the work number. Work numbers are frequently (though not always) found in the bibliographic record. For example, since St. Matthew Passion is assigned work number “BWV 244” in Wolfgang Schmieder’s famous thematic catalog of Bach’s works, you could enter a keyword search bach 244 in your library catalog and retrieve some scores and recordings quickly. To find all scores and recordings in your library, examine one of the bibliographic records, find the correct uniform title, then perform an author search on the authorized form of the composer’s name (bach, johann sebastian) and go to the listings under “Matthäuspassion.” The same can be done with Mozart “K.” (Köchel) numbers, Schubert “D.” (Deutsch) numbers, opus numbers, and other identifying numbers for compositions.

GENERIC UNIFORM TITLES

Example 4.2. “Do you have a score for Symphony no. 5 by Jean Sibelius?” To find all of the editions of this work, follow the same procedures as listed in the previous example for Bach’s St. Matthew Passion. Search for author using the authorized heading for the composer’s name (sibelius, jean), then go to the end of the “S” titles. While distinctive titles are always in the original language, generic uniform titles are always in English,10 and begin with the form of composition, usually in the plural form (for example, “Symphonies”). If a composer wrote only one of a particular form of composition, the generic uniform title would be singular. In this case, Sibelius wrote seven symphonies, so scores and recordings of this work will be listed under the uniform title “Symphonies, no. 5, op. 82, E♭ major.” Scores or recordings containing all seven of his symphonies would be listed under the collective uniform title “Symphonies.” If your catalog does not present results in alphabetical order by uniform title following a search by author, consider trying a keyword search on sibelius 82, or more precisely, sibelius, jean in author keyword and 82 in title keyword. The opus number “82” will be present in all uniform titles for scores and recordings of Symphony no. 5. If only scores are desired, and if this feature is available in your catalog, you may choose to limit the results to scores only.

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DISTINCTIVE UNIFORM TITLES

Example 4.3. “Do you have a score for ‘Symphonie fantastique’ by Hector Berlioz?” Yes, this is a symphony, but do not search for it under “Symphonies, fantastic” or “Symphonies, no. 1, Fantastic”! Berlioz gave this work a distinctive title—that is, he did not call it Symphony no. 1, nor did he write any other symphonies. To find this work in your catalog, simply search the title in the original French form, Symphonie fantastique. If a title is distinctive enough, there is no need to take the extra time to search for it by author first (as described in example 4.1). Alternatively, another quick way to retrieve all scores (and recordings) in your catalog would be to do a keyword search on berlioz fantastique, using the composer’s last name and the most distinctive single word from the uniform title. If desired, one could use format limiting to display only scores and eliminate the recordings from the browsing list. GENERIC UNIFORM TITLES AND VARIANT POPULAR TITLES

Example 4.4. “Do you have the music to Beethoven’s ‘Waldstein’ Sonata?” If you are unfamiliar with Ludwig van Beethoven’s music, you may not know that the “Waldstein Sonata” is a piano sonata. Beethoven wrote thirty-two piano sonatas, several of which are associated with variant title nicknames (for example, the “Moonlight Sonata”). Since these descriptive alternate titles are not used in the authorized uniform titles for such works, we need to find out which number it is. If the user does not know the serial or opus numbers, then you could find them in a number of ways: 1. If your library catalog includes “see” references, you could follow the pattern of searching beethoven as an author, then looking at the titles starting with W, perhaps finding a see reference like “Waldstein sonata — See Beethoven, Ludwig van, 1770–1827. Sonatas, piano, no. 21, op. 53, C major.” 2. Performing a quick keyword search on beethoven waldstein would likely find at least one score or recording in your catalog. Examine the full bibliographic record carefully to find the correct uniform title entry. It may be on a recording of several sonatas, so the title or table of contents may tell you that the “Waldstein” Sonata is a piano sonata, number 21, opus 53, and in the key of C major. Looking carefully at the full bibliographic record, you should find the correct uniform title listing for this work: “Sonatas, piano, no. 21, op. 53, C major.” 3. If you cannot find a listing for this work in your catalog, you could find this information by performing a keyword search on beethoven waldstein in WorldCat. 4) Look up “Beethoven, Ludwig van” in Grove Music Online. In the outline in the left column, click on “Works” to go to the list of compositions by Beethoven. Then find the table labeled “Piano sonatas” and scan for the word “Waldstein.” You could also let the computer scan this long web page by using the “find” command for your computer’s operating system.

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For many browsers, the shortcut for this command is –F (hold down the Control key and press the F key). For Apple computers, use the Command key instead of the Control key. If your library does not subscribe to Grove Music Online, it might own a print edition of the New Grove Dictionary of Music and Musicians. Locate Beethoven’s biographical entry, then skip to the end to examine the works list.

Now that we know we are looking for the Piano Sonata no. 21, op. 53, in C major, we can search for it in the catalog. If your catalog permits author phrase searching, search beethoven, ludwig van then move forward in the alphabetic list of works for the uniform title “Sonatas, piano, no. 21, op. 53, C major” to find all musical editions and recordings of this work in the catalog. (Note that this is listed under “Sonatas, piano” not “Piano sonatas.”) If your catalog permits only author keyword searching, try entering beethoven in the author words search box, and a few distinctive terms from the uniform title in the title words search box, such as sonatas piano 21. If your catalog includes uniform title data in the title keyword search, this search alone should retrieve all properly cataloged scores and recordings of this composition, but also perhaps a few irrelevant items. Lastly, your library may not have a separate circulating edition of this particular sonata, but may have it in a collection. The following section will demonstrate how to locate collections of piano works by a particular composer. COLLECTIVE UNIFORM TITLES

Example 4.5. “Do you have any editions of Beethoven’s piano sonatas?” Editions containing multiple compositions by a composer are common and can be found using collective uniform titles. For this question, search beethoven, ludwig van as an author to generate an alphabetical list of uniform titles for his works. Skip to the page beginning with “Sonatas, piano.” All editions and sound recordings containing all thirty-two of his sonatas would be listed under this unmodified uniform title. Collective uniform titles are always in English, and always plural. Collective uniform titles may also be used for publications containing a variety of musical forms. For example, a set of recordings of all of Beethoven’s compositions for piano could be found under the uniform title “Piano music.” If the set is an incomplete selection of works, the uniform title would be modified: “Piano music. Selections.” ARRANGEMENTS

Example 4.6. “Do you have Johann Pachelbel’s Canon in an arrangement for brass quintet?” All arrangements will be assigned the Library of Congress Subject Heading that is appropriate for the performing forces of the arrangement (or for the form of composition of the music, modified by the performing forces), followed by the word “Arranged.” For example,

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most brass quintet arrangements will have the subject heading “Brass quintets (Horn, trombone, trumpets (2), tuba), Arranged.” Knowing that both the ensemble (in the plural form) and the word “Arranged” will be in the subject heading—and therefore also searchable through a keyword search—you could find editions (and recordings) of the desired arrangement by entering any of these multiterm keyword searches: pachelbel canon* brass pachelbel canon* quintets pachelbel canon* brass arranged Note that “canon” is truncated (using the * character) in the search above. Remember that forms of composition in subject headings are plural,11 so the term “canon” should be entered either in truncated form or in the plural form “canons.” This cautionary truncation proved wise, since the publisher used the German spelling “Kanon” on the title page: Johann Pachelbel, Kanon for Brass Quintet; Arranged by Fred Mills. Mississauga, Ont.: Canadian Brass Publications, 1975. For a detailed explanation of how music subject headings work, see J. Bradford Young’s “Introduction to the Structure and Use of Library of Congress Subject Headings for Music and Material about Music,” in Harriette Hemmasi, Music Subject Headings: Compiled from Library of Congress Subject Headings, 2nd ed. (Lake Crystal, MN: Soldier Creek Press, 1998).

Browsing Uniform Titles for Arrangements of Compositions In addition to keyword searching including the term arranged, looking for the abbreviation “arr.” at the end of uniform title headings is another way to quickly locate arrangements. For example, if a user were looking for a score to a band arrangement of the “Moderato” movement of Symphony no. 5 by Dmitri Shostakovich, you could search shostakovich as an author, then browse alphanumerically to the entries for the uniform title “Symphonies, no. 5, op. 47, D minor. Moderato; arr.” Here you might find arrangements for any instrument (e.g., piano) or ensemble (e.g., brass quintet) as well the desired band arrangement. Knowing that author (i.e., composer) names, subject heading terms, and uniform title terms are included in most keyword indexes, an efficient keyword search for a band arrangement for this work would include these five distinctive terms: shostakovich 47 moderato arr band. This search would retrieve the following arrangement in WorldCat: Dmitri Shostakovich, Symphony no. 5: First Movement, Opus 47, transcribed for concert band by William A. Schaefer (Delaware Water Gap, PA: Shawnee Press, 1970).

SHORTER WORKS

Example 4.7 “Do you have the music for ‘Ring Play’ by William Grant Still?” This composition for piano solo is very brief, so it will likely not be found cataloged as a separate edition. If you search still, william grant in the library catalog and do not find “Ring

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Play” listed under Still’s alphabetical list of compositions, you might try to find it in a published anthology of piano compositions. You may find several indexes to these anthologies in the ML128.P section of your reference shelves. Searching under Still’s last name in Piano Music in Collections: An Index by Rita M. Fuszek (Detroit: Information Coordinators, 1982), we find that Still’s “Ring Play” is included in collection number 476. Turning to the front of the volume, we find that number 476 in the bibliography of piano music collections is 20th Century Piano Music, Bk. II-B, edited by Frost. This volume can then be searched in your library catalog, or in WorldCat, which would assist the user in placing an interlibrary loan request for this item. Remember, editors are indexed as “authors” in library catalogs, so search for author frost and title 20th century piano music to locate this publication. This search in WorldCat located 20th Century Piano Music: Book II B, ed. Bernice Frost (Glen Rock, NJ: J. Fischer, 1964). Another way to locate this same volume in WorldCat would be to search for the Still composition in table of contents notes using a proximity search. Since a listing in a table of contents would have at least the composer’s last name next to the title, we can select one word from the title, within a small number of words from the composer’s last name, for example, ring n5 still, which retrieves 369 items in WorldCat. Clicking on the tab “Scores” (17 items), you can now browse these records to see if any contain this work. One of these is Frost’s 20th Century Piano Music: Book II B. In the full bibliographic record, the field labeled “Contents” has the text “Ring play, by W.G. Still.” Since “ring” was within five words of “Still,” this bibliographic record was retrieved. Lastly, you can try to find copies of this music on the Internet. A simple Google search for william grant still ring play brings up a catalog listing for this composition on the main web site for the composer at http://www.williamgrantstill.com. The web site sells sheet music for this work for $8.95.12 However, it also cites the original publication information in the collection of piano pieces edited by Bernice Frost, although it mistakenly lists the first word of the title as “Twentieth” rather than “20th.” (It is a good idea to search citations of titles beginning with numbers as both numerals and words.) With the correct citation, a search in WorldCat can be used to initiate an interlibrary loan request. ORCHESTRAL PARTS

Example 4.8. “I am looking for violin parts to Beethoven’s Ninth Symphony and Mendelssohn’s ‘A Midsummer Night’s Dream.’ ” Instrumentalists occasionally need to practice for auditions, which require them to perform difficult passages from specific compositions. Some music libraries circulate individual orchestral and band parts, but more frequently an institution’s orchestral and band music parts are kept in a separate library, accessed only by ensemble conductors, their assistants, or other musicdepartment personnel. In this case, you may direct your users to the following resources:

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• Published collections of orchestral excerpts for a particular instrument may be found by searching the library catalog by subject under the heading [instrument name] orchestral excerpts. For this particular question, search violin orchestral excerpts in the subject index of your library catalog. • The International Music Score Library Project (IMSLP, available at http://imslp.org /wiki) has public-domain music available for downloading for a large number of standard orchestral and band compositions, including full scores and individual orchestral parts. For both Beethoven’s Symphony no. 9 and Mendelssohn’s A Midsummer Night’s Dream, all orchestral parts (including the first and second violin parts) from reprints of nineteenth-century Breitkopf & Härtel editions are available for download, as are several early published editions of the full scores.13 • Your library may have CD-ROMs of orchestral parts, such as the series “The Orchestra Musician’s CD-ROM Library” (search this in a title search in your catalog, omitting the article “the”). The orchestral parts to both compositions are published in volume 1 of this set.14 • Your library may have a subscription to a web-based service, such as LibraryMusicSource .com or EveryNote.com, providing orchestral music parts as downloadable files. These sites allow both keyword searching and browsing by composer, title, and instrument, and offer all of the orchestral parts to both compositions.15 ART SONGS AND ARIAS

Example 4.9. “Do you have the music to ‘Vaga luna’ by Vincenzo Bellini?” When users state the title of an unfamiliar composition—particularly if it is in a foreign language—you might ask them if they could spell it for you. (In fact, the library employee in the MLA reference study actually wrote down the title as “Vaca luna.”) If the patron does not know the correct spelling, try searching possible variants as a keyword phrase search in a large library catalog such as WorldCat: no records were retrieved with the phrase searches “vaca luna”, “vacca luna” and “vaka luna”, but 612 items (mostly scores and recordings) were retrieved with the phrase search “vaga luna”. With the correct title, we can now use several different techniques to locate the printed music. First, try searching your library catalog using a keyword search “vaga luna” and limit your search to music scores. If you are unable to find “Vaga luna” using a keyword search in your catalog, don’t give up! You may be able to find this song or aria in a collection of vocal works that was cataloged without a contents note. There are several song and aria indexes that could be used to locate this title. In chapter two (see p. 29) we used Ellen Luchinsky’s index, The Song Index of the Enoch Pratt Free Library. Here we will first use the UT Song Index from the web site of the

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Using Keyword Searching for Aria and Song Titles In many catalogs, a title index search does not search the contents notes of bibliographic records, but only the primary and added titles (for example, uniform titles). Since songs and arias are usually brief works, catalogers may list these titles only in a contents note, if at all. Experiment by searching vaga luna or another wellknown aria or song title in your catalog first using the title index, then the keyword index. You will likely retrieve more items with a keyword search. Examine one of the items retrieved only by the keyword search, and you will likely find the title listed in a table of contents note in the middle of the bibliographic record. Title: Cecilia Bartoli [sound recording] : live in Italy Publish info: London : Decca, p1998 Description: 1 sound disc (76:47) : digital ; 4 3/4 in. + 1 booklet (25 p.) Contents: Tu ch’hai le penne, amore ; Amarilli ; Al fonte, al prato / Caccini — Lascia la spina (Il trionfo del Tempo e del disinganno) / Handel — Agitata da due venti (Griselda) / Vivaldi — Oiseaux, si tous les ans ; Un moto di gioia & Voi che sapete (Le nozze di Figaro) / Mozart — Da quel sembiante appresi ; Mio ben ricordati ; La pastorella / Schubert — Havanaise ; Hai luli! / Viardot — Zaide / Berlioz — Vaga luna ; Malinconia, ninfa gentile ; Ma rendi pur contento / Bellini — La conocchia ; Amore e morte ; Me voglio fa ‘na casa / Donizetti — Me lagnero tacendo ; L’Orpheline du Tyrol ; Bolero ; Riedi al soglio (Zelmira) ; Canzonetta spagnuola / Rossini — Caro mio ben / Giordiani — Canto negro / Montsalvatge — Seguedille (Carmen) / Bizet

George F. Devine Music Library at the University of Tennessee (http://www.lib.utk.edu/music /songdb). Searching vaga luna in the song title index retrieves three anthologies containing this work.16 The titles of these anthologies can now be searched in your library catalog to see if your library owns one of these publications. If not, you may want to search for additional anthology titles in Luchinsky’s index or in any of the other song and aria indexes listed in chapter two. High or Low Voice? Vocal music editions are sometimes published in a variety of key signatures to best suit a variety of voice ranges. Occasionally a user may ask if you have a certain song in an edition for “high voice” or “low voice.” The edition for high voice could be used for either a soprano or a tenor, whereas low voice editions are in keys more suitable for an alto or bass. Occasionally, vocal music collections also appear in editions for medium high voice (for mezzo-sopranos) or medium low voice (baritone), or labeled simply “medium” if appropriate for both baritones and mezzo-sopranos. Adding the keyword “high,” “medium” or “low” to a keyword search in a library catalog will help retrieve editions specifically labeled for those voice classes on the title page or cover. For example, if a user was looking for the spiritual “Were You There” for high voice, editions may be located through the keyword search ”were you there” high. As noted earlier, most library catalogs permit phrase searching by placing the terms within double quotation marks. Adding the term “high” instructs the search engine to also find and display only those editions containing the word “high” and the phrase “Were You There” in the bibliographic records. In larger library catalogs like WorldCat, you may retrieve a smaller and more refined list of anthologies containing this song by searching for “high voice” as a phrase: “were you there” and “high voice”. This search retrieved 41 scores, including The Spirituals of Harry T. Burleigh: High Voice (Melville, NY: Belwin-Mills, 1984).17

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Example 4.10. “Do you have the piano music for ‘Ombra mai fù’ by Handel?” [Piano accompaniment needed, rather than the original orchestral accompaniment.] In this request for music, the student’s voice teacher wrote down several titles of works to bring to his lesson, one of which was “Ombra mai fù.” First, you may try a simple keyword search as we did with “Vaga luna” above. If those searches are unsuccessful in locating a score, it may be that the title is not for a separate song but rather an aria from an opera, an oratorio, or some other large composition. In this example, the user knew the work was by Handel. If the user knows only the title, there are several options for locating the name of the composer and title of the larger work containing the aria: • One of the easiest steps is to search the aria title on Google, which frequently displays a Wikipedia article on either the aria or the opera, or both. Wikipedia articles frequently have links to free Internet resources, including sound files (usually streaming audio) and images of sheet music in the public domain from the International Music Score Library Project (IMSLP; http://imslp.org/wiki), the Choral Public Domain Library (CPDL; http://www.cpdl.org) or other public-domain music web sites. Some of these are scanned images of older editions of music, while others are new editions created using music notation software (for example, Sibelius or Finale) and mounted on the web, either free, or charging a fee per download. For “Ombra mai fù” there is a sound file of Enrico Caruso singing from a 1920 sound recording; the full score from the Friedrich Chrysander edition of Handel’s complete works, published in 1884; several arrangements for organ, cello, and other settings; and a recently created piano-vocal arrangement mounted for free by the editor. The student could have found this vocal arrangement and printed it out for his lesson. However, for less popular arias or more recent works, Wikipedia may not link to such rich resources freely available, or to any at all. • The New Grove Dictionary of Opera has an appendix of aria titles, which tells you the name of the composer, the opera’s title, the act in which the aria appears, and the name of the character singing the aria.18 “Ombra mai fù” is sung by Xerxes in the opening aria of act 1 from Handel’s opera Serse. With this information, you can now search the library catalog by author for handel, georg friedrich and browse to the entries for “Serse” (or, if the catalog has authors in the keyword search, enter handel serse). Since the user is looking for an edition that has the orchestral parts arranged for piano, look for score entries that have the uniform title ending in “arr.” (or add the word “piano” to the keyword search: handel serse piano). Locate the call number, likely in the M1503.H area. • The Catalogue of Printed Music in the British Library to 1980 can also be used to determine which opera contains a certain aria (or whether it is a separately published song). Search for the title in the appropriate volume. In our case, under “Ombra mai fù” it states “See HAENDEL (G.F.) [Serse.]”19

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Call Number Shortcut

At a larger library, go straight to the shelves to M1503.H without bothering to consult the catalog, since your library is likely to have a vocal score of this work. M1503 is the Library of Congress classification for vocal scores of operas (for full scores, see M1500). Look for Handel’s many opera scores in this section, arranged alphabetically by title. SOUND RECORDINGS OF ART SONGS AND ARIAS

When trying to find sound recordings of songs and arias, the same techniques used to find printed music will be effective when coupled with the format-limiting feature of your online catalog to limit results to sound recordings. If the requested title is an art song, you will likely find a recording using a keyword search, as the titles of songs on sound recordings are usually listed in a contents note in the bibliographic record. However, if you find that the requested title is instead an aria from an opera, you may find it through a keyword search if your library has a sound recording with that title as one of a selection of arias from various operas. Alternatively, you could also find a sound recording of the aria if you search for the opera itself. If you choose to do this, you should ask the user, “Do you need assistance in finding the aria within the opera?” If the titles of arias are not listed on the track listings in the accompanying booklet, you could at least find out where the aria appears in the opera by consulting appendix B in The New Grove Dictionary of Opera. POPULAR SONGS

Example 4.11. “Do you have the music to ‘By the Light of the Silvery Moon’?” Your library may have a collection of sheet music, but because of the fragile condition of these items, they may be noncirculating. However, many libraries have scanned their sheet music collections and have made the images of the public-domain songs available on web sites. An extensive list of sheet music web sites can be found on the Duke University Libraries web site (http://library.duke.edu/music/sheetmusic/collections.html). Listed at the top of this web page is one of the best discovery tools for sheet music, the catalog of the Sheet Music Consortium, “a group of libraries working toward the goal of building an open collection of digitized sheet music using the Open Archives Initiative Protocol for Metadata Harvesting.”20 The Sheet Music Consortium’s web site (http://digital.library.ucla.edu/sheetmusic), hosted by the UCLA Digital Library Program, provides access to over 120,000 bibliographic records (most linked to scanned images of the sheet music) from 22 different institutions, including almost 50,000 from the Library of Congress. Searching by the light of the silvery moon in the keyword index of this database retrieves six score images at four different institutions. Click on the “view online” icon at the right of each citation to go to the image on the host institution’s web site.

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There are also indexes to popular songs in collections, with titles such as The 1920s: Piano, Vocal, Guitar.21 Such song anthologies are sometimes also referred to as fake books, especially those that supply only the melody and the name of the chords, rather than a fully notated accompaniment. Your library likely has many song anthologies, but others could be borrowed through interlibrary loan or bought at a local music store or online. One of the best indexes for these types of publications is Popular Song Index by Patricia Pate Havlice.22 According to this index, “By the Light of the Silvery Moon” appears in eighteen song anthologies in addition to the one listed above. For “jazz standards” there is also a free web-based index, the Fake Book Index, which indexes over seventy-five of the most popular fake books (http://www.seventh string.co.uk/fbindex.html).

Example 4.12. “Do you have a recording of ‘My Funny Valentine?’ ” Just as with the art songs and arias in the examples above, it is best to search using the keyword index, not the title index, for recordings of popular songs. The title “My Funny Valentine” will appear in listings of contents notes more frequently than in the title index. The latter will have the titles of albums, so a title index search for “My Funny Valentine” would retrieve recordings such as Miles Davis’s 1964 live recording LP by that title. However, in catalogs that allow phrase searching, a much larger list of recordings of this tune can be retrieved with a phrase search ”funny valentine”. This search in WorldCat retrieved 8024 recordings, including versions by Frank Sinatra, Chet Baker, Sarah Vaughan, Judy Collins, Tony Bennett, and even Elvis Costello! To find high-quality commercial video recordings in library catalogs, use the same search procedure listed above for songs on sound recordings, then limit to videos. On WorldCat, simply click on the tab labeled “Visual.” There were 277 visual items retrieved in the search “funny valentine,” mostly video recordings of concerts featuring this song performed by various artists. However, sometimes users (especially guitarists) request videos to help them learn how to play a particular song. Many guitarists play “by ear” (i.e., do not read printed music) and sometimes use videos to help them figure out how to play a particular song. Here are two of the actual questions from our sample, and a few ways to answer this type of question.

Example 4.13. “How do you play the guitar part to ‘Blood on the Rooftops’ by Genesis?” Go to one of the online video-sharing web sites, such as YouTube (http://youtube.com). Search blood on the rooftops on one of these sites, and you will likely find one or more recordings of guitarists demonstrating how to play it with web cameras pointed at the guitar fingerboard (ideal!), or of the whole band playing.

Example 4.14. “Do you have ‘Stairway to Heaven’ [by the band Led Zeppelin] in sheet music that shows how to play the guitar part?” There are many scores for popular music that also include guitar tablature (or “tab”) diagrams to demonstrate how to finger the guitar chords. However, some publishers also include a

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form of tablature that includes beat-by-beat instructions for fingerings of chords and solos, called “super tab,” such as in Led Zeppelin Complete (Van Nuys, Calif., Alfred, 1990). Of course, there are also many web sites offering “guitar tabs” such as Ultimate Guitar Tabs Archive (http://www.ultimate-guitar.com) and A-Z Guitar Tabs (http://www.guitaretab.com). SOUND RECORDINGS BY A PARTICULAR PERFORMER OR GROUP

Example 4.15. “Do you have any recordings of Renée Fleming?” “Something by so and so” questions are rather easy to answer: simply do an author search in your library catalog on the name of the performer or conductor (in inverted order, last name first) or on the name of the ensemble. In this case, search fleming, renee (note: you do not need to include diacritical marks—such as the “é” in “Renée”). If your local library catalog retrieves no results, try searching in nearby libraries (for example, the local public library) or libraries that lend audio materials through interlibrary loan. When searching for recordings by a particular ensemble, perform an author search using the corporate name in direct order (for example, cleveland orchestra, emerson string quartet, or miles davis quintet). For popular music groups, the author heading is frequently constructed with the qualifying phrase “Musical group” in parentheses, as in “U2 (Musical group).” With questions such as this one, the user could be looking for a specific recording but simply asked the question in this way. It is best to ask a follow up question when the request is not specific—for example, “Are you looking for a recording of her performing a particular piece

Music Minus One: Classical Karaoke Many performers like to use sound recordings where the solo part is omitted, so that they can practice performing with accompaniment. The leading publisher of these recordings is Music Minus One, which since the 1950s has released hundreds of such recordings along with printed music for the solos. More recently, other publishers—for example, Hal Leonard and C.F. Peters—have begun issuing similar products. These recordings are usually given the Library of Congress Subject Heading “Recorded accompaniments” followed by the instrument name in parentheses. An example: “Can you help me find a music minus one recording for the Mozart Clarinet Concerto in A Major?” A keyword search in your local catalog on mozart clarinet recorded accompaniments could possibly retrieve the Music Minus One recording of the entire work with orchestral accompaniment, if it is owned by your library. In large catalogs, such as WorldCat, search mozart (or the full heading for his name) in the author field, the uniform title concertos, clarinet in the title field, and recorded accompaniments in the subject field. Such recordings are also available for practicing jazz tunes and improvising to the chord changes. One well known series of recordings of this type is the “Play-A-Longs” series published by Jamey Aebersold Jazz (available from http://www.jazzbooks.com). Other publishers also sell similar products, such as the “Jazz Play Along” series published by Hal Leonard (http://www.halleonard.com). If a user is looking for such a recording for a particular jazz artist, simply enter the name of the artist along with the subject terms recorded accompaniments in a keyword search. Similarly, for a specific tune—for example, Charlie Parker’s “Ornithology”—search the song title with the subject terms recorded accompaniments in a keyword search: ornithology recorded accompaniments.

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of music?” Very frequently, users will then reveal that they are actually seeking a specific item: “Yes, I would like a recording of her singing Schubert’s ‘Ave Maria.’ ” Now you can employ some of the various specific-item searching techniques demonstrated earlier in this chapter, such as adding one distinctive word from the title with one from the artist in a keyword search, as in fleming ave. TRANSLATION AND PRONUNCIATION GUIDES

Example 4.16. “Do you have a source for word-by-word translations of opera arias?” This is the type of question that should be followed up with another question: “Are you looking for a translation of a particular aria?” Vocalists frequently need to consult word-by-word translations that explain the specific meaning of each word, rather than the more poetic types of translations that frequently appear in sound recording liner notes or in bilingual editions of music. Many of the translation reference sources are grouped by language or by individual composer. You will likely find most of these books between ML47 and ML54; those that deal mostly with pronunciation and diction appear in MT883. Some of the books you could use for this type of question include: • Lieder Line by Line, and Word for Word by Lois Phillips • The Ring of Words by Philip L. Miller • Word-by-Word Translations of Songs and Arias by Berton Coffin et al. (for French and German) • Word-by-Word Translations of Songs and Arias by Arthur Schoep and Daniel Harris (for Italian) An annotated bibliography of sources for translations and International Phonetic Alphabet (IPA) transcriptions can be found in Library Resources for Singers, Coaches, and Accompanists: An Annotated Bibliography, 1970–1997 by Ruthann Boles McTyre (pp. 35–40). A more recent bibliography of vocal translation sources can be found in Music Library and Research Skills by Jane Gottlieb (pp. 312–18).

Example 4.17. “I need a phonetic reading of a Fauré song, ‘En prière’ ” Several of the reference sources listed in the McTyre and Gottlieb bibliographies provide IPA phonetic transcriptions of songs and arias. One of the sources listed in both is Phonetic Readings of Songs and Arias by Berton Coffin et al., which contains an IPA transcription of Fauré’s “En prière.” Your library may have a subscription to the database IPA Source (http://www.ipasource .com), which contains over six thousand literal translations and IPA transcriptions of art songs and arias. Individuals may also subscribe or order separate items for instant download, including Fauré’s “En prière.”

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Leyerle Publications has produced a large number of song and aria translation and IPA transcription volumes (see a complete list on their web site at http://www.leyerlepublications .com/?v=listings). They have one book containing all 102 of Fauré’s songs, Interpreting the Songs of Gabriel Fauré by Robert Gartside.

Example 4.18. “I need a word by word translation of the Roman Catholic Mass” The publisher Earthsongs (http://www.earthsongschoralmusic.com) has produced four translation books for choral music, Translations and Annotations of Choral Repertoire by Ron Jeffers and Gordon Paine (vol. 1, Sacred Latin Texts; vol. 2, German Texts; vol. 3, French and Italian Texts; vol. 4, Hebrew Texts). Volume 1 contains both a literal word-by-word English translation and “a prose rendering which restores syntactical order and clarifies meaning”23 of the Roman Catholic Mass beginning on page 48. It does not contain an IPA transcription, but Jeffers does provide a Latin pronunciation guide (pp. 36–44). QUESTIONS ABOUT SERIALS

Example 4.19. Finding journals and newsletters published by associations or other corporate bodies: “Could you help me find the Journal of the American Musical Instrument Society?” Catalog searching for the journal or newsletter of an association is often problematic largely because catalog records list the title simply as “Journal” or “Newsletter” while the association’s name is given as an author. Thus a search in your library catalog for the title “Journal of the American Musical Instrument Society” may not retrieve the catalog entry for this journal. Try entering an author search for the name of the association: american musical instrument society. The results should list the publications of this society in alphabetical order by title, so the correct record should be listed under “J” for “Journal.” Another option would be to search the title and corporate author in a keyword search, since author words are usually included with title words in keyword indexes.

Example 4.20. Navigating print, microfilm, and online issues of a journal to find a particular article: “I can’t find volume 62 of Musical America. I found the call number, but on the shelf it begins with volume 67. Do you have it?” Catalog records for periodicals can be very complicated. Your library may have started a subscription to a periodical several years after it began publication and at some point may have ordered the back issues (as well as replacements for missing or incomplete volumes) on microform. Search the title in the catalog and closely examine the attached item records to see if the desired volume is in another format or location. Another possibility is to check if your library has access to a particular volume of a journal through an electronic journal subscription, or as part of an electronic journal collection through a database such as JSTOR, IIMP (full-text version), or a database host company with linked

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electronic journals. Your library may subscribe to an electronic journal content management service—such as Serials Solutions—in order to keep accurate links to these electronic journals in the catalog record for each title. If not, ask the user for the specific article they are trying to locate. Attempt to find the citation for this article in each of the electronic music periodical indexes to which your library subscribes and closely examine the record to see if there is an indication of linked full text of the article. If you cannot locate the desired volume in your library, you have two other options to offer to your user. First, you could search the library catalogs of nearby libraries in your city or nearby cities. If the title and the appropriate volume are found, your user may be willing to drive to that library in order to read, photocopy, or scan the article. As a last option, you could assist your user in submitting a request for an interlibrary loan from another library. PROBLEMS WITH CITATIONS

It is not uncommon for library users to ask a question that has one or more erroneous or missing elements. One method to solve such problems is to perform a keyword search on two or three distinctive terms in a periodical index (e.g., Music Index) or in a bibliographic database (e.g., WorldCat) to find the accurate information.

Example 4.21. “My professor mentioned an article by Jerry Noble about Josquin’s benefactors. Can you help me find it?” If the item cannot be quickly located, you should confirm or correct the citation through searching in an appropriate bibliographic database. Start by searching by author or by title words (if you suspect the author is incorrect) in a periodical index like RILM, Music Index, or IIMP if it is an article, or in WorldCat if it is a book, score or recording. If the author’s name does not reveal the accurate citation, you could also select two or three distinctive terms from the supposed title of the work and search them in a close proximity search—for example, within ten words of each other. Our example question, which came from a student with sketchy lecture notes, gives us no clues to whether this is an article in a periodical or in a collection of essays in a book (or conference proceedings, or Festschrift), though it sounds like it is probably a scholarly musicological article. An author search noble, jerry in RILM retrieves no items even though RILM includes essay literature, so we should suspect that the author’s name is inaccurate. Taking the root of two distinctive terms from the supposed title, a truncated keyword search is attempted next: josquin* benef* (for “benefactors,” “benefit,” “benefices,” “beneficial,” etc.). Six items are retrieved, including one written by Jeremy Noble, “New Light on Josquin’s Benefices,” in Josquin des Prez: Proceedings of the International Josquin Festival-Conference held at the Juilliard School at Lincoln Center in New York City, 21–25 June 1971 (London: Oxford University Press, 1976): 76–102.

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QUOTATIONS ABOUT MUSIC OR MUSICIANS

Questions concerning quotations can come in a variety of forms. Some people will be looking for good quotations concerning music, related to some concept they are writing or speaking about. For these types of questions, find books of quotations by performing a subject search in library catalogs on music — quotations, maxims, etc. or just enter music* quotation* in a keyword search. There are also free quotation sources on the web, easily located through a Google search on musical quotations. Unfortunately, many quotation books and web sites do not document the source of their quotations. Here are a few quotation reference sources that do include documentation for some or all of their quotations: • • • • • • •

David W. Barber, The Music Lover’s Quotation Book Ian Crofton and Donald Frasier, A Dictionary of Musical Quotations Alan J. Hommerding and Diana Kodner, A Sourcebook about Music Nat Shapiro, An Encyclopedia of Quotations about Music Nicholas Slonimsky, Lexicon of Musical Invective Derek Watson, Chambers Music Quotations Wikiquote (http://www.wikiquote.org)

Occasionally someone will have heard a particular quotation and is seeking verification of the wording—or the original text if translated from a foreign language—as in the following question:

Example 4.22. “What is Francis Poulenc’s actual quotation about how setting a poem to music is like an act of love?” Select a few of the distinctive words from the user’s question and enter them in a Google search, for example, setting poem music love poulenc. One of the links on the first page of results lists English and French program notes from a Naxos recording of Poulenc’s Mélodies, listing the quotation as “La transposition musicale d’un poème doit être un acte d’amour, et jamais un marriage de raison,” and in English as “Setting a poem to music must be an act of love, and never a marriage of reason.”24 The program notes state that Poulenc said these words “to Claude Rostand during the famous radio interviews which took place between October 1953 and April 1954.”25 This quote also appears in Hommerding and Kodner’s Sourcebook about Music, where they list the exact quote (in English translation) as “The setting to music of a poem must be an act of love, never a marriage of convenience.”26 A Google search of the French quotation returns several exact matches, including one for the Google Books preview of Jean Cocteau, Guillaume Apollinaire, Paul Claudel et le groupe des six by Catherine Miller, containing the quote on page 50, citing the source as a transcription of the radio interviews published in Entretiens avec Claude Rostand (Paris: R. Julliard, 1954, p. 69).

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IMAGES OF MANUSCRIPTS

Example 4.23. “Do you have a facsimile of Bach’s autograph manuscript of Mass in B Minor?” • Published facsimiles of musical manuscripts are assigned the Library of Congress subject heading “Music—Manuscripts—Facsimiles” as well as similar subject headings beginning with the composer’s name (for example, “Bach, Johann Sebastian, 1685–1750—Manuscripts— Facsimiles”). If your library indexes subject terms in the keyword index, you could enter a keyword search bach mass* facsimiles to retrieve a published facsimile volume. • Your library may own a facsimile of this work on microfilm, perhaps in a large set of films that are not individually documented in your library catalog. However, such sets frequently come with printed indexes, which would lead users to the correct microfilm reel or microfiche slide. To find these volumes, add either indexes or catalogs to your keyword search. The printed guide to a microform set of Bach’s manuscripts should have one or both of the following subject headings: “Bach, Johann Sebastian, 1685–1750—Manuscripts—Facsimiles— Indexes” or “Bach, Johann Sebastian, 1685–1750—Manuscripts—Facsimiles—Microform catalogs.” • The International Music Score Library Project contains a scanned image of a facsimile of selected pages from Bach’s autograph manuscript for this work.27 Go to http://imslp.org /wiki, then browse scores by composer name, then by title to see which public-domain images are available for downloading. IMAGES OF MUSICIANS

Example 4.24. “I’ve heard there is a photo of Nadia Boulanger at a restaurant with Aaron Copland, Walter Piston, and Irving Fine, which would be ideal for my concert program featuring their compositions. Could you help me locate a copy?” For most simple image search questions, use Google Images (http://images.google.com). For this question, search boulanger copland piston fine restaurant and the search engine provides access to images from many web sites worldwide, including several photos of these composers dining together at a restaurant in Boston in 1945. These photos are from the Library of Congress American Memory digital collection (http://memory.loc.gov). Not all significant image sites seem to be available to Google Images, so you may also need to search in other large library and museum web sites. For example, additional images of Nadia Boulanger may be found in the National Library of France’s digital collection database, Gallica (http://gallica.bnf.fr), and in Europeana (http://www.europeana.eu), a portal to many European museum and library web sites. RIdIM (http://www.ridim.org) is a new database of musical images, including portraits of composers and other musicians. Select “browse” for “people” on the name of a musician,

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e.g., boulanger, nadia. This search located several images of Boulanger, including a few of the photos of her dining with Piston, Copland and Fine in 1945. Some periodical indexes provide the capability of limiting to articles containing portraits. The advanced search in IIMP allows limiting searches to those that feature “Photographs” and “Cartoons.” EBSCO’s Academic Search Complete allows limiting by “Image Quick View Types” (articles containing images) of “Black and White Photograph” or “Color Photograph.” In these two databases, you can combine these image limiting capabilities with a musician’s name in a subject or keyword search. In Music Index, records for articles containing portrait images of the subject of the article usually contain the word “portrait” in the notes field; RILM generally uses the word “portraits” in the physical description field for items containing portrait images. In these databases, a nested proximity keyword search on the name of a musician combined with the truncated keyword term portrait* will frequently retrieve publications with portrait images of the person. For this question, the keyword search (nadia n2 boulanger) AND portrait* in Music Index retrieved 35 records; the same search in RILM on EBSCOhost retrieved 81 records. For RILM on ProQuest, change the proximity operator to n/2 or near/2: (nadia n/2 boulanger) AND portrait*.

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Chapter Five FACTUAL AND SHORT-ANSWER QUESTIONS While some questions require only simple and short answers, the search for those answers can be complex. Contact information—even birth and death dates—can all become difficult. We offer proven strategies in this chapter for handling some of the most common types of factual and short-answer questions. CONTACT INFORMATION

One type of frequently asked question is for contact information—addresses, telephone numbers, and e-mail addresses—for persons or institutions. It might be thought that the web has eliminated the need for printed directory sources, but as our examples show, such questions are still being asked at the library, especially if the personal or institutional web site is lacking the information.

Example 5.1. “I need the address for the University of Michigan School of Music.” A quick Google search on the institution’s name should locate the official web site of the institution or company. However, if the address is not easily found, you could also consult printed directories. For this question, the current addresses of schools, departments, and conservatories of music may be found in the College Music Society’s Directory of Music Faculties in Colleges and Universities, U.S. and Canada, and the Musical America Worldwide directory.

Example 5.2. How do I contact this composer (or performer, ensemble, conductor, music professor, etc): “How can I contact composers Michael Torke and John Adams?” Musicians may wish to contact composers for research or performance needs and ask for assistance finding contact information. Today, most well-known composers will have a web site either maintained by themselves or by a management agency, publisher, or recording company. Contact information can be easily found through a Google search for someone with a distinctive name like Michael Torke. His web site (http://www.michaeltorke.com) appears as the top link in the results of a Google search michael torke.1 This is not the case with a Google search of john adams because of the large number of sites devoted to the second president of the United States. However, the official web site of the composer John Adams (http://www.earbox.com) appears about halfway down the first screen of results.2 You could also add the word “composer” to your search to improve the results: john adams composer locates several web sites (including his official web site) as well as photo images of the composer. Searching names on

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Google (and other Internet search engines) is an effective way to locate other musicians and ensembles, retrieving links to their personal, professional, or social networking web sites (Facebook, etc.), and audiovisual content on sites such as YouTube. Another method to locate composers is to look in the “Categorical Index of Advertisers” in the annual directory Musical America Worldwide (formerly Musical America International Directory of the Performing Arts). Under the category “Composers,” you can find the page number of the advertisement for the management agency for dozens of professional composers. Surprisingly, there is no listing for John Adams as a composer in the 2012 issue, but he is listed under the “Conductors” category. These advertisements give the address, phone, and e-mail contact information for these agencies. Numerous musicians do not have a personal web site. Musicians in North America attached to an institution of higher education can be found in the Directory of Music Faculties in Colleges and Universities, U.S. and Canada, published annually by the College Music Society. This directory contains an index of all faculty as well as an “Index by Area of Teaching Interest.” In the 2011–12 directory, John Adams and Michael Torke are not listed, since they do not currently hold regular teaching positions at a university in the U.S. or Canada, but there are over 1,800 other composers listed in this volume. The index leads you to the entry for the music department, school of music, or conservatory where each composer is employed, with the institutional address, telephone, and e-mail contact information. These entries also provide other information you may not be able to find on a musician’s web site or the university’s faculty directory page. Numeric codes following the professor’s name indicate which areas of teaching they perform on the faculty (composition, piano, music business, etc.), decoded in the key on the inside cover of the directory. It also indicates the highest degree earned by the faculty member, which is particularly helpful when writing to a faculty member and deciding whether to use “Dr. Jane Doe” or “Prof. Jane Doe.” DATES AND OBITUARIES

Example 5.3. “Do you know the birth and death dates of Serge Lancen, Dieter Salbert, and Harald Genzmer?” Musicians preparing printed concert programs frequently contact libraries for the birth and death dates of composers as these are traditionally given following the composers’ names. For composers active in the most recent decades, the printed music of their compositions may have a brief biographical sketch, or at least their year of birth, but the musician performing from that score would need to seek other sources in order to investigate whether the composer is still with us corporally. Birth and death dates for musicians often can be found by searching their names as an author or subject in your library catalog or in those of larger libraries such as the New York Public Library (http://catalog.nypl.org) and the Library of Congress (http://catalog.loc.gov), or

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union catalogs such as WorldCat. The Library of Congress catalog provides birth and death years for all three composers in our example.3 Another approach would be to perform a web search on the composers’ names, which retrieves links to sites of varying degrees of reliability, ranging from a Wikipedia entry for a composer to an official web site. The latter was found for the German composer Dieter Salbert, who was born on August 2, 1932, and died on July 6, 2006, according to the “Vita” section of his official web site at http://www.salbert.de, maintained by his publisher, Musikverlag Zahoransky. Another excellent free source for such information is the “Musicians Necrology” (http://library.wustl.edu/units/music/necro) maintained by the staff of the Gaylord Music Library at Washington University in St. Louis, which, in addition to the dates, provides a citation for an obituary for Dieter Salbert in a 2006 issue of the periodical Das Orchester.4 Obituaries are frequently excellent sources of biographical information for recently deceased composers and other musicians. Among subscription databases, there are many that may help answer questions about composers’ dates and provide indexing for obituaries published in periodicals. You could search in indexes of biographical articles in reference sources, such as the Biography and Genealogy Master Index. This database contained citations for eleven biographical articles for Serge Lancen, twenty for Harald Genzmer, but none for Dieter Salbert.5 The entries for Lancen and Genzmer provided the birth dates, but not the death dates. However, one of the Genzmer sources was an article in The New Grove Dictionary of Music and Musicians. Searching the online version of Grove through Oxford Music Online, an updated article on Genzmer reveals that he passed away in Munich on December 16, 2007. Periodical indexes are also easily searched for obituaries. Both Music Index and IIMP allow search results to be limited to obituaries as a document type. On RILM, you may search for the musician’s name as a subject in one search box, then in a second search box enter keyword search terms such as obituary (or truncated obit*), memoriam, died, or appropriate foreign language terms such as hommage (French), tod or gestorben (German), or ricordo (Italian). You could use a similar technique in other databases such as JSTOR and Bibliographie des Musikschrifttums (http://www.musikbibliographie.de). Google News (http://news.google.com) can also be quite useful in locating obituaries of composers and other musicians. From the main page, click on the down arrow to the right of the search window to access the “Advanced news search” menu, and change the “Date added to Google News” setting to “in archive” (or go straight to this page and setting at http://news .google.com/news/advanced_news_search?as_drrb=a). From this page you can search for recently published obituaries by typing in the musician’s name and language-appropriate terms found in obituaries, for example, harald genzmer tod or harald genzmer gestorben. NAME THIS TUNE

Every now and then, someone will ask you to identify a song, orchestral theme, or some other composition, usually singing or humming it to you over the phone or in person.

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Example 5.4. “I’m trying to find out the name of the piece that has this tune [in solfège, triple meter]: Do sol sol-mi | mi la sol-fa | sol re” If you’re lucky, you or one of your colleagues may know the tune and can instantly tell the user the name of the composition. If not, one of the first reference sources you should consult for classical music melodies is Themefinder (http://www.themefinder.org). This free web database contains nearly ten thousand main and subsidiary themes from classical instrumental music compositions. You can search Themefinder in a number of ways. If you have studied music and can precisely enter the solfège syllables (“do re mi fa sol…”), or the precise shape of the melody in ascending, descending, or repeating pitches, you may enter these in the appropriate search box. There is also an option to enter the number of the scale degrees, independent of the mode of the scale (that is, major or minor), with 1 being the root or tonic pitch, 2 being the next note up the scale, and so forth. However, if your ear is not well trained, but you are able to tell if the pitch goes upward (“/”), downward (“\”), or repeats the same note (“-”), this database allows you to enter the search with these characters in the “Gross Contour” search box. The theme from this reference question could be searched as follows: \-/-/\\/\ which retrieves one melody, matching the opening theme of Robert Schumann’s Symphony no. 3, the “Rhenish.” A similar free music search engine called Melodyhound is available on the wiki Musipedia: The Open Music Encyclopedia (http://www.musipedia.org). In addition to classical music, this search engine also can be used for searching popular music, folk music, national anthems, hymns, and carols. CITATION STYLE QUESTIONS

The Chicago Manual of Style 6 (CMOS), published by the University of Chicago Press, is the style manual of choice for most American musicology journals and is frequently prescribed by music professors for academic work. Kate L. Turabian’s Manual for Writers of Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers 7 is also published by the University of Chicago Press. While these two commonly used style manuals are largely harmonious in their style recommendations, CMOS is geared more toward published works and provides more detailed guidance and examples than Turabian. Therefore, many professors prefer the simplified guidance of Turabian for unpublished academic papers. Both manuals provide specific instructions for citation of musical documents, such as scores and sound recordings. Most Chicago Manual of Style citation questions may be answered by scanning the outline page (pp. 653–54) for chapter 14, “Documentation I: Notes and Bibliography”8 to find the appropriate section—for example, “Chapters or Other Parts of a Book” (section 14.111) or “Electronic Books” (section 14.166). You can also scan the index for additional terms, then look for citations starting with “14” (for entries in chapter 14). The bibliography citation examples in this chapter are in hanging indentation style (second and subsequent lines are indented), and the footnote or endnote examples are preceded by a number and a period (for ex-

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ample, “9.”). Chapter 15 gives an alternative “author-date” citation style preferred by publishers in the sciences and social sciences. Another popular style manual is the Publication Manual of the American Psychological Association 9 (APA), which is widely used for scholarly work in the fields of music education, music psychology, and music theory. If a library user is using the “author-date” system, APA style is most likely the guide prescribed by the user’s professor or editor. In the sixth edition, consult pages 209–10 (rule 7.07, and example 52) for instructions on citing musical recordings. Some users may also ask citation questions concerning other style guides, such as the MLA Handbook for Writers of Research Papers, published by the Modern Language Association of America.10 The seventh edition gives instructions on citing sound recordings (pp. 195–97; rule 5.7.2), performances (pp. 198–99; rule 5.7.4), and musical scores (pp. 199–200; rule 5.7.5). If your music library or department does not have a copy of one of these style manuals, you could consult the following online concise style guides: CMOS: http://www.chicagomanualofstyle.org/tools_citationguide.html http://go.osu.edu/cmos APA:

http://apastyle.apa.org/faqs.html http://go.osu.edu/apaguide

MLA: http://go.osu.edu/mlaguide You could also consult the final three appendixes in Music Research: A Handbook by Laurie J. Sampsel: “Chicago Style at Your Fingertips” (appendix E, pp. 262–71), “APA Style at Your Fingertips” (appendix F, pp. 272–77), and “MLA Style at Your Fingertips (appendix G, pp. 278–83). Sampsel cites the same works in each category following the three guides, using music-specific examples for each category. She also conveniently precedes the examples with the generic formula for bibliography and footnote/endnote entries for each category. Deferring to the actual style manuals listed above and the Sampsel appendixes, only a few examples will be included here. The questions below are three of the most frequently asked types of citation questions in music libraries. Following each question will be the chapter 14 citation in The Chicago Manual of Style, 16th ed., using notes and bibliography style, and the proper citations of an actual item from our question sample.

Example 5.5. Citation of music scores: “How do I cite this music score of Mozart’s ‘La clemenza di Tito’?” Single author bibliographic citations for music publications are simply constructed in the same manner as those for published books (CMOS, sections 14.269 and 14.75). Footnote or endnote: 1. Wolfgang Amadeus Mozart, La clemenza di Tito (New York: Dover, 1993). Bibliography: Mozart, Wolfgang Amadeus. La clemenza di Tito. New York: Dover, 1993.

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Citing a score from a composer’s complete works series can be much more complex, because of the additional series titles associated with the volume. Interpreting CMOS 14.128, one should treat the individual composition title as the italicized title, and other publication titles as series titles in nonitalicized text: Footnote or endnote: 2. Wolfgang Amadeus Mozart, La clemenza di Tito, Neue Ausgabe sämtlicher Werke, Ser. 2, Bühnenwerke, Werkgruppe 5, Opern und Singspiele, Bd. 20 (Kassel: Bärenreiter, 1970). Bibliography: Mozart, Wolfgang Amadeus. La clemenza di Tito. Neue Ausgabe sämtlicher Werke, Ser. 2, Bühnenwerke, Werkgruppe 5, Opern und Singspiele, Bd. 20. Kassel: Bärenreiter, 1970.

Example 5.6. Citation of sound recordings: “How do I cite this recording of Beethoven’s Symphony No. 9?” Beethoven, Ludwig van. Symphony No. 9. Cleveland Orchestra. Franz Welser-Möst. With Measha Brueggergosman, Kelley O’Connor, Frank Lopardo, René Pape, and the Cleveland Chorus. Recorded 2007. Deutsche Grammophon B0009661-02. Compact disc. CMOS gives examples of classical music sound recording citations in section 14.276 (pp. 765–67). This section gives the option to list the performer (Cleveland Orchestra) or director (Franz Welser-Möst) first rather than the composer, if the focus of the writing is more on the performers rather than the composer. Welser-Möst, Franz, dir. Symphony No. 9, by Ludwig van Beethoven. Cleveland Orchestra. With Measha Brueggergosman, Kelley O’Connor, Frank Lopardo, René Pape, and the Cleveland Chorus. Recorded 2007. Deutsche Grammophon B0009661-02.

Example 5.7. Citation of articles from Grove Music Online: “How do I cite the ‘Editing’ article by James Grier from Grove Music Online?” CMOS generally advises not to include citations for dictionary and encyclopedia articles in bibliographies, but rather to simply cite them in notes (see CMOS 14.247). Cite the title of the reference work or database, followed by “s.v.” (sub verbo, “under the word”) and the title of the article in quotation marks. Signed entries may include the name of the author. In Grove Music Online articles, the article author’s name is found just below the last entry of the bibliography. 4. Grove Music Online, s.v. “Editing,” by James Grier, accessed August 3, 2012, http://www.oxfordmusiconline.com.proxy.lib.ohio-state.edu If you choose to list a Grove Music Online article in a bibliography, you could follow the rule for a contribution to a multi-author book (CMOS 14.112), which is similar to the style formula generated when clicking on the automatic citation “cite” icon within the article entry in Grove Music Online:

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Grier, James. “Editing.” In Grove Music Online. Oxford Music Online. Oxford University Press. Accessed August 3, 2012. http://www.oxfordmusiconline.com.proxy.lib.ohiostate.edu/subscriber/article/grove/music/08550. FACTUAL INFORMATION ABOUT WORKS

Example 5.8. “Who wrote ‘Silent Night’ and when?” For this type of question, Wikipedia is a popular choice, but music librarians often turn to a favorite classic reference book: The Book of World Famous Music: Classical, Popular and Folk by James J. Fuld, 5th ed. (New York: Dover, 2000). Fuld was a collector of musical editions, so his book provides excellent information concerning first editions, copyright information, related works, a brief history of the musical work, the composer, and the librettist. Wikipedia, tapping into the energy and knowledge of a worldwide army of contributors, has a much larger collection of articles on pieces of music, and has links to references, sound files, and editions of the work in the public domain. The Wikipedia article on “Silent Night” is much longer than Fuld’s entry, but lacks detailed commentary on the publication history. One also wonders about the authenticity of the information, since articles in Wikipedia are unsigned and open to editing by the general public. In either case, both sources answer the reference question: The words of the original German version of the song, “Stille Nacht, Heilige Nacht!,” were written by Fr. Joseph Mohr, and the music by Franz Gruber, composed on 24 December 1818 and performed in church that evening in Oberndorf, Austria, where Mohr served as an assistant priest. The “Gruber, Franz Xaver” article in Grove Music Online confirms this information, adding that it was accompanied on guitar at this first performance.

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Chapter Six TOPICAL QUESTIONS In chapters four and five we dealt mainly with questions for which the user knew some or all of the identifying characteristics of their research need (composer, title, etc.) or was seeking a short or factual answer for a known research need. In this chapter, we will discuss ways to handle questions when the user is exploring a research topic but has little or no knowledge of existing relevant sources and is seeking guidance on where to find information on their topic. About one third of reference questions asked in your library will probably be requests for information on a particular topic, looking for certain types of materials, or requiring a longer descriptive answer (rather than the factual and short-answer questions covered in chapter five).1 There is no easy way to categorize these types of questions, as each one presents its own unique challenge. In chapter three we outlined a basic procedure on how to conduct a reference interview. For topical questions, it is very important to ask follow-up questions in order to determine the exact scope and type of materials or information the user is seeking. Below we will give examples of how to handle two of the most common types of topical questions: searching for information on a specific musical composition, and research related to world music topics. In these cases, we will assume that the user is looking for enough information to write a term paper or program notes and not interested in conducting a comprehensive literature search for a dissertation or other more detailed project. RESEARCHING A PARTICULAR WORK

Example 6.1. “I am writing a paper on George Crumb’s ‘Night of the Four Moons,’ and I need to find information about it.” First, you should ask several follow-up questions to ascertain the type of information that is needed. A basic list of citations can be located by consulting the bibliography to the article on George Crumb in major music encyclopedias (for example, Grove Music Online) and biographical dictionaries (such as Baker’s Biographical Dictionary of Musicians). For analytical works, Harold J. Diamond’s Music Analyses: An Annotated Guide to the Literature and D. J. Hoek’s Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000 collectively provide citations to three analyses of Night of the Four Moons. Information on specific compositions can usually be found in biographies of composers, generally assigned call numbers beginning with ML410 (for individual biographies) or ML390 (for books containing two or more composer biographies). Search on the subject heading “Crumb, George” in library catalogs to find all available biographies of the composer. Biobibliographies and other research guides on specific composers are usually found in ML134 and 79

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are one of the best sources to consult on such questions. They will be listed under the subject heading for the composer’s name, followed by the subheading “—Bibliography.” Looking up Night of the Four Moons in the index of David Cohen’s George Crumb: A Bio-bibliography reveals several dozen entries for this work, including descriptive information about the composition itself in the “Works” section and annotated bibliographic citations for analyses, reviews, and other writings about this composition. Cohen’s George Crumb: A Bio-bibliography was published in 2002, so indexes such as RILM, Music Index, and IIMP could be searched for literature published from 2002 to the present. Using the composer’s last name and one distinctive word from the title, perform the keyword search crumb moons and limit the publishing dates from 2002 to the present. You could also perform a similar search in ProQuest Dissertations & Theses to find recent dissertations containing information about this composition, and using Internet search engines such as Google to find writings on the web. The latter search retrieved an article on this composition from the composer’s official home page.2 LexisNexis Academic could be searched in a similar way: Select the “All News” option, then construct a simple proximity search of crumb in the top search box and moons in the second, selecting “Within 5 Words of ” as the connector. This search found several recent reviews and concert announcements for this composition. ANALYSES OF A PARTICULAR WORK

Example 6.2. “I want to find a score analysis of Beethoven’s Piano Sonata op. 101 and Mozart’s Piano Sonata K. 333.” Two bibliographies provide convenient access to citations of writings with analyses of musical compositions. The most recent is Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000 by D. J. Hoek, updating the earlier bibliographies published by Arthur Wenk. This bibliography contains “9,306 entries for analyses [published between 1940 and 2000] of works by 1,066 composers.”3 The other bibliography is Music Analyses: An Annotated Guide to the Literature by Harold J. Diamond. It contains “4,600 citations…gleaned from more than 750 books, 100 periodicals, and 400 dissertations.”4 Both volumes are arranged by the composer’s last name, then the title of the composition. Citations in the Diamond bibliography provide full citations, but Hoek’s citations contain abbreviations that must be decoded using the list of abbreviations in the front of the book. Hoek’s bibliography lists one analysis of Beethoven’s Piano Sonata op. 101 (by Heinrich Schenker), but none appear in the Diamond bibliography. However, since the Mozart sonata dates from 1783–84, no entry is to be found for this work in Hoek’s bibliography because it is outside the scope. As Diamond’s bibliography does include analyses of earlier compositions, it lists two analyses of Mozart’s Sonata for Piano no. 13 in Bflat Major, K. 333. Research guides and bio-bibliographies on specific composers are located in ML134, arranged alphabetically by the composers’ last names (interfiled with thematic catalogs). Such

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bibliographies frequently include an index of published literature about specific compositions and may lead the user to publications containing analytical commentary. Wolfgang Amadeus Mozart: A Guide to Research by Baird Hastings (New York: Garland, 1989), although a bit dated, does include a section in his annotated bibliography for writings about piano and keyboard music (pp. 184–88), including several works on Mozart’s piano sonatas offering analytical commentary. As in Example 6.1, you can search for more recent analytical literature in current literature databases such as RILM by searching the composer’s last name, one distinctive word from the title, and adding the truncated term “analy*” to search for title, subject or abstract words such as analysis, analyze or analytical. For example, the keyword search mozart and 333 and analy* in RILM retrieved nine analytical writings related to K. 333 published since Hastings’ 1989 research guide. Sometimes you can find analytical remarks in program notes for concerts or booklets accompanying recordings, particularly for larger compositions such as operas and symphonic works. For operas, analytical writings may be found in MT95, mixed in among many volumes that simply present the story lines of operas. You may also find some of the librettos in the ML50s include extensive commentary and analyses of the operas. Among these, the Opera Guides series published by the English National Opera presents volumes with insightful essays, usually including some analytical commentary. Similarly, compilations of program notes for orchestral works may be found in class MT125. Among these, highly recommended is Jonathan Kramer’s Listen to the Music.5 Kramer was the writer of program notes for the Cincinnati Symphony Orchestra during the 1980s, and most of these essays are republished in this volume. Kramer was also a professor of composition and music theory at the University of Cincinnati College-Conservatory of Music, and later at Columbia University, so his historical essays also feature comments concerning the major points of musical organization you should listen for during the performance of an orchestral work. His analytical comments usually come near the end of each of the essays. RESEARCHING MUSIC FROM A PARTICULAR COUNTRY

Example 6.3. “I need some recordings of folk music from Albania.” Recordings, scores, and books about music from specific countries (such as Albania) may be assigned a variety of Library of Congress Subject Headings: Music — Albania Folk music — Albania Albanians — Music Songs, Albanian Popular music — Albania World music — Albania

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Therefore, searching by keyword music albania* or songs albania* would retrieve materials to satisfy this request. Note that the asterisk in the search term albania* acts as a truncation character that matches the search term against the words Albania, Albanian, and Albanians. For locating articles on Albanian music, a similarly truncated search of the country name in RILM, Music Index or IIMP may be sufficient. (When searching in a music-specific database, one never needs to enter the term music.) RESEARCHING MUSICAL INSTRUMENTS

Example 6.4. “I need to find information about the didjeridu.” To start, you should consult articles on the didjeridu in musical-instrument dictionaries. These may be found by performing a subject search musical instruments – dictionaries in your library catalog, or by browsing the reference shelves at ML102.I5. One excellent musicalinstrument dictionary is the New Grove Dictionary of Musical Instruments.6 You will also find articles on instruments in general music dictionaries and encyclopedias, such as Grove Music Online. The Garland Encyclopedia of World Music, volume 9, Australia and the Pacific Islands, also has a six-page article on the “Didjeridus of Australia.”7 The articles in these reference sources will also provide bibliographies of other publications on the didjeridu. You could supplement these bibliographies by searching for the subject didjeridu in library catalogs, music literature indexes, music periodical databases, and ProQuest Dissertations & Theses. Numerous videos of performances on the didjeridu can be found by searching the term on YouTube, and still more under the alternate spelling “didgeridoo.” IN CLOSING

Lastly, here is our favorite question in the MLA-WOREP sample of questions asked in music libraries: A user asked “Where is the New ‘Groove’ Dictionary”— of course, the user was looking for the New Grove Dictionary of Music and Musicians ! In part 1 of this volume we toured the arena of music reference tools, both printed and electronic, and how to use them. In part 2, we used these reference tools to answer some of the most frequently asked music reference questions. We hope that the readers of this volume will now be more confident in handling basic reference questions. However, remember to quickly refer a question that is beyond your confident knowledge base to a more experienced member of your library staff, if possible. As many experienced reference librarians will tell you, this is the best way to learn about new reference tools and techniques and to expand your abilities as a public-service library employee.

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APPENDIX THE LIBRARY OF CONGRESS CLASSIFICATION FOR MUSIC

M (MUSIC) M1-3

Collections containing both instrumental and vocal music

M2 M3

Anthologies of masterworks Composers’ complete works

M5-1490

Instrumental music

M6-14 M20-39 M180-298 M300-386 M400-486 M500-586 M600-686

Organ music Piano music (M23: piano sonatas) Duets Trios Quartets (M452: string quartets) Quintets Sextets

M1000-1075

Orchestra

M1001 M1010-1011

Symphonies Piano concertos (M1010: full orchestral score, M1011: accompaniment arranged for piano) Violin concertos (M1012: full orchestral score, M1013: accompaniment arranged for piano)

M1012-1013

M1100-1160 M1200-1270 M1366 M1473

String orchestra Band Jazz ensembles Electronic music

M1497-2199

Vocal music

M1497-1998

Secular vocal music

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M1500 M1503 M1530-1546 M1547-1600 M1611-1624 M1619 M1620

Opera full scores Opera vocal scores (accompaniment arranged for piano) Secular choruses with ensemble accompaniment Secular choruses with piano or unaccompanied Secular songs for one voice Song collections (two or more composers) Song collections (one composer)

M1990-1998

Secular vocal music for children

M1999-2199

Sacred vocal music

M2000-2007 M2020-2036 M2060-2101 M2102-2114 M2115-2146

Oratorios Sacred choruses and cantatas (with ensemble accompaniment) Sacred choruses with piano or unaccompanied Sacred songs for one voice Hymnals

ML (LITERATURE ON MUSIC) ML1 ML5 ML48-54

Periodicals published in the United States Periodicals published internationally after 1800 Librettos

ML100-109 ML100 ML105-107

Dictionaries and encyclopedias of music Dictionaries and encyclopedias, general Dictionaries and encyclopedias, bio-bibliographical

ML128 ML134

Bibliographies by topic Composer bibliography

ML156-158

Discographies

ML159-3785 Music history and criticism ML385-429 ML430-455

Biography (ML410: Composer biographies, arranged alphabetically) Composition

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APPENDIX 1

ML549-1093 Musical instruments ML1400-3275 Literature about vocal music ML3845-3877 Philosophy and aesthetics of music

MT (MUSICAL INSTRUCTION AND STUDY) MT1 MT5.5-7

General works on musical instruction and study Music theory

MT70-71

Orchestra and orchestration

MT90-145

Analytical guides (including program notes)

MT95-100 MT125-130 MT140-145

Opera and ballet Orchestral music Chamber music

MT170-810

Instrumental techniques (including method books)

MT180-198 MT220-255 MT259-338 MT339-538 MT539-654 MT655-722

Organ Piano String instruments Wind instruments Plucked instruments Percussion instruments

MT820-949

Singing

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NOTES

INTRODUCTION 1. For more information on the Music Library Association’s study using the Wisconsin-Ohio Reference Evaluation program, see Beth Christensen, Mary Du Mont, and Alan Green, “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries: A Progress Report,” Notes 58, no. 1 (September 2001): 39–54.

PART ONE: BASIC CONCEPTS AND TOOLS 1. Library of Congress (LC) Classification can also contain local variations, as different LC class numbers can be assigned to the same item. However, Dewey Decimal Classification is subject to periodic overhauls. These are called “Phoenix schedules,” and they represent a thorough re-working of the classification of a subject. Due to variations in local practice, libraries may use different versions of DDC, which may result in great variation in shelf placement. For a detailed history and explanation of the DDC as it is applied to music, see Mark McKnight, Music Classification Systems, Music Library Association Basic Manual Series, no. 1 (Lanham, MD: Scarecrow Press and the Music Library Association, 2002), 11–38. 2. With the adoption of the new Resource Description and Access (RDA) cataloging standard, publications of works for solo instruments will be described in bibliographical records as “scores.” For more information concerning RDA, please consult the Joint Steering Committee for Development of RDA web site at http://www.rda-jsc.org/rda.html. 3. Blu-ray Disc is a trademark of the Blu-ray Disc Association. See http://www.bluraydisc.com /faqs.html for more information. 4. See D. J. Hoek, “The Download Dilemma,” American Libraries, August 1, 2009, 54–57 for a discussion of the problems downloadable music sound recording files present to libraries.

CHAPTER ONE: LIBRARY CATALOGS 1. WorldCat is the online shared catalog of OCLC (Online Computer Library Center). Libraries that participate in OCLC make some or all of their holdings available through this shared catalog. It can be accessed for free at http://www.worldcat.org or by subscription to FirstSearch. The FirstSearch service allows more sophisticated searching. 2. Lewis Lockwood, Beethoven: The Music and the Life (New York: Norton, 2003). 3. Geoffrey C. Ward, Jazz, produced by Ken Burns and Lynn Novick, directed by Ken Burns (N.p.: PBS DVD; Burbank, CA: distributed by Warner Home Video, 2000), DVD. 4. Other uses of Venn diagrams to illustrate Boolean logic in catalog searches for music items include Laurie J. Sampsel, Music Research: A Handbook (New York: Oxford University Press, 2009), 253– 54, and Pauline Shaw Bayne, A Guide to Library Research in Music (Lanham, MD: Scarecrow Press,

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2008), 141–42. Rockwell Schrock’s “The Boolean Machine,” http://kathyschrock.net/rbs3k/boolean, is an interactive Venn diagram illustrating Boolean logic. 5. * and ? are used subsequently in this text to indicate wildcards. 6. Library of Congress Subject Headings, 30th ed. (Washington, DC: Library of Congress, 2007), 3:4605. Hereafter cited as LCSH. 7. Laurie J. Sampsel calls this process “triangulation.” See Sampsel, Music Research, 42–44. 8. For more information on subject headings, see Sampsel, Music Research, 42–44, and for a comprehensive (but slightly outdated) list, see Harriette Hemmasi, Music Subject Headings: Compiled from the Library of Congress Subject Headings, 2nd ed. (Lake Crystal, MN: Soldier Creek Press, 1998). 9. At the time of this writing, a surprisingly large number of library catalogs did not provide browsable uniform titles in the results screens of a search by author. If your library’s catalog does not provide an alphabetical listing of titles and uniform titles in author searches, contact your catalog administrator to see if it is possible to properly configure these results screens following the ALA Filing Rules (Chicago: American Library Association, 1980). Your catalog administrator may need to request a software enhancement from the catalog vendor to make this possible. 10. This particular catalog requires the use of a special search called a “prolific author/composer” search within the “classic search” interface. For its “classic search,” Northern Illinois University uses WebVoyage, the public interface for the Voyager integrated library system by ExLibris. 11. While a keyword search of Beethoven symphonies 5 67 may produce results that include examples of scores or recordings of Beethoven’s Fifth Symphony, such a search may also contain many irrelevant results. A name-title heading search, if allowed by your local catalog, should produce all examples of Beethoven’s Fifth Symphony held by your library. 12. David E. Fenske, R. Michael Fling, Brenda Nelson-Strauss, and Shirlene Ward, “Making the Most of the Music Library: Using Uniform Titles,” http://library.music.indiana.edu/collections/uniform /uniform.html. 13. For a more detailed explanation of the LC and DDC systems, consult Mark McKnight, Music Classification Systems. 14. Some libraries may still have music collections classified under an edition of the DDC earlier than the 20th (1989), which included the most recent Phoenix schedule (thorough revision) for music. For a handy chart comparing the old Dewey numbers to the new ones, see Phillip D. Crabtree and Donald H. Foster, Sourcebook for Research in Music, 2nd ed., rev. and exp. by Allen Scott (Bloomington, IN: Indiana University Press, 2005), 20–21. For discussions on the history of DDC for music and the impact of the newest Phoenix schedule, see Richard B. Wursten, comp., In Celebration of Revised 780: Music in the Dewey Decimal Classification Edition 20, MLA Technical Report, no. 19 (Canton, MA: Music Library Association, 1990). 15. Melvil Dewey, Dewey Decimal Classification and Relative Index, 22nd ed. (Dublin, OH: OCLC Online Computer Library Center, Inc., 2003), 3:649–50. 16. Library of Congress Classification M: Music (Washington, DC: Library of Congress, 2007). 17. WorldCat.org allows for format limiting, however “music” in WorldCat.org means sound recording, while “musical score” means a musical score.

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CHAPTER TWO: MUSIC REFERENCE TOOLS 1. Two other resources that are worth mentioning, though largely out of date, are Guy A. Marco, with Sharon Paugh Ferris and Ann G. Olszewski [also listed as Ann M. Garfield], Information on Music: A Handbook of Reference Sources in European Languages (Littleton, CO: Libraries Unlimited, 1975–84), and William S. Brockman, Music: A Guide to the Reference Literature, Reference Sources in the Humanities Series, ed. James Rettig (Littleton, CO: Libraries Unlimited, 1987). 2. “A Guide to Library Research in Music has three goals: . . . [3:] To introduce the array of music resources, highlighting electronic and print resources available since the 5th edition of Music Reference and Research Materials in 1997.” Pauline Shaw Bayne, A Guide to Library Research in Music (Lanham, MD: Scarecrow Press, 2008), xi. 3. Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 2nd ed. (London: Macmillan, 2001), hereafter cited as New Grove. The text of New Grove, along with The New Grove Dictionary of Jazz, 2nd ed., and The New Grove Dictionary of Opera, is available online through a subscription service called Oxford Music Online, available at http://www.oxfordmusiconline.com. 4. Don Michael Randel, ed., The Harvard Dictionary of Music, 4th ed. (Cambridge, MA: Belknap Press of Harvard University Press, 2003). 5. Michael Kennedy, The Oxford Dictionary of Music, 2nd ed. (Oxford: Oxford University Press, 2006). This is also available online via Oxford Music Online. 6. Bruno Nettl et al., ed., The Garland Encyclopedia of World Music (New York: Garland/ Routledge, 1998–2002). This is also available online through Classical Music Reference Library from Alexander Street Press. 7. Colin Larkin, ed., The Encyclopedia of Popular Music, 4th ed. (London: MUZE and Oxford University Press, 2006). This is available online via subscription to Oxford Music Online. 8. Contemporary Musicians (Detroit, MI: Gale Research, 1989–). 9. Nicolas Slonimsky, Baker’s Biographical Dictionary of Musicians, centennial ed. (New York: Schirmer Books, 2001). This is also available online through Classical Music Reference Library from Alexander Street Press. 10. Nicholson Baker wrote an interesting review of John Broughton’s book on Wikipedia: “The Charms of Wikipedia,” review of Wikipedia: The Missing Manual, by John Broughton, New York Review of Books, March 20, 2008, http://www.nybooks.com/articles/21131. Wikipedia has competitors. See, for example, Citizendium, at http://en.citizendium.org. 11. The Music Index: A Subject-Author Guide to Music Periodical Literature (Detroit, MI: Information Coordinators, 1949–). This index is available online via subscription. http://www.ebscohost .com/public/music-index. 12. International Index to Music Periodicals (Alexandria, VA: Chadwyck-Healey and ProQuest, 1996–), http://iimp.chadwyck.com/home.do. This index is available online in two versions, one with citations and abstracts, and one with full text for many of the articles. Hereafter cited as IIMP. 13. RILM Abstracts of Music Literature (Flushing, NY.: International RILM Center, 1967–). RILM is an acronym for the French title Répertoire international de littérature musicale, translated as “International Repertory of Music Literature.” RILM is co-sponsored by the International Musicological

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Society, the International Association of Music Libraries, and the International Council for Traditional Music. The RILM database is searchable through commercial subscription services. Hereafter cited as RILM. See http://www.rilm.org for more information. 14. RIPM stands for Répertoire international de la presse musicale, available by subscription online. It is an international index of music periodicals published roughly from 1800 until 1950. See http://www.ripm.org for more information. 15. Like RILM, Bibliographie des Musikschrifttums is a literature index. It was available in print (Leipzig: Friedrich Hofmeister, covering the years 1936–88) and now via a freely accessible web site at http://www.musikbibliographie.de. 16. University of Texas at San Antonio, Institute for Music Research, CAIRSS for Music, http://ucairss.utsa.edu. 17. Academic Search Elite, Academic Search Alumni Edition, Academic Search Premier, and Academic Search Complete are all database products of EBSCO. See http://www.ebscohost.com /thisMarket.php?marketID=1 for more information. 18. JSTOR, http://www.jstor.org. 19. For more information on the open access publishing model, see Peter Suber, “Open Access Overview (definition, introduction),” http://www.earlham.edu/~peters/fos/overview.htm. 20. Lund University Libraries, Directory of Open Access Journals, http://www.doaj.org. DOAJ provides journals marked with “DOAJ Content” with article-level indexing. 21. Music Index 59 (2007): 1172. 22. At the time of writing, IIMP lists “Horn (Musical Instrument)” as a subject term, and RILM lists “horn music” and “horn playing” in its online subject headings list, viewed through EBSCO host. The printed RILM Thesaurus: Subject Headings for Cumulative Index of RILM Abstracts (New York: RILM Abstracts, 1976), 26, lists “horn” as a subject heading. 23. ProQuest Dissertations & Theses, available by subscription. See http://www.proquest.com/enUS/catalogs/databases/detail/pqdt.shtml for more information. 24. You may also be able to find indirect references to dissertations in The Music Index, which lists citations to abstracts of dissertations listed in Dissertation Abstracts International, the former title of ProQuest Dissertations and Theses. Dissertation citations in The Music Index allow you to find the title and author of a dissertation, but not the institution, degree, or the year the degree was awarded. 25. OAIster, http://oaister.worldcat.org, is a database of digital documents, ranging from text documents to images, to sound files. The name is a play on the acronymn OAI, which stands for Open Archives Initiative. See the Open Archives Initiative website, http://www.openarchives.org, for more information. 26. Doctoral Dissertations in Musicology, http://www.ams-net.org/ddm/index.php. As its title suggests, this web site will help you find dissertations in musicology, both completed dissertations and dissertations in progress. It incorporates the works listed in previous printed editions as well as current dissertations added since its online launch in 1996. The scope of coverage is 1882 to the present. (Peter Slemon, e-mail to Michael Duffy, September 8, 2009.) 27. Internationaler biographischer Index der Musik [World biographical index of music] (München: K. G. Saur, 1995).

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28. Gale Cenage Learning, Biography and Genealogy Master Index, available by subscription. See http://www.gale.cengage.com/servlet/BrowseSeriesServlet?region=9&imprint=000&titleCode=BDMI& edition for more information. 29. Who’s Who publications are typically directories of living people who respond to questionnaires. Though there may be a screening process involved, people included in these publications are in them because they want to be. The information on the people listed in these publications is supplied by the people themselves and is only as accurate as each individual respondent chooses to be. 30. Richard D. Green, Index to Composer Bibliographies, Detroit Studies in Music Bibliography, no. 53 (Detroit, MI: Information Coordinators, 1985). 31. Ellen Luchinsky, The Song Index of the Enoch Pratt Free Library, Garland Reference Library of Social Science, vol. 1394 (New York: Garland, 1998). 32. As of this writing, it was held by more than four hundred OCLC participating libraries. 33. Luchinsky, Song Index of the Enoch Pratt Free Library, 226. 34. Ibid., 14. 35. Louis C. Elson, ed., Modern Music and Musicians for Vocalists (New York: University Society, 1918), 1: 76. 36. Luchinsky, Song Index of the Enoch Pratt Free Library, 1181–85. 37. Ibid., 1352. 38. Kathleen Lanigan, e-mail to Michael Duffy, October 7, 2009. 39. Wolfgang Schmieder, ed., Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV), 2nd ed. (Wiesbaden: Breitkopf & Härtel, 1990). 40. Crabtree and Foster, Sourcebook for Research in Music, 7–11. 41. Jane Gottlieb, Music Library and Research Skills (Upper Saddle River, NJ: Pearson Prentice Hall, 2009), 325–29. 42. Schmieder, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach, 2nd ed., 624. 43. “Zeittafel,” pp. 917–25; “Übersicht über die bis zum Jahre 1750 in Handschriften oder drucken zusammen gefassten Werke,” p. 926; “Systematische Übersicht über die verwendung der Kantaten,” pp. 927–31; “Themenverzeichnis der Instrumentalwerke,” pp. 933–62; “Alphabetisches Verzeichnis der Text anfänge,” pp. 963-1006; “Namen- und Sachregister,” pp. 1007–14. 44. Barry S. Brook and Richard Viano, Thematic Catalogues in Music: An Annotated Bibliography, 2nd ed., Annotated Reference Tools in Music, no. 5 (Stuyvesant, NY: Pendragon, 1997). 45. Sampsel, Music Research, 211–24. 46. See Joseph Grobelny, review of Google Book Search and Live Search Books, Notes 65 (September 2008): 136–40, for more information. 47. See “The Music Genome Project,” http://www.pandora.com/about/mgp, for more information. 48. Harold Barlow and Sam Morgenstern, A Dictionary of Musical Themes, rev. ed. (New York: Crown Publishers, 1975). 49. Project MUSE, Johns Hopkins University Press, http://muse.jhu.edu. 50. Though Google may link to documents in Project MUSE and JSTOR, you will need to have subscription access to these databases in order to view the documents.

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PART TWO: USING BASIC SKILLS TO ANSWER FREQUENTLY ASKED QUESTIONS CHAPTER THREE: GENERAL REFERENCE SKILLS 1. American Library Association, Reference and User Services Association, “Definitions of Reference,” http://www.ala.org/rusa/resources/guidelines/definitionsreference. 2. Alan Green, “Keeping Up with the Times: Evaluating Currency of Indexing, Language Coverage and Subject Area Coverage in the Three Music Periodical Index Databases,” Music Reference Services Quarterly 8, no. 1 (2001): 61–64. 3. John C. Stalker and Marjorie E. Murfin, “Quality Reference Service: A Preliminary Case Study,” Journal of Academic Librarianship 22, no. 6 (November 1996): 427. 4. A. Ralph Papakhian, e-mail to Alan A. Green, August 28, 2009. 5. The American Library Association (ALA) has posted their policies and related commentary on the issue of privacy and confidentiality on their web site, “Questions and Answers on Privacy and Confidentiality,” http://www.ala.org/Template.cfm?Section=interpretations&Template=/Content Management/ContentDisplay.cfm&ContentID=15347. See also ALA’s “State Privacy Laws Regarding Library Records,” http://www.ala.org/offices/oif/ifgroups/stateifcchairs/stateifcinaction /stateprivacy.

CHAPTER FOUR: SEARCHING FOR SPECIFIC ITEMS 1. Beth Christensen, Mary Du Mont, and Alan Green, “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries: A Progress Report,” Notes 58, no. 1 (September 2001): 39–54. 2. For the present volume, 1404 reference transactions were examined from libraries that participated in the Music Library Association’s reference performance study, using a modified version of the Wisconsin-Ohio Reference Evaluation Program (WOREP) as a data-collection and assessment tool. These transactions were classified by the library employees participating in the study, using the six WOREP classification codes. Here are the percentages of these six classes of questions: 36.75% were specific-item questions; 10.19% were seeking a smaller item in larger publication (e.g., an article in a periodical, or a song in a collection); 6.19% were looking for something or anything by a particular composer, performer. or author; 4.42% were users seeking short answers (bibliographic citations, form, composer’s birth and death dates, etc.); 6.41% were users asking for a general explanation of the catalog, the library, or another reference source; and 35.33% were questions requesting certain types of materials, or a longer descriptive answer was wanted (or appropriate). For 802 of the 1404 reference questions, a specific question was recorded in various degrees of detail. The 802 questions were examined and grouped into specific categories of questions. Any category with two or more questions in the set was considered for inclusion in this chapter. 3. If your catalog is displaying the title-page titles from the scores and sound recordings instead of the uniform titles, you should ask your catalog manager if it is possible to change the display settings so that the results of author phrase searches display the uniform titles whenever they are present in a bibliographic record. 4. American Library Association, ALA Filing Rules (Chicago: American Library Association, 1980), 16.

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5. WorldCat search performed on OCLC FirstSearch, August 8, 2012. 6. Laurie J. Sampsel, Music Research: A Handbook (New York: Oxford University Press, 2009), 39–40. 7. The unqualified keyword search bach matthauspassion may also retrieve scores, recordings, and writings about the Matthäuspassion written by Carl Philipp Emanuel Bach, the son of Johann Sebastian Bach. 8. In books and other writings on the subject of J.S. Bach’s Matthäuspassion, “bach” and “matthauspassion” would be listed in the subject words index, and “Bach” would most likely not be listed in the author field of the bibliographic record. Although a German-language writing may contain title words “Bach” and “Matthäuspassion,” it should be excluded from the results of this search since the word “Bach” would likely not be in the author field of the bibliographic record. However, a music score with commentary about the work would be included since Bach’s name would be in both the author and subject fields, and Matthäuspassion in both the title and subject fields. 9. Index to Printed Music search performed on EBSCOhost on September 10, 2011. 10. Generic uniform titles are always in English in libraries in English-speaking countries, following the multi-national standard rules established in the Anglo-American Cataloguing Rules, 2nd ed. (Chicago: American Library Association, 1978) and subsequent revisions. 11. For printed music and recordings, the Library of Congress Subject Headings for musical forms of composition will be in the plural form (for example, “Symphonies”). However, literature on the topic of a musical form (for example, books on the history and development of the symphony as a form of composition) would be in the singular form (“Symphony”). 12. William Grant Still Music, “Works for Keyboard,” http://www.williamgrantstill.com/works forkeyboard1. 13. International Music Score Library Project, http://imslp.org/wiki/Symphony_No.9,_Op.125_ (Beethoven,_Ludwig_van) and http://imslp.org/wiki/A_Midsummer_Night%27s_Dream,_incidental_ music,_Op.61_(Mendelssohn,_Felix). 14. The complete contents of this series is available at http://www.orchmusiclibrary.com/products .php. 15. EveryNote, http://everynote.com, and LibraryMusicSource, http://www.librarymusicsource .com. 16. UT Song Index, http://www.lib.utk.edu/music/songdb. 17. WorldCat search on August 10, 2012. 18. New Grove Dictionary of Opera (London: Macmillan, 1992). Appendix B, “Index of Incipits of Arias, Ensembles, etc.,” begins on page 1294 of volume 4. Appendix A, “Index of Role Names,” (starting at p. 1255) is also a very useful reference tool for opera questions. For each role name, the appendix lists the voice type (soprano, alto, etc.), the title of the opera, and the name of the composer. 19. The Catalogue of Printed Music in the British Library to 1980 (London: K.G. Saur, 1985), s.v. “Ombra.” 20. Sheet Music Consortium, “About,” http://digital2.library.ucla.edu/sheetmusic/aboutProject .html. 21. The 1920s: Piano, Vocal, Guitar (Milwaukee: Hal Leonard, 2005).

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22. Patricia Pate Havlice, Popular Song Index (Metuchen, N.J. : Scarecrow Press, 1975). Four supplements to this index have been published by Scarecrow Press to date, the most recent appearing in 2005, covering song anthologies published between 1988 and 2002. 23. Ron Jeffers, Translations and Annotations of Choral Repertoire, vol. 1, Sacred Latin Texts (Corvallis, Ore.: Cascade Printing, 1988), 9. 24. “About This Recording,” Poulenc: Melodies, Naxos 8.553642, http://www.naxos.com /mainsite/blurbs_reviews.asp?item_code=8.553642&catNum=553642&filetype=About%20this%20Record ing&language=English. 25. Ibid. 26. Alan J. Hommerding and Diana Kodner, A Sourcebook about Music (Chicago: Liturgy Training Publications, 1997), 58. 27. International Music Score Library Project, “Mass in B minor, BWV 232,” http://imslp.info /files/imglnks/usimg/6/6b/IMSLP23835-PMLP04197-Bach_-_Messe_H-moll_MS_BGA.pdf. Please note that it is not possible to access this URL directly. The file may only be downloaded after accepting the terms of their disclaimer “click-through” license. This image was scanned from Johann Sebastian Bach, Werke, vol. 44, Handschrift in zeitlich geordneten Nachbildungen (Leipzig: Breitkopf & Härtel, 1895).

CHAPTER FIVE: FACTUAL AND SHORT-ANSWER QUESTIONS 1. Michael Torke, “Contact Information,” http://www.michaeltorke.com/contact.html. 2. John Adams, “Links & Interviews,” http://www.earbox.com/links.html. 3. Library of Congress Online Catalog, http://catalog.loc.gov. 4. Washington University Libraries, Gaylord Music Library, Musicians Necrology, http://library .wustl.edu/units/music/necro. 5. Biography and Genealogy Master Index, search performed on June 17, 2009. 6. Chicago Manual of Style, 16th ed. (Chicago: University of Chicago Press, 2010). 7. Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers, 7th ed. (Chicago: University of Chicago Press, 2009). 8. “Documentation I: Notes and Bibliography,” chapter 14 in Chicago Manual of Style, 16th ed. (Chicago: University of Chicago Press, 2010). 9. Publication Manual of the American Psychological Association, 6th ed. (Washington, D.C.: American Psychological Association, 2010). 10. MLA Handbook for Writers of Research Papers, 7th ed. (New York: Modern Language Association of America, 2009).

CHAPTER SIX: TOPICAL QUESTIONS 1. As noted in note 2 for Chapter Four, 35.33% of the questions examined from the MLA-WOREP study were questions requesting certain types of materials, or a longer descriptive answer was wanted (or appropriate). 2. Google, http://www.google.com. “Night of the Four Moons,” The Official George Crumb Home Page, http://www.georgecrumb.net/comp/night4-p.html.

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3. D. J. Hoek, Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000 (Lanham, MD: Scarecrow Press and Music Library Association, 2007), xxv. 4. Harold J. Diamond, Music Analyses: An Annotated Guide to the Literature (New York: Schirmer Books, 1991), ix. 5. Jonathan Kramer, Listen to the Music (New York: Schirmer Books, 1988). 6. New Grove Dictionary of Musical Instruments (London: Macmillan Press, 1984). 7. The Garland Encyclopedia of World Music, vol. 9, Australia and the Pacific Islands (New York: Garland, 1998), 393–98.

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GLOSSARY

Annotated bibliographies. See Bibliographies. Arias are individual solo songs from operas or other large-scale vocal works, usually with a discernable melody and beat, as opposed to recitatives, which often dispense with a strict beat. An arrangement is a composition presented in a different manner (for example, with varied instrumentation or voicing, or abridged) than its original. Frequently, arrangements are made by persons other than the original composer. Authentication is a transaction undertaken when a web site or online database requests and verifies a user’s credentials (usually a user name and password) before allowing the user to access the protected source. Band is a term that could be used loosely to describe any musical ensemble, but when it is used in conjunction with scores, it probably refers to a large ensemble of woodwind, brass, and percussion instruments—that is, an orchestra without string instruments. Related terms that may be encountered are concert band, symphonic band, or wind ensemble. It can also refer to a popular-music ensemble consisting usually of drums, bass, guitar, vocalists, and selected other instruments. Bibliographic records are entries in databases that describe books, scores, recordings or other library items. Typically, they contains important information about items, such as the author or authors (in library catalogs, composers and musicians are treated as authors), title, publisher, date of publication, any standard numbers on the item (ISBN, ISSN, ISMN, etc.), and descriptive notes, sometimes including a table of contents. Libraries usually attach call numbers and location codes to bibliographic records so that library staff and patrons can find the items in the library collection. Bibliographies are lists of books, scores, articles, and other sources. These can be simple lists, or they can be annotated bibliographies with descriptive or critical comments. Bibliographies are usually included in scholarly books and articles. Bibliographies can also be books, articles, or web sites unto themselves. Music bibliography is the study of the literature of music and about music.

97

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Boolean operators include the words AND, OR, and NOT and are used between search terms in a database search. These are named after the nineteenth-century mathematician George Boole. For a detailed explanation, see the section on Boolean operators on page 14. Call numbers are codes that identify the location of an item in a library. See also shelfmarks. A cantata is a Baroque vocal form of composition usually consisting of several contrasting sections or movements, written for one or more solo voices, and many also featuring chorus and instrumental accompaniment. Chamber music is written for a small ensemble such as a quartet or quintet, as opposed to an orchestra or band. Chord changes are the sequences of harmonies accompanying a particular musical composition. Chord changes may be expressed in full music notation, as tablature (diagrams indicating where to place fingers on a fingerboard or keyboard), or simply by using the name of the chords (for example, G-major 7, D minor), entrusting the proper execution of particular chord progressions to the musical training of the performer. Chorus is (1) a choir or vocal ensemble, (2) a part of a musical work that is repeated, or (3) part of a musical work sung by multiple voices rather than a soloist. A concerto is a kind of musical composition that usually features a soloist or a small group of instrumentalists accompanied by a larger ensemble, usually an orchestra. Controlled vocabularies determine what terms a catalog or other database will recognize as authorized. For a detailed explanation, see the section on controlled vocabulary searching on pp. 16–20. A data field is a space for listing a particular kind of datum (singular form of data) in a database record. For instance, an author’s name is listed in an author field, and a title is listed in a title field. Fake books are anthologies of songs or tunes showing melodies, chord symbols, and sometimes lyrics. Musicians can use these books in a pinch to play songs and tunes they haven’t played before.

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GLOSSARY

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Festschrift (plural, Festschriften) is a German word meaning a book published to honor a scholar or other significant figure typically upon a milestone, such as retirement or a major birthday. Gesamtausgabe (plural, Gesamtausgaben) is the German term for a “complete edition,” a series of publications intended to contain every work by a particular composer. Hymnals are collections of hymns or songs typically sung communally in religious worship. Incipits are the first notes of a musical work. These are listed in reference works to aid in identifying musical works. Interlibrary loan is a courtesy service that libraries extend to one another to allow users to borrow items from libraries other than their home library. Internal masking is a type of searching that uses wildcard symbols (such as question marks or asterisks) to represent characters that may vary. This is used to match against variant spellings of words (for example, col*r for “color” or “colour”) or words that have similar meanings with slightly different spellings (for example, wom*n for “woman” and “women”). Intonation refers to the pitch level (high or low, known to musicians as sharp or flat, respectively) of musical instruments or voices in comparison to a standard pitch. Often, intonation is checked by means of a tuning pitch, in which all the instruments of an ensemble play an A (or some other note) together to make sure that they are playing at the same pitch. An item record is a data record in a bibliographic database that identifies a particular copy of a publication. It may contain information that distinguishes one copy from another (for example, “missing Violin 2 part” or “missing accompanying CD”). Searching by keywords allows the users of a catalog or database to look for records containing one or more particular words, regardless of whether they are listed in the author, title, subject, notes, or other indexed data fields. A microform is a publication presenting text or music in a reduced format that is stored on microfiche (a transparent sheet of film), microfilm (a reel of transparent film), or microcard (an opaque card). Microforms require special equipment in order to be viewed.

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Operas are staged dramatic productions that feature text sung by the characters and possibly by a chorus. The accompaniment is usually provided by an orchestra. Oratorios are similar to operas but usually staged. (The singers are not in costume, do not act, and there is no scenery). The verbal text is often drawn from Biblical or other sacred sources, but secular poetry is also common. An orchestra is a large ensemble, typically consisting of string, woodwind, brass, and percussion instruments. A part is printed music that represents the portion of a composition written for a particular instrument or voice. For example, the first violin part to a symphony would provide the music needed by the first violin section to perform all movements of the work. Phrase searching is used to search for a precise string of characters and spaces in a specific order. Proximity searching will find words near each other or within a specified distance from each other. A proxy server permits library users with valid credentials to connect to databases and other web sites for which access is limited by contract. Range is the span of pitches, from low to high, required of an instrument or voice to perform a musical composition. It can also refer to the span of pitches a person is capable of singing or playing on an instrument. Shelfmarks are codes that identify the location of an item in a library or archival repository. They are generally synonymous with call numbers in that they are used as unique codes to identify the location of an item within a library or archive, but are more associated with manuscript and archival collections than with circulating library collections. Solfège is a set of syllables (“do re mi fa sol…”) representing the pitches of a musical scale, used for singing textless musical exercises. Sonata is (1) a form or pattern that is widely used in Western art music, consisting of an exposition, development, and recapitulation of themes; (2) a genre of composition—generally, an instrumental work, as opposed to cantata (for voices); or (3) a solo instrumental work, either accompanied (typically by a keyboard instrument) or not.

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A staff (plural, staves) is a group of five horizontal lines and four spaces on which musical notation is written. A symphonic poem is a work for orchestra, typically providing a musical illustration of a program, or story. Franz Liszt, Bedrˇich Smetana, and Richard Strauss are composers known for their symphonic poems. A symphony is a genre of musical composition, typically for orchestra and often consisting of four movements: a fast opening movement, a slow movement, a dance movement, and a finale. Tablature (abbreviated tab) is a diagram indicating where to place fingers on a fingerboard or keyboard in order to play particular notes or chords. Tessitura is the portion of a vocal or instrumental range that is most utilized in a particular composition. It can also mean the portion of the range that is most utilized by a vocal or instrumental performer. Truncation is the shortening of search terms using a wildcard or truncation symbol (such as an asterisk or question mark) to match against multiple search terms with identical beginnings. For example, analy* would match against the words “analysis,” “analyses,” and “analyze.” A union catalog is a catalog of bibliographic records representing the holdings of multiple libraries. Wildcard is a symbol (such as an asterisk or question mark) used to indicate truncation or internal masking in a catalog search.

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Bibliography OF WORKS CITED

GENERAL MUSIC BIBLIOGRAPHY

Bayne, Pauline Shaw. A Guide to Library Research in Music. Lanham, MD: Scarecrow Press, 2008. Brockman, William S. Music: A Guide to the Reference Literature. Reference Sources in the Humanities Series. Littleton, CO: Libraries Unlimited, 1987. Crabtree, Phillip D., and Donald H. Foster. Sourcebook for Research in Music. 2nd ed., rev. and exp. by Allen Scott. Bloomington, IN: Indiana University Press, 2005. Duckles, Vincent H., and Ida Reed. Music Reference and Research Materials: An Annotated Bibliography. 5th ed. New York: Schirmer Books, 1997. Gottlieb, Jane. Music Library and Research Skills. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. Marco, Guy A., with Sharon Paugh Ferris and Ann M. Garfield. Information on Music: A Handbook of Reference Sources in European Languages. Littleton, CO: Libraries Unlimited, 1975–84. Sampsel, Laurie J. Music Research: A Handbook. New York: Oxford University Press, 2009. SPECIALIZED MUSIC BIBLIOGRAPHY

The Catalogue of Printed Music in the British Library to 1980. London: K.G. Saur, 1981–. Diamond, Harold J. Music Analyses: An Annotated Guide to the Literature. New York: Schirmer Books, 1991. Fuld, James J. The Book of World Famous Music: Classical, Popular and Folk. 5th ed. New York: Dover, 2000. Fuszek, Rita M. Piano Music in Collections: An Index. Detroit, MI: Information Coordinators, 1982. Heyer, Anna Harriet. Historical Sets, Collected Editions, and Monuments of Music: A Guide to Their Contents. 3rd ed. Chicago: American Library Association, 1980. Hill, George R. Index to Printed Music. Ipswich, MA: EBSCO, 2004–. http://www.ebscohost .com/public/index-to-printed-music-ipm (subscription required). Hill, George R., and Norris L. Stephens. Collected Editions, Historical Series & Sets & Monuments of Music: A Bibliography. Berkeley, CA: Fallen Leaf Press, 1997. Hoek, D. J. Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000. Music Library Association Index and Bibliography Series, 34. Lanham, MD: Scarecrow Press and Music Library Association, 2007. Jeffers, Ron, Gordon Paine, Ethan Daniel Nash, and Joshua R. Jacobson. Translations and Annotations of Choral Repertoire. Corvallis, OR: Earthsongs, 1988–. 103

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McTyre, Ruthann Boles. Library Resources for Singers, Coaches, and Accompanists: An Annotated Bibliography, 1970–1997. Music Reference Collection, no. 71. Westport, CT: Greenwood Press, 1998. BIOGRAPHICAL RESOURCES

Herbert, Miranda C., and Barbara McNeil, eds. Biography and Genealogy Master Index. 2nd ed. Detroit: Gale Research Co., 1980–. http://www.gale.cengage.com/pdf/facts/bgmi.pdf (subscription required). Internationaler biographischer Index der Musik [World biographical index of music]. München: K.G. Saur, 1995. COMPOSER BIBLIOGRAPHIES

Cohen, David. George Crumb: A Bio-Bibliography. Bio-Bibliographies in Music, no. 90. Westport, CT: Greenwood Press, 2002. Grave, Floyd K., and Margaret G. Grave. Franz Joseph Haydn: A Guide to Research. Garland Composer Resource Manuals, vol. 31. Garland Reference Library of the Humanities, vol. 740. New York: Garland Publishing, 1990. Green, Richard D. Index to Composer Bibliographies. Detroit Studies in Music Bibliography, no. 53. Detroit, MI: Information Coordinators, 1985. Hastings, Baird. Wolfgang Amadeus Mozart: A Guide to Research. New York: Garland, 1989. Hulme, Derek C. Dmitri Shostakovich: A Catalogue, Bibliography, and Discography. 3rd ed. Lanham, MD: Scarecrow Press, 2002. Langford, Jeffrey, and Jane Denker Graves. Hector Berlioz: A Guide to Research. Garland Composer Resource Manuals, vol. 22. Garland Reference Library of the Humanities, vol. 1025. New York: Garland Publishing, 1989. Parker, Mary Ann. G.F. Handel: A Guide to Research. 2nd ed. Routledge Music Bibliographies. New York: Routledge, 2005. Platt, Heather. Johannes Brahms: A Guide to Research. Routledge Music Bibliographies. New York: Routledge, 2003. Saffle, Michael. Franz Liszt: A Guide to Research. 2nd ed. Routledge Music Bibliographies. New York: Routledge, 2004. Skowronski, JoAnn. Aaron Copland: A Bio-Bibliography. Bio-Bibliographies in Music, no. 2. Westport, Conn.: Greenwood, 1985. DICTIONARIES AND ENCYCLOPEDIAS

Baker, Nicholson. “The Charms of Wikipedia.” Review of Wikipedia: The Missing Manual, by John Broughton. New York Review of Books, March 20, 2008. http://www.nybooks.com /articles/21131.

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Classical Music Reference Library. Alexandria, VA: Alexander Street Press. http://alexanderstreet .com/products/classical-music-reference-library (subscription required). Contemporary Musicians. Detroit, MI: Gale Research, 1989–. Kennedy, Michael. The Oxford Dictionary of Music. 2nd ed. Oxford: Oxford University Press, 2006. Kernfeld, Barry, ed. The New Grove Dictionary of Jazz. 2nd ed. London: Macmillan, 2002. Larkin, Colin, ed. The Encyclopedia of Popular Music. 4th ed. London: MUZE and Oxford University Press, 2006. Nettl, Bruno, Ruth M. Stone, James Porter, and Timothy Rice, eds. The Garland Encyclopedia of World Music. New York: Garland/Routledge, 1998–2002. Also available online at http://glnd.alexanderstreet.com (subscription required). Oxford Music Online. Oxford: Oxford University Press. http://www.oxfordmusiconline.com (subscription required). Randel, Don Michael, ed. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of Harvard University Press, 2003. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 2nd ed. London: Macmillan, 2001. ———. The New Grove Dictionary of Musical Instruments. London: Macmillan, 1984. ———. The New Grove Dictionary of Opera. London: Macmillan, 1992. Slonimsky, Nicolas. Baker’s Biographical Dictionary of Musicians. Centennial ed. New York: Schirmer Books, 2001. DIRECTORIES

College Music Society. Directory of Music Faculties in Colleges and Universities, U.S. and Canada. Missoula, MT: College Music Society, 1972–. Musical America Worldwide. East Windsor, NJ: Commonwealth Business Media, 2006– DISCOGRAPHIES

Albin, Steve, and Michael Fitzgerald, eds. JazzDiscography. http://www.jazzdiscography.com. Allmusic. http://www.allmusic.com. Rust, Brian. The American Dance Band Discography, 1917–1942. New Rochelle, NY: Arlington House, 1975. ———. Jazz Records, 1897–1942. Rev. ed. London: Storyville Publications, 1969. Spottswood, Richard K. Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942. Urbana, IL: University of Illinois Press, 1990. Whitburn, Joel. Joel Whitburn’s Top Pop Singles 1955–1990. Menomonee Falls, WI: Record Research, 1991.

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INDEXES

Academic Search Alumni Edition. Ipswich, MA: EBSCO Publishing. http://www.ebscohost .com/academic/academic-search-alumni-edition (subscription required). Academic Search Complete. Ipswich, MA: EBSCO Publishing. http://www.ebscohost.com /academic/academic-search-complete (subscription required). Academic Search Elite. Ipswich, MA: EBSCO Publishing. http://www.ebscohost.com/academic /academic-search-elite (subscription required). Academic Search Premier. Ipswich, MA: EBSCO Publishing. http://www.ebscohost.com /academic/academic-search-premier (subscription required). Bibliographie des Musikschrifttums. Leipzig: Friedrich Hofmeister, 1936– (in print, 1936–88). http://www.musikbibliographie.de. International Association of Music Libraries. “Joint Projects and Assisted Publications.” http://www.iaml.info/activities/joint_projects. International Index to Music Periodicals. Alexandria, VA: Chadwyck-Healy and ProQuest. Available online via subscription. http://iimp.chadwyck.com/marketing.do. ITHACA. JSTOR. http://www.jstor.org (subscription required). Johns Hopkins University Press. Project MUSE. http://muse.jhu.edu (subscription required). LexisNexis Academic. http://www.lexisnexis.com/en-us/products/lexisnexis-academic.page (subscription required). Lund University Libraries. DOAJ Directory of Open Access Journals. http://www.doaj.org. The Music Index: A Subject-Author Guide to Music Periodical Literature. Detroit, MI: Information Coordinators, 1949–. Also available online. http://www.ebscohost.com/public /music-index (subscription required). ProQuest Dissertations & Theses. http://www.proquest.com/en-US/catalogs/databases/detail /pqdt.shtml (subscription required). RIdIM Répertoire international d’iconographie musicale. London: RIdIM International Centre, Institute of Musical Research, School for Advanced Study, University of London. http://www.ridim.org. RILM Abstracts of Music Literature. New York: International RILM Center, 1967–1999. Also available online. http://www.rilm.org (subscription required). RILM Thesaurus: Subject Headings for Cumulative Index of RILM Abstracts. New York: RILM Abstracts, 1976. RIPM Retrospective Index to Music Periodicals. Baltimore, MD: RIPM International Center. Available online at http://www.ripm.org (subscription required). RISM Répertoire international des sources musicales [International Inventory of Musical Sources]. Printed volumes in series A/I, B, and C, published by Bärenreiter and G. Henle, 1963–. Series A/II: Music manuscripts after 1600, available online at http://www.rism .info.

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Seventh String. The Fake Book Index. http://www.seventhstring.co.uk/fbindex.html. University of Texas at San Antonio, Institute for Music Research. CAIRSS for Music. http:// ucairss.utsa.edu. LIBRARIES AND LIBRARIANSHIP

ALA Filing Rules. Chicago: American Library Association, 1980. American Library Association. “Questions and Answers on Privacy and Confidentiality.” http://www.ala.org/Template.cfm?Section=interpretations&Template=/ContentManage ment/ContentDisplay.cfm&ContentID=15347. ———. “State Privacy Laws Regarding Library Records.” http://www.ala.org/offices/oif /ifgroups/stateifcchairs/stateifcinaction/stateprivacy. American Library Association. Reference and User Services Association. “Definitions of Reference.” http://www.ala.org/ala/mgrps/divs/rusa/resources/guidelines/defi nitionsreference.cfm. Bibliotheque nationale de France. Gallica. http://gallica.bnf.fr. Christensen, Beth, Mary Du Mont, and Alan Green. “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries; A Progress Report.” Notes 58 (September 2001): 39–54. Dewey, Melvil. Dewey Decimal Classification and Relative Index. 22nd ed. Dublin, OH: OCLC Online Computer Library Center, 2003. Duke University Libraries, Music Library and Music Media Center. “Sheet Music Collections.” http://library.duke.edu/music/sheetmusic/collections.html. Green, Alan. “Keeping Up with the Times: Evaluating Currency of Indexing, Language Coverage and Subject Area Coverage in the Three Music Periodical Index Databases.” Music Reference Services Quarterly 8, no. 1 (2001): 53–68. Hemmasi, Harriette. Music Subject Headings: Compiled from the Library of Congress Subject Headings. 2nd ed. Lake Crystal, MN: Soldier Creek Press, 1998. Joint Steering Committee for the Revision of AACR. Anglo-American Cataloguing Rules. 2nd ed., 2002 rev., 2005 update. Chicago: American Library Association, 2005. Koninklijke Bibliotheek [National Library of the Netherlands]. Europeana. http://www .europeana.eu. Library of Congress. American Memory. http://memory.loc.gov. ———. Library of Congress Authorities. http://authorities.loc.gov. ———. Library of Congress Classification M: Music. Washington, DC: Library of Congress, 2007. ———. Library of Congress Online Catalog. http://catalog.loc.gov. ———. Library of Congress Subject Headings. 30th ed. Washington, DC: Library of Congress, 2007.

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McKnight, Mark. Music Classification Systems. Music Library Association Basic Manual Series, no. 1. Lanham, MD: Scarecrow Press and Music Library Association, 2002. New York Public Library Catalog. http://catalog.nypl.org. Northern Illinois University Library Catalog. https://i-share.carli.illinois.edu/niu. OCLC. WorldCat. http://www.worldcat.org. Schrock, Rockwell. “The Boolean Machine.” http://kathyschrock.net/rbs3k/boolean. Sheet Music Consortium. http://digital.library.ucla.edu/sheetmusic. Stalker, John C., and Marjorie E. Murfin. “Quality Reference Service: A Preliminary Case Study.” Journal of Academic Librarianship 22 (November 1996): 423–29. Wursten, Richard B., comp. In Celebration of Revised 780: Music in the Dewey Decimal Classification Edition 20. MLA Technical Report, no. 19. Canton: MA: Music Library Association, 1990. PROGRAM NOTES

Kramer, Jonathan. Listen to the Music: A Self-Guided Tour through the Orchestral Repertoire. New York: Schirmer Books, 1988. QUOTATIONS

Barber, David W. The Music Lover’s Quotation Book. Toronto: Sound and Vision, 2003. Crofton, Ian, and Donald Frasier. A Dictionary of Musical Quotations. 1st American ed. New York: Schirmer Books, 1985. Hommerding, Alan J., and Diana Kodner. A Sourcebook about Music. Chicago: Liturgy Training Publications, 1997. Shapiro, Nat. An Encyclopedia of Quotations about Music. Garden City, NY: Doubleday, 1978. Slonimsky, Nicolas. Lexicon of Musical Invective: Critical Assaults on Composers since Beethoven’s Time. New York: Coleman-Ross, 1953. Watson, Derek. Chambers Music Quotations. Edinburgh: W & R Chambers, 1991. Wikiquote. http://www.wikiquote.org. SONG INDEXES

Abromeit, Kathleen A. An Index to African-American Spirituals for the Solo Voice. With a foreword by François Clemmons. Music Reference Collection, no. 76. Westport, CT: Greenwood Press, 1999. Bradley, Carol June. Index to Poetry in Music: A Guide to the Poetry Set as Solo Songs by 125 Major Song Composers. New York: Routledge, 2003. Cushing, Helen Grant. Children’s Song Index: An Index to More than 22,000 Songs in 189 Collections Comprising 222 Volumes. Standard Catalog Series. New York: H.W. Wilson, 1936.

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De Charms, Desiree, and Paul F. Breed. Songs in Collections: An Index. Detroit: Information Service, 1966. Evanston Public Library. Song Index. http://www.epl.org/index.php?option=com_ content&view=article&id=242&Itemid=343. Glaubitz, Robert. The Aria Database. http://www.aria-database.com. Havlice, Patricia Pate. Popular Song Index. Metuchen, NJ: Scarecrow Press, 1975. 1st supplement, 1978. 2nd supplement, 1984. 3rd supplement, 1989. 4th supplement, 2005. Leigh, Robert. Index to Song Books: A Title Index to over 11,000 Copies of Almost 6,800 Songs in 111 Song Books Published between 1933 and 1962. Stockton, CA: n.p., 1964. Luchinsky, Ellen. The Song Index of the Enoch Pratt Free Library. Garland Reference Library of Social Science, vol. 1394. New York: Garland, 1998. Oberlin College Library and the Sing Out! Corporation. The Folk Song Index. http://www .oberlin.edu/library/con/singout_intro.html. San Joaquin Valley Library System. California Library Systems Cooperative Song Index. http://www.sjvls.org/songs/index.html. Sears, Minnie Earl. Song Index: An Index to More than 12,000 Songs in 177 Song Collections Comprising 262 Volumes and Supplement, 1934. N.p.: Shoe String Press, 1966. Temperley, Nicholas. The Hymn Tune Index. Oxford: Clarendon Press, 1998. Also available online at http://hymntune.library.uiuc.edu. University of Tennessee at Knoxville. UT Song Index. http://www.lib.utk.edu/music/songdb. STYLE MANUALS

The Chicago Manual of Style. 16th ed. Chicago: University of Chicago Press, 2010. MLA Handbook for Writers of Research Papers. 7th ed. New York: Modern Language Association of America, 2009. Publication Manual of the American Psychological Association. 6th ed. Washington, DC: American Psychological Association, 2010. Turabian, Kate L. A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers. 7th ed. Chicago: University of Chicago Press, 2007. WEB SITES RELATED TO STYLE MANUALS American Psychological Association

American Psychological Association. “Frequently Asked Questions about APA Style.” http://www.apastyle.org/learn/faqs. Ohio State University Libraries. “Cite Resources: American Psychological Association (APA) Style.” http://go.osu.edu/apaguide.

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Chicago Manual of Style

Ohio State University Libraries. “Chicago Manual of Style Notes-Bibliography System Style Guide.” http://go.osu.edu/cmos. University of Chicago. “Chicago-Style Citation Quick Guide.” http://www.chicagomanual ofstyle.org/tools_citationguide.html. Modern Language Association

Ohio State University Libraries. “Cite Resources: Modern Language Association (MLA) Style.” http://go.osu.edu/mlaguide. THEMATIC CATALOGS

Brook, Barry S., and Richard Viano. Thematic Catalogues in Music: An Annotated Bibliography. 2nd ed. Annotated Reference Tools in Music, no. 5. Stuyvesant, NY: Pendragon, 1997. Deutsch, Otto Erich. Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge. Kassel: Bärenreiter, 1978. Eisen, Walter, and Margret Eisen. Händel-Handbuch. Kassel: Bärenreiter, 1978. Hoboken, Anthony van. Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis. Mainz: B. Schott’s Söhne, 1957–78. Kinsky, Georg. Das Werk Beethovens: Thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen. Edited by Hans Halm. München: G. Henle, 1955. Köchel, Ludwig Ritter von. Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts: Nebst Angabe der verlorengegangenen, angefangenen, von fremder Hand bearbeiteten, zweifelhaften und unterschobenen Kompositionen. 7th ed. Wiesbaden: Breitkopf & Härtel, 1965. McCorkle, Margit L. Johannes Brahms: Thematisch-bibliographisches Werkverzeichnis. Edited with Donald M. McCorkle. München: G. Henle, 1984. Schmieder, Wolfgang, ed. Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV). 2nd ed. Wiesbaden: Breitkopf & Härtel, 1990. Schulze, Hans-Joachim, and Christoph Wolff. Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachs. Frankfurt: C. F. Peters, 1985–89. VOCAL MUSIC TEXTS

Coffin, Berton, Ralph Errolle, Werner Singer, and Pierre Delattre. Phonetic Readings of Songs and Arias. 2nd ed. Metuchen, NJ: Scarecrow Press, 1982. Coffin, Berton, Werner Singer, and Pierre Delattre. Word-by-Word Translations of Songs and Arias. Part 1, German and French. New York: Scarecrow Press, 1966. Gartside, Robert. Interpreting the Songs of Gabriel Fauré. Geneseo, NY: Leyerle Publications, 1996.

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111

Miller, Philip L. The Ring of Words: An Anthology of Song Texts. Garden City, NY: Doubleday, 1963. Phillips, Lois. Lieder Line by Line, and Word for Word. Rev. ed. Oxford: Clarendon Press, 1996. Schoep, Arthur, and Daniel Harris. Word-by-Word Translations of Songs and Arias. Part 2, Italian. New York: Scarecrow Press, 1972. Suverkrop, Bard. IPA Source. http://www.ipasource.com. WEB RESOURCES

Adams, John. John Adams website. http://www.earbox.com. American Musicological Society. Doctoral Dissertations in Musicology-Online. http://www .ams-net.org/ddm/index.php. ———. “WWW Sites of Interest to Musicologists.” http://www.ams-net.org/www-musicology .php. Bärenreiter. http://www.baerenreiter.com. Center for Computer Assisted Research in the Humanities, Stanford University, and Cognitive and Systematic Musicology Laboratory, Ohio State University. Themefinder. http://www .themefinder.org. Citizendium: The Citizen’s Compendium. http://en.citizendium.org/wiki/Welcome_to_ Citizendium. EveryNote. http://everynote.com. Fenske, David E., R. Michael Fling, Brenda Nelson-Strauss, and Shirlene Ward. “Making the Most of the Music Library: Using Uniform Titles.” http://library.music.indiana.edu /collections/uniform/uniform.html. Google. http://www.google.com/. Google Blog Search. http://www.google.com/blogsearch. Google Books. http://books.google.com. Google Images. http://images.google.com. Google News. http://news.google.com. Google Scholar. http://scholar.google.com. Guitaretab. http://www.guitaretab.com. HathiTrust Digital Library. http://www.hathitrust.org IMSLP/Petrucci Music Library. http://imslp.org/wiki. Indiana University School of Music, William and Gayle Cook Music Library. “Worldwide Internet Music Resources.” http://library.music.indiana.edu/music_resources. Leyerle Publications. http://www.leyerlepublications.com/?v=listings. LibraryMusicSource.com. CD Sheet Music. http://www.librarymusicsource.com. Musikverlag Zahoransky. “Über den Komponisten Dieter Salbert.” http://www .musikverlag-zahoransky.de/dieter-salbert. Musipedia Melody Search Engine. http://www.musipedia.org.

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OAIster. http://oaister.worldcat.org/. Open Archives Initiative. http://www.openarchives.org. Pandora Radio. http://www.pandora.com/. Playlist. http://www.playlist.com/. Shazam. http://www.shazam.com/. Sibelius Academy. “Music Resources.” http://www2.siba.fi/Kulttuuripalvelut/music.html. Torke, Michael. Michael Torke website. http://www.michaeltorke.com. Ultimate Guitar Tabs Archive. http://www.ultimate-guitar.com. Washington University Libraries, Gaylord Music Library. Musicians Necrology. http://library .wustl.edu/units/music/necro. Wikipedia: The Free Encyclopedia. http://en.wikipedia.org/wiki/Main_Page. William Grant Still Music. “Works for Keyboard.” http://www.williamgrantstill.com/works forkeyboard1. YouTube. http://www.youtube.com. SOURCES USED AS EXAMPLES

Bach, Johann Sebastian. Neue Ausgabe sämtlicher Werke. Edited by the Johann-Sebastian-BachInstitut Götttingen and the Bach-Archiv Leipzig. Kassel: Bärenreiter, 1954–. Beethoven, Ludwig van. Symphony No. 9. Cleveland Orchestra and Cleveland Orchestra Chorus, with vocal soloists Measha Brueggergosman, Kelley O’Connor, Frank Lopardo, and René Pape, conducted by Franz Welser-Möst. Deutsche Grammophon B0009661-02, 2007, compact disc. Brahms, Johannes. Hungarian Dances for Pianoforte in Two Volumes. Schirmer’s Library of Musical Classics, vols. 256 and 431. New York: G. Schirmer, 1898. Burleigh, Harry T. The Spirituals of Harry T. Burleigh: High Voice. Melville, NY: Belwin-Mills, 1984. Elgar, Edward. Symphony no. 1 in A-flat, op. 55. London: Novello, 1908. Elson, Louis C. ed. Modern Music and Musicians for Vocalists. New York: University Society, 1918. Frost, Bernice. 20th Century Piano Music: Book II B. Glen Rock, NJ: J. Fischer, 1964. Led Zeppelin Complete. Van Nuys, CA: Alfred, 1990. Lockwood, Lewis. Beethoven: The Music and the Life. New York: W.W. Norton, 2003. Mozart, Wolfgang Amadeus. La clemenza di Tito. New York: Dover, 1993. ———. La clemenza di Tito. Neue Ausgabe sämtlicher Werke. Ser. 2, Bühnenwerke. Werkgruppe 5, Opern und Singspiele, Bd. 20. Kassel: Bärenreiter, 1970. The 1920s: Piano, Vocal, Guitar. Milwaukee: Hal Leonard, 2005. Nitzberg, Roy J. “Voice-leading and Chromatic Techniques in Expositions of Selected Symphonies by Joseph Haydn, Introducing a New Theory of Chromatic Analysis.” PhD diss., City University of New York, 1999.

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113

Orchestra Musician’s CD-ROM Library. CD-ROM series. CD Sheet Music, 2003–. Pachelbel, Johann. Kanon for Brass Quintet. Arranged by Fred Mills. Mississauga, ON: Canadian Brass Publications, 1975. Shepard, Benjamin and William M. Lawrence, eds. Hymns of the Centuries for Use in Baptist Churches. New York: A. S. Barnes, 1911. Shostakovich, Dmitri. Symphony no. 5, First Movement, Opus 47. Transcribed for Concert Band by William A. Schaefer. Delaware Water Gap, PA: Shawnee Press, 1970. Vieuxtemps, Henri. Concerto no. IV (D minor), for Violin and Piano, Op. 31. New York: Carl Fischer, 1905. Wagner, Richard. Parsifal: A Stage-Consecrating Festival-Play. English translation by Margareth Glyn; arranged by Karl Klindworth. Mainz: B. Schott’s Söhne, 1902; New York: G. Schirmer, 1904. Ward, Geoffrey C. Jazz. DVD. Produced by Ken Burns and Lynn Novick, directed by Ken Burns. N.p.: PBS; Burbank, CA: distributed by Warner Home Video, 2000, DVD. OTHER SOURCES CITED

“About This Recording.” Poulenc: Melodies. Naxos 8.553642. http://www.naxos.com /mainsite/blurbs_reviews.asp?item_code=8.553642&catNum=553642&filetype=About% 20this%20Recording&language=English. Grobelny, Joseph. Review of Google Book Search and Live Search Books. Notes 65 (September 2008): 136–40. Suber, Peter. “Open Access Overview (definition, introduction).” http://www.earlham.edu /~peters/fos/overview.htm.

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ABOUT THE AUTHORS

Alan Green is associate professor and head librarian for music and dance at the Ohio State University, where he also teaches courses in music research methods and bibliography. He received his M.A. in Musicology and M.L.S. at the State University of New York at Buffalo. Green is the author of Allen Sapp: A Bio-Bibliography and has published articles in College Music Symposium, Music Reference Services Quarterly, and Notes: Quarterly Journal of the Music Library Association. Michael J. Duffy IV is associate professor and music librarian at Northern Illinois University. He received his M.Mus in Musicology at Northwestern University, and his M.L.I.S. from Dominican University. He has written pieces for publication in Music Reference Services Quarterly, Notes: Quarterly Journal of the Music Library Association, The Reference Librarian, and Choice. He is formerly book review editor of Music Reference Services Quarterly.

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Index

A Aaron Copland: A Bio-Bibliography (Skowronski), 35 Abromeit, Kathleen A.: An Index to AfricanAmerican Spirituals for the Solo Voice, 30; “Reference Assistants on the Front Line in the Music Library,” xi Academic Search databases (EBSCO), 26, 69 accented letters. See diacritical marks accompaniments, recorded, 63 Adams, John, 18, 71–72 Adams, John Luther, 18 Aebersold, Jamey, 63 ALA Filing Rules, 51, 88n9 Albin, Steve, Jazz Discography, 36 Allmusic, 36 Amazon, 2 American Dance Band Discography 1917–1942, The (Rust), 36 American Library Association (ALA), ALA Filing Rules, 51, 88n9 American Musicological Society (AMS), “WWW Sites for Musicologists,” 38 American Psychological Association (APA), Publication Manual of the American Psychological Association, 75 analyses of music compositions, 79–81 Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000 (Hoek), 79–80 Aria Database, The, 30 arrangements of musical compositions, 55–56 asterisk as wildcard symbol, 16 authentication for using electronic resources, 48 author searching, 12–13, 18; transliteration of names, 18 autograph manuscripts, facsimiles, 68 A-Z Guitar Tabs, 63 B Bach, Carl Philipp Emanuel, 93n7 Bach, Johann Sebastian, 31–34, 49–53, 68 Bach Compendium (Schulze & Wolff ), 34

Bach-Werke-Verzeichnis (BWV) (Schmieder), 31–34, 52–53 Baker, Chet, 62 Baker’s Biographical Dictionary of Musicians (Slonimsky), 25, 79 Barber, David W., The Music Lover’s Quotation Book, 67 Barlow, Harold, A Dictionary of Musical Themes, 39 Basic Materials in Music Theory (Harder), xii Bayne, Pauline Shaw, A Guide to Library Research in Music, ix, xi, xiii, 23, 87n4 (chapter 1), 89n2 Beethoven, Ludwig van, 12–13, 18, 20, 32, 34, 54–55, 57–58, 76, 80 Bellini, Vincenzo, 58–59 Bennett, Tony, 62 Berlioz, Hector, 35, 54 bibliographic citations, 24, 74–77 bibliographic records, 11, 13, 18–19, 50–51, 54, 57, 59, 61 Bibliographie des Musikschrifttums, 26, 37; for obituaries, 73 bibliographies: on composers and their works, 28–29, 31–36, 79–81, 84; in dictionaries and encyclopedias, 25; of music score sets, series and anthologies, 52–53, 57; reference literature, 23–24; on topics, 29, 82, 84; of vocal texts, translations, and pronunciation guides, 64–65 Bibliothèque nationale de France, 68 Billboard, 37 bio-bibliographies of composers, 35–36, 79–81, 84 biographical dictionaries and indexes, 25, 28–29, 84 Biography and Genealogy Master Index, 73 birth and death dates, 72–73 blogs, 40 Boge, Claire, Scales, Intervals, Keys, Triads, Rhythm, and Meter, xii Book of World-Famous Music, The (Fuld), 77 Boolean searching, 14–16, 51, 87n4 (chapter 1) Boulanger, Nadia, 68–69 Bradley, Carol June, Index to Poetry in Music, 30 Brahms, Johannes, 9, 34–35

115

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Breed, Paul F., Songs in Collections: An Index, 30 Brook, Barry S., Thematic Catalogues in Music, 35 Brueggergosman, Measha, 76 Burleigh, Harry T., 59 Burns, Ken, 12–13 BWV (Schmieder), 31–34, 52–53 C CAIRSS for Music, 26 California Library Systems Cooperative Song Index, 30 Caruso, Enrico, 25, 60 Chambers Music Quotations (Watson), 67 Chicago Manual of Style, 74–77 Children’s Song Index (Cushing), 30 Choral Public Domain Library (CPDL), 60 Christensen, Beth, 87n1 (introduction) Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (Köchel), 32, 34–35, 53 Chrysander, Friedrich, 60 Cincinnati Symphony Orchestra, 81 circulation policies, 47 citations, 24, 74–77 Classical Music Library, 2 Classical Music without Fear (Tobias), xii Cleveland Chorus, 76 Cleveland Orchestra, 63, 76 close scores, 2, 8 Clough, John, Scales, Intervals, Keys, Triads, Rhythm, and Meter, xii Coffin, Berton: Phonetic Readings of Songs and Arias, 64; Word-By-Word Translations of Songs and Arias, 64 Cohen, David, George Crumb: A Bio-Bibliography, 80 Collected Editions, Historical Series & Sets & Monuments of Music (Hill & Stephens), 52–53 collected editions of composers’ works, 32–33, 51–53 collective uniform titles, 20, 49, 52, 55 College Music Society, Directory of Music Faculties in Colleges and Universities, U.S. and Canada, 71–72 Collins, Judy, 62 Columbia University, 81 combining concepts in keyword searching, 16 composers: as authors (for searching in databases), 12–13, 18, 50–52, 54–56, 72; bibliographies on, 35–36, 79–82; biographies of, 28–29, 79, 84; birth and death dates of, 72–73; collected editions of composers’ works, 32–33, 51–53, 83; contact

information, 71–72; iconography, 27, 68–69; obituaries, 39, 72–73; thematic catalogs of works, 31–35, 52, 80, 84; and uniform titles, 18–20, 49–55, 88n9, 93n7, 93n8; works lists, 25, 52, 54–55; work numbers of (in keyword searches), 32, 53, 55–56 confidentiality of circulation records, 47 Conley, Joyce, Scales, Intervals, Keys, Triads, Rhythm, and Meter, xii contact information, 71–72 Contemporary Musicians, 25 controlled vocabularies, 11, 27 controlled vocabulary searching: with names, 13, 18; with subjects, 13, 16–18; with titles, 29; with uniform titles, 18–20 Copland, Aaron, 35, 68–69 copyright, 37, 77 corporate authorship of periodicals, 65 Costello, Elvis, 62 Crabtree, Phillip D., Sourcebook for Research in Music, 23, 32, 88n14 Crofton, Ian, A Dictionary of Musical Quotations, 67 Crumb, George, 79–80 Cushing, Helen Grant, Children’s Song Index, 30 D D. See Deutsch, Otto Erich, Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge Das Werk Beethovens, thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen (Kinsky), 32, 34 Database of Recorded American Music (DRAM ), 2 Davis, Miles, 21, 62–63 Debussy, Claude, 18–19 De Charms, Desiree, Songs in Collections: An Index, 30 descriptive answers, 79 Deutsch, Otto Erich, Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge, 32, 35, 53 Dewey Decimal Classification (DDC), 1, 20–21, 87n1 (part 1), 88n14 diacritical marks, 50, 63 Diamond, Harold J., Music Analyses, 79–80 dictionaries, 24–25, 44, 84; biographical, 25, 28, 79; citation of articles from, 76–77; of musical instruments, 82; of musical terminology, 10, 25; of musical themes, 39, 74; of quotations, 67

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INDEX

Dictionary of Musical Quotations, A (Crofton & Frasier), 67 Dictionary of Musical Themes, A (Barlow & Morgenstern), 39 directional questions, 43, 47–48 directories, 26, 71–72 Directory of Open Access Journals, 26 discographies, 36–37, 76, 84 dissertations and theses, 26, 28, 80, 82, 90n26 distinctive uniform titles, 20, 49–50, 54 Dmitri Shostakovich: A Catalogue, Bibliography, and Discography (Hulme), 36 doctoral dissertations. See dissertations and theses Doctoral Dissertations in Musicology, 28, 90n26 documentation, 24, 74–77 donations to the library, 47–48 “Download Dilemma, The” (Hoek), 87n4 (part 1) DRAM, 2 Duckles, Vincent Harris, Music Reference and Research Materials, xiii, 23–24 Duffy, Michael J., IV, ix Dukas, Paul, 20 Duke University Libraries, Music Library, “Sheet Music Collections,” 61 Du Mont, Mary, 87n1 (introduction) E EBSCO, 26, 69 Eisen, Walter & Margret. Händel-Handbuch, 34 electronic journals, 65–66 Elgar, Edward, 3 Elson, Louis Charles, 29 Emerson String Quartet, 63 Encyclopedia of Popular Music, The, 25 Encyclopedia of Quotations about Music, An (Shapiro), 67 encyclopedias, 24–25, 44, 79, 82, 84; citation of articles from, 76–77. See also dictionaries endnotes, 24, 74–76 English National Opera, Opera Guides series, 81 Enjoyment of Music, The (Forney), xii Entretiens avec Claude Rostand (Milhaud), 67 erroneous citations, 66 Ethnic Music on Records (Spottswood), 36 ethnomusicology, 11–12, 25, 36, 44, 79, 81–82 Europeana, 68 Evanston Public Library, Song Index, 31 EveryNote.com, 58

117

F facsimiles of autograph manuscripts, 68 factual questions: about musical compositions, 77; birth and death dates, 72–73; citation style, 74–77; contact information, 71–72; melody identification, 73–74 Fake Book Index, 62 fake books, 62–63 Fauré, Gabriel, 64–65 FeedReader, 40 Finale (music notation software), 60 Fine, Irving, 68–69 Fitzgerald, Michael, Jazz Discography, 36 Fleming, Renée, 63–64 Folk Song Index, 30 folk songs, 30 follow-up questions, 45, 61, 63–64, 66, 79 footnotes, 24, 74–76 foreign languages: diacritical marks, 50, 63; dictionaries, 10, 32; and distinctive uniform titles, 20, 49–50, 54; pronunciation, 64–65; titles of songs and arias, 29, 58–60; translations of quotations, 67; translations of vocal texts, 64–65; transliteration of names, 18 format limiting, 21 Forney, Kristine, The Enjoyment of Music, xii Foster, Donald H., Sourcebook for Research in Music, 23, 32, 88n14 France, Bibliothèque nationale de, 68 Franz Joseph Haydn: A Guide to Research (Grave & Grave), 35 Franz Liszt: A Guide to Research (Saffle), 36 Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge (Deutsch), 32, 35, 53 Frasier, Donald, A Dictionary of Musical Quotations, 67 Frost, Bernice, 57 Fuld, James J., The Book of World-Famous Music, 77 Fuszek, Rita M., Piano Music in Collections: An Index, 57 G Gallica, 68 Garland Encyclopedia of World Music, The, 25 Gartside, Robert, Interpreting the Songs of Gabriel Fauré, 65 generic uniform titles, 19–20, 32, 49, 93n10 Genesis (musical group), 62 Genzmer, Harald, 72–73

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geographic musical research, 80–81 George Crumb: A Bio-Bibliography (Cohen), 80 Gesamtausgaben. See collected editions of composers’ works Google, 40, 57, 60, 67, 71 Google Blog Search, 40 Google Books, 37, 67 Google Images, 68 Google News, for obituaries, 73 Google Reader, 40 Google Scholar, 26, 37 Gottlieb, Jane, Music Library and Research Skills, ix, xi, xiii, 24, 32, 64 Grave, Floyd K. & Margaret G., Franz Joseph Haydn: A Guide to Research, 35 Graves, Jane Denker, Hector Berlioz: A Guide to Research, 35 Green, Alan, 87n1 (introduction); 92n2 (chapter 3); 92n2 (chapter 3); 92n1 (chapter 4) Green, Richard, Index to Composer Bibliographies, 28–29 Gridley, Mark C., Jazz Styles, xii Grier, James, 76–77 Grove Music Online, 24–25, 44, 52, 54–55, 67, 79; citation of articles from, 76–77. See also, New Grove Dictionary of Music and Musicians Gruber, Franz, 77 Guide to Library Research in Music, A (Bayne), ix, xi, xiii, 23, 87n4 (chapter 1) , 89n2 guitar tablature, 62–63 H Handel, George Frideric, 34–35, 60–61 Händel-Handbuch (Eisen & Eisen), 34 Harder, Paul O., Basic Materials in Music Theory, xii Harris, Daniel, Word-By-Word Translations of Songs and Arias, 64 Harvard Dictionary of Music, 25 Hastings, Baird, Wolfgang Amadeus Mozart: A Guide to Research, 81 HathiTrust, 37 Havlice, Patricia Pate, Popular Song Index, 30, 62 Haydn, Joseph, 34–35 Hector Berlioz: A Guide to Research (Langford & Graves), 35 Hemmasi, Harriette, Music Subject Headings, 56, 88n8 Heyer, Anna Harriet, Historical Sets, Collected Editions, and Monuments of Music, 52 high voice, 59

Hill, George R. Collected Editions, Historical Series & Sets & Monuments of Music, 52–53 Historical Sets, Collected Editions, and Monuments of Music (Heyer), 52 Hoboken, Anthony van, Joseph Haydn, thematischbibliographisches Werkverzeichnis, 34 Hoek, D. J.: Analyses of Nineteenth- and TwentiethCentury Music, 1940–2000, 79–80; “The Download Dilemma,” 87n4 (part 1) holographs (music), facsimiles, 68 Hommerding, Alan J., A Sourcebook about Music, 67 Hulme, Derek C., Dmitri Shostakovich: A Catalogue, Bibliography, and Discography, 36 Huron, David, “Themefinder,” 39, 74 hymnals, 2, 8, 31, 84 Hymn Tune Index, The (Temperley), 31 I IAML-L (International Association of Music Libraries, Archives and Documentation Centres mailing list), 46 iconography, 27, 68–69 IIMP. See International Index to Music Periodicals images of manuscripts (music), 68 images of musicians, 68–69 inaccurate citations, 66 indexes to microform sets, 68 Index to African-American Spirituals for the Solo Voice, An (Abromeit), 30 Index to Composer Bibliographies (Green), 28–29 Index to Poetry in Music (Bradley), 30 Index to Printed Music: Collections & Series (IPM ), 52–53 Index to Song Books (Leigh), 30 Indiana University, William & Gayle Cook Music Library: “Using Uniform Titles,” 20; “Worldwide Internet Music Resources,” 38 instrumental parts to orchestral works, 57–58 instrumental performance research, 44, 81 interlibrary loan, 12, 28–29, 47, 57, 62–63, 66 internal masking, 16 International Association of Music Libraries, Archives and Documentation Centres (IAML), 27; IAML-L (mailing list), 46 Internationaler biographischer Index der Musik (World Biographical Index of Music), 28 International Index to Music Periodicals (IIMP), 26, 44, 65–66, 69, 73, 80, 82 International Musicological Society (IMS), 27

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INDEX

International Music Score Library Project (IMSLP), 58, 60, 68 International Phonetic Alphabet (IPA), 64–65 Interpreting the Songs of Gabriel Fauré (Gartside), 65 IPA Source, 64 iTunes, 2 J jazz, xii, 36, 62–63, 83 Jazz Discography (Albin & Fitzgerald), 36 Jazz Records, 1897–1942 (Rust), 36 Jazz Styles (Gridley), xii Jean Cocteau, Guillaume Apollinaire, Paul Claudel et le groupe des six (Miller), 67 Jeffers, Ron, Translations and Annotations of Choral Repertoire, 65 Joel Whitburn’s Top Pop Singles (Whitburn), 37 Johannes Brahms, thematisch-bibliographisches Werkverzeichnis (McCorkle), 34 Johannes Brahms: A Guide to Research (Platt), 35 Joseph Haydn, thematisch-bibliographisches Werkverzeichnis (Hoboken), 34 Josquin, des Prez, 66 journals. See periodicals JSTOR, 26, 65; for obituaries, 73 K K. See Köchel, Ludwig, Ritter von, Chronologischthematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts Kernfeld, Barry Dean, What to Listen for in Jazz, xii keyword searching, 12–13, 44, 49–51, 53–56, 59–69, 80–82; combining concepts in, 16; and composer work numbers, 32, 53, 55–56; “music” as a search term, 44, 82 Kinsky, Georg, Das Werk Beethovens, thematischbibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen, 32, 34 Klindworth, Karl, 6–7 Köchel, Ludwig, Ritter von, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts, 32, 34–35, 53 Kodner, Diana, A Sourcebook about Music, 67 Kramer, Jonathan, Listen to the Music, 81 L Lancen, Serge, 72–73 Langford, Jeffrey Alan, Hector Berlioz: A Guide to Research, 35 Lawrence, William M., 8 Led Zeppelin (musical group), 62–63

119

Leigh, Robert, Index to Song Books, 30 Lexicon of Musical Invective (Slonimsky), 67 LexisNexis Academic, 80 library catalogs, 11–21, 32 LibraryMusicSource.com, 58 Library of Congress, 61, 72–73; American Memory digital collection, 68–69 Library of Congress Classification (LCC), 1, 20–21, 83–85, 87n1 (part 1); M3 (composers’ complete works), 53; M1008–M1009 (violin concertos), 2; M1500 (opera scores, orchestral accompaniment), 61; M1503 (opera scores, accompaniment arranged for piano), 60–61; ML47–ML54 (libretti, vocal texts, translations), 64, 81; ML100 (music encyclopedias, general), 84; ML105 (biographical dictionaries), 28; ML108 (music terminology dictionaries), 10; ML128 (bibliographies and indexes on musical topics), 29; ML134 (bio-bibliographies and thematic catalogs), 31–36, 79–80; ML156– ML158 (discographies), 36–37; ML410 (biographies of composers), 79; MT95 (analytical writings and program notes on operas), 81; MT125 (analytical writings and program notes on symphonic works), 81; MT883 (vocal texts, pronunciation and diction), 64; P (foreign language dictionaries), 10 Library of Congress Name Authority File (LCNAF), 18 Library of Congress Subject Headings (LCSH), 16–18, 27, 55–56, 63, 67–68, 79–82, 93n11 Library Resources for Singers, Coaches, and Accompanists (McTyre), 64 Lieder Line by Line, and Word for Word (Phillips), 64 limiting searches by format, 21 Listen to the Music (Kramer), 81 Liszt, Franz, 36 literature indexes, 25–27, 37 Lockwood, Lewis, 12–13 Lopardo, Frank, 76 lost items, 47 low voice, 59 Luchinsky, Ellen, Song Index of the Enoch Pratt Free Library, The, 29–30, 58–59 M Machlis, Joseph, The Enjoyment of Music, xii management agencies, 71–72 Manual for Writers of Research Papers, Theses, and Dissertations, A (Turabian), 74 Marsalis, Wynton, 12–13

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120

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masking, 16 Mass (Roman Catholic Church), translation, 65 master’s theses. See dissertations and theses material types, 79–81 McCorkle, Margit L., Johannes Brahms, thematischbibliographisches Werkverzeichnis, 34 McKnight, Mark, 87n1 (part 1) McTyre, Ruthann Boles, Library Resources for Singers, Coaches, and Accompanists, 64 medium voice, 59 Melodyhound, 74 melody identification, 73–74 Mendelssohn-Bartholdy, Felix, 57–58 microforms, 68 Miles Davis Quintet, 63 Milhaud, Darius, Entretiens avec Claude Rostand, 67 Miller, Catherine, Jean Cocteau, Guillaume Apollinaire, Paul Claudel et le groupe des six, 67 Miller, Philip L., The Ring of Words, 64 missing items, 47 MLA Handbook for Writers of Research Papers, 75 MLA-L (Music Library Association Mailing List), 45–46 Modern Language Association, MLA Handbook for Writers of Research Papers, 75 Mohr, Joseph, 77 Morgenstern, Sam, A Dictionary of Musical Themes, 39 Mozart, Wolfgang Amadeus, 32, 34–35, 53, 63, 75–76, 80–81 Musical America, 65–66 Musical America Worldwide, 71–72 musical notation, xii music analyses, 79–81 Music Analyses (Diamond), 79–80 music appreciation, xii “music” as a keyword search term, 44, 82 music biographical dictionaries, 25 music dictionaries, 24–25 music discovery resources, 38 music education, 26, 44 music encyclopedias, 24–25 music history research, 44 musicians: as authors, 12–13, 18, 63; biographies of, 28; birth and death dates of, 39, 72–73; iconography, 27, 68–69; obituaries, 39, 72–73 “Musicians Necrology” (Washington University Libraries, Gaylord Music Libraries), 39, 73

music iconography, 27, 68–69 Music Index, The, 26, 44, 66, 80, 82; for finding dissertations, 28; for obituaries, 73; for portraits of musicians, 69 Music Library and Research Skills (Gottlieb), ix, xi, xiii, 24, 32, 64 Music Library Association (MLA), 13; MLA-L (mailing list), 45–46; Wisconsin-Ohio Reference Evaluation Program, xi, 49, 58, 82, 87n1 (introduction), 92n2 (chapter 4), 94n1 (chapter 6) Music Library Instruction, xi music literature indexes, 25–27 Music Lover’s Quotation Book, The (Barber), 67 music manuscripts, facsimiles, 68 Music Minus One, 63 music notation software, 60 music periodical indexes, 25–27 music psychology, 26 Music Reference and Research Materials (Duckles), xiii, 23–24 music reference literature guides, 23–24 Music Research: A Handbook (Sampsel), ix, xi, xiii, 24, 37, 51, 75, 87n4 (chapter 1), 88n7 “Music Resources” (Sibelius Academy), 38 music scores, citation of, 75–76 Music Subject Headings (Hemmasi), 56 music terminology, 24–25, 32; dictionaries, 10, 25 music theory, xii, 44 music therapy, 26 Musipedia, 39, 74 N names, transliteration of, 18 National Library of France, 68 Naxos Music Library, 2 Neue Ausgabe sämtlicher Werke (J.S. Bach), 32–33, 51–53 New Grove Dictionary of Music and Musicians, 24–25, 52, 54–55, 73. See also, Grove Music Online New Grove Dictionary of Opera, 60–61 nicknames of compositions, 54–55 Noble, Jeremy, 66 Northern Illinois University Music Library, 18–19, 21 O OAIster, 28 Oberlin College: Conservatory Library, xi; Libraries, 30

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INDEX

obituaries, 39, 72–73 OCLC WorldCat, 51, 54, 57–59, 62–63, 66, 73: for finding dissertations, 28; for interlibrary loan, 12; international scope, 11; proximity searching in (FirstSearch version), 15 O’Connor, Kelley, 76 off-campus use of electronic resources, 48 Ohio State University, Cognitive and Systematic Musicology Laboratory, “Themefinder,” 39, 74 open access publishing model, 26 Open Archives Initiative Protocol for Metadata Harvesting (OAI-PMH), 61 Opera Guides (English National Opera), 81 opus numbers, 32, 53; See also work numbers of composers orchestral excerpts, by instrument, 58 “Orchestra Musician’s CD-ROM Library,” 58 Oxford Dictionary of Music, 25 Oxford Music Online, 73 Oxford Reference Online, 44 P Pachelbel, Johann, 55–56 Paine, Gordon, Translations and Annotations of Choral Repertoire, 65 Pandora Radio, 38 Papakhian, A. Ralph, 92n4 (chapter 3) Pape, René, 76 Parker, Charlie, 63 parts to orchestral works, by instrument, 57–58 performers. See musicians periodical indexes, 25–27, 37, 44–82 passim periodicals: corporate authorship of, 65; electronic, 65–66; multiple formats, 65–66 Petrucci Music Library. See International Music Score Library Project (IMSLP) Phillips, Lois, Lieder Line by Line, and Word for Word, 64 Phonetic Readings of Songs and Arias (Coffin), 64 phrase searching, 12–14, 50–52, 62–63, 65, 67 Piano Music in Collections: An Index (Fuszek), 57 Piston, Walter, 68–69 Platt, Heather Anne, Johannes Brahms: A Guide to Research, 35 Playlist, 38 popular music, 25, 30, 36–39, 44, 61–63 Popular Song Index (Havlice), 30, 62 popular variant titles of compositions, 54–55

121

portraits of musicians, 68–69 Poulenc, Francis, 67 program notes, 81 Prokofiev, Sergey, 20 pronunciation, 64–65 ProQuest Dissertations and Theses, 28, 80, 82 proximity searching, 14–16, 44, 69, 80 proxy servers, 48 Publication Manual of the American Psychological Association (APA), 75 public domain, 37, 58, 60–61, 68 publishers of music, 71–72 Q question mark as wildcard symbol, 16 questions, referring, 44–46, 48 quotations, 67 R Rahkonen, Carl John, 13 recorded accompaniments, 63 recording companies, 71–72 recording company catalogs, 36 recordings, reviews of, 44 Reed, Ida, Music Reference and Research Materials, xiii, 23–24 “Reference Assistants on the Front Line in the Music Library” (Abromeit), xi reference interview, 43–45; follow-up questions, 45; searching with the user, 45 reference literature guides, 23–24 referring questions, 44–46, 48 relevancy ranking, 12 Répertoire International de Littérature Musicale (RILM), 26–27, 44, 66, 80–82; for finding dissertations, 28; for obituaries, 73; for portraits of musicians, 69 Répertoire International de la Presse Musicale (RIPM), 26–27 Répertoire International des Sources Musicale (RISM), 27 Répertoire International d’Iconographie Musicale (RIdIM), 27, 68–69 research guides on composers, 35–36, 79–81 Resource Description and Access (RDA), 87n2 (part 1) Retrospective Index to Music Periodicals (RIMP). See Répertoire International de la Presse Musicale (RIPM)

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122

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reviews of recordings, 44 RIdIM. See Répertoire International d’Iconographie Musicale (RIdIM) RILM. See Répertoire International de Littérature Musicale (RILM) RILM Abstracts of Music Literature. See Répertoire International de Littérature Musicale (RILM) RIMP. See Répertoire International de la Presse Musicale (RIPM) Ring of Words, The (Miller), 64 RIPM. See Répertoire International de la Presse Musicale (RIPM) RISM. See Répertoire International des Sources Musicale (RISM) Rossini, Gioacchino, 20 RSS feeds, 40 Rust, Brian: The American Dance Band Discography 1917–1942, 36; Jazz Records, 1897–1942, 36 S S. See Schmieder, Wolfgang, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach Saffle, Michael, Franz Liszt: A Guide to Research, 36 Salbert, Dieter, 72–73 Sampsel, Laurie J., Music Research: A Handbook, ix, xi, xiii, 24, 37, 51, 75, 87n4 (chapter 1), 88n7–n8 Scales, Intervals, Keys, Triads, Rhythm, and Meter (Clough, Conley & Boge), xii Schenker, Heinrich, 80 Schmieder, Wolfgang, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach, 31–34, 52–53 Schoep, Arthur, Word-By-Word Translations of Songs and Arias, 64 Schubert, Franz, 29–30, 32, 35, 53, 64 Schulze, Hans-Joachim, Bach Compendium, 34 Schumann, Robert, 74 scores, citation of, 75–76 Scott, Allen, Sourcebook for Research in Music, 23, 32, 88n14 searching with the user, 45 Sears, Minnie Earl, Song Index, 30 “see” and “see also” references, 18–19, 50 Serials Solutions, 66 Shapiro, Nat, An Encyclopedia of Quotations about Music, 67 Shazam, 38–39

Sheet Music Consortium, 31, 61 Shepard, Benjamin, 8 short-answer questions, 71–77; about musical compositions, 77; birth and death dates, 72–73; citation style, 74–77; contact information, 71–72; melody identification, 73–74 Shostakovich, Dmitrii Dmitrievich, 36, 56 Sibelius, Jean, 43, 53 Sibelius (music notation software), 60 Sibelius Academy, “Music Resources,” 38 Sinatra, Frank, 62 Sing Out!, 30 Skowronski, JoAnn, Aaron Copland: A BioBibliography, 35 Slemon, Peter, 90n26 Slonimsky, Nicolas: Baker’s Biographical Dictionary of Musicians, 25, 79; Lexicon of Musical Invective, 67 Song Index (Evanston Public Library), 31 Song Index (Sears), 30 Song Index (University of Tennessee), 31, 58–59 song indexes, 29–31, 34, 58–63 Song Index of the Enoch Pratt Free Library, The (Luchinsky), 29–30, 58–59 Songs in Collections: An Index (De Charms & Breed), 30 sorting of retrieved records, 51–53, 88n9 sound recordings, citation of, 76 Sourcebook about Music, A (Hommerding & Kodner), 67 Sourcebook for Research in Music (Crabtree, Foster & Scott), 23, 32, 88n14 Spottswood, Richard K., Ethnic Music on Records, 36 Stanford University, Center for Computer Assisted Research in the Humanities, “Themefinder,” 39, 74 Steinke, Greg A., Basic Materials in Music Theory, xii Stephens, Norris L. Collected Editions, Historical Series & Sets & Monuments of Music, 52–53 Still, William Grant, 56–57 streaming audio and video, 2, 48, 60, 62, 82 style manuals, 74–77 subject searching, 13, 16–18 super tab (guitar tablature), 63 T tablature, guitar, 62–63 Tchaikovsky, Peter Ilich, 18 Temperley, Nicholas, The Hymn Tune Index, 31

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INDEX

thematic catalogs, 31–35, 52, 80 Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-WerkeVerzeichnis (BWV) (Schmieder), 31–34, 52–53 “Themefinder” (Huron), 39, 74 thesauri. See controlled vocabularies theses. See dissertations and theses Tobias, Marianne Williams, Classical Music without Fear, xii topical questions, 79–82 Torke, Michael, 71–72 Translations and Annotations of Choral Repertoire (Jeffers & Paine), 65 translations: of quotations, 67; of vocal texts, 50, 64–65 transliteration of names, 18 Troutman, Leslie, ix truncation, 16, 44, 56, 66–69, 73, 81–82 tune identification , 73–74 Turabian, Kate L., A Manual for Writers of Research Papers, Theses, and Dissertations, 74 U U2 (musical group), 63 Ultimate Guitar Tabs Archive, 63 uniform titles, 18–20, 49–56, 63, 88n9; collective, 20, 49, 52, 55; distinctive, 20, 49–50, 54; generic, 19–20, 32, 49, 93n10; and popular variant titles of compositions, 54–55; tutorials, 20 University of California at Los Angeles, Sheet Music Consortium, 31, 61 University of Cincinnati, College-Conservatory of Music, 81 University of Tennessee, George F. DeVine Music Library, UT Song Index, 31, 58–59 University of Texas at San Antonio, Department of Music and Institute for Music Research, CAIRSS for Music, 26 “Using Uniform Titles” (Indiana Univ.), 20 UT Song Index, 31, 58–59 V Vaughan, Sarah, 62 Venn diagrams, 14–15, 87n4 (chapter 1)

123

Viano, Richard J., Thematic Catalogues in Music, 35 Vieuxtemps, Henri, 4–5 vocal performance research, 44 vocal register, 59 W Wagner, Richard, 6–7 Washington University Libraries, Gaylord Music Library, “Musicians Necrology,” 39, 73 Watson, Derek, Chambers Music Quotations, 67 Welser-Möst, Franz, 76 What to Listen for in Jazz (Kernfeld), xii Whitburn, Joel, Joel Whitburn’s Top Pop Singles, 37 Wikipedia, 25, 60, 73, 77 Wikiquote, 67 wildcards, 16 Wisconsin-Ohio Reference Evaluation Program (WOREP), xi, 49, 58, 82, 87n1 (introduction), 92n2 (chapter 4), 94n1 (chapter 6) Wolff, Christoph, Bach Compendium, 34 Wolfgang Amadeus Mozart: A Guide to Research (Hastings), 81 Word-by-Word Translations of Songs and Arias (Coffin, Harris & Schoep), 64 work numbers of composers (in keyword searches), 32, 53, 55–56 works lists of composers, 25, 52, 54–55 World Biographical Index of Music (Internationaler biographischer Index der Musik), 28 WorldCat. See OCLC WorldCat world music, 11–12, 25, 36, 44, 79, 81–82 “Worldwide Internet Music Resources” (Indiana Univ.), 38 Wursten, Richard B., 88n14 “WWW Sites for Musicologists” (AMS), 38 Y Young, J. Bradford, “Introduction to the Structure and Use of Library of Congress Subject Headings for Music and Material about Music,” 56 YouTube, 39, 62, 82

MLA_Manual_Duffy_PAN200c 1/8/13 11:45 AM Page 2

QUICK REFERENCE

QUICK REFERENCE

THE LIBRARY OF CONGRESS CLASSIFICATION FOR MUSIC

THE LIBRARY OF CONGRESS CLASSIFICATION FOR MUSIC

M (MUSIC)

ML (LITERATURE ON MUSIC)

M1-3

Collections containing both instrumental and vocal music

ML1 ML5 ML48-54

Periodicals published in the United States Periodicals published internationally after 1800 Librettos

M2 M3

Anthologies of masterworks Composers’ complete works

M5-1490

Instrumental music

ML100-109

Dictionaries and encyclopedias of music

M6-14 M20-39 M180-298 M300-386 M400-486 M500-586 M600-686

Organ music Piano music (M23: piano sonatas) Duets Trios Quartets (M452: string quartets) Quintets Sextets

ML100 ML105-107

Dictionaries and encyclopedias, general Dictionaries and encyclopedias, bio-bibliographical

ML128 ML134

Bibliographies by topic Composer bibliography

ML156-158

Discographies

M1000-1075

Orchestra

ML159-3785

Music history and criticism

M1001 M1010-1011 M1012-1013

Symphonies Piano concertos (M1010: full orchestral score, M1011: accompaniment arranged for piano) Violin concertos (M1012: full orchestral score, M1013: accompaniment arranged for piano)

ML385-429 ML430-455 ML549-1093 ML1400-3275

Biography (ML410: Composer biographies, arranged alphabetically) Composition Musical instruments Literature about vocal music

M1100-1160 M1200-1270 M1366 M1473

String orchestra Band Jazz ensembles Electronic music

ML3845-3877

Philosophy and aesthetics of music

M1497-2199

Vocal music

MT1 MT5.5-7

General works on musical instruction and study Music theory

M1497-1998

Secular vocal music

MT70-71

Orchestra and orchestration

M1500 M1503 M1530-1546 M1547-1600 M1611-1624 M1619 M1620

Opera full scores Opera vocal scores (accompaniment arranged for piano) Secular choruses with ensemble accompaniment Secular choruses with piano or unaccompanied Secular songs for one voice Song collections (two or more composers) Song collections (one composer)

MT90-145

Analytical guides (including program notes)

MT95-100 MT125-130 MT140-145

Opera and ballet Orchestral music Chamber music

MT170-810

Instrumental techniques (including method books)

M1990-1998

Secular vocal music for children

M1999-2199

Sacred vocal music

M2000-2007 M2020-2036 M2060-2101 M2102-2114 M2115-2146

Oratorios Sacred choruses and cantatas (with ensemble accompaniment) Sacred choruses with piano or unaccompanied Sacred songs for one voice Hymnals

MT180-198 MT220-255 MT259-338 MT339-538 MT539-654 MT655-722

Organ Piano String instruments Wind instruments Plucked instruments Percussion instruments

MT820-949

Singing

MT (MUSICAL INSTRUCTION AND STUDY )

Continued on the inside back cover

Music (M) Classifications are on the inside front cover

MLA_Manual_Duffy_PAN200c 1/8/13 11:45 AM Page 1

M u s i c L i b ra r y A s s o c i a t i o n B a s i c M a n u a l S e r i e s , Vo l u m e 8 BM 8

A Guide for Non-specialist Librarians, Library Assistants, and Student Employees

M u s i c L i b ra r y A s s o c i a t i o n B a s i c M a n u a l S e r i e s , Vo l u m e 8

Basic Music Reference is a quick-start guide designed to introduce library employees to the basic tools and techniques involved in answering questions related to music. As in every specialist subject area, music has its own terminology, but unlike most, it also has a multitude of formats—on paper and other materials—as well as special notation and frequent use of foreign languages in titles and texts. These features make it particularly difficult for library employees to answer users’ questions and thus a guide

Basic Music Reference

such as this one is essential.

A Guide for Non-specialist Librarians, Library Assistants, and Student Employees

Not all libraries with a music collection can afford to hire a music reference librarian. Even libraries with such a specialist rely on support staff and student employees to answer questions when the music librarian is not available. Whatever the scenario, this volume will serve as a helpful training tool for library employees to learn about the basic music reference tools, and to develop the techniques of greatest use

Alan Green and Michael J. Duffy, IV

when answering the most common types of music-related questions.

About the Authors Alan Green is associate professor and head librarian for music and dance at the Ohio State University, where he also teaches courses in music research methods and bibliography. He is an active member of as Project Coordinator for Répertoire International d’Iconographie Musicale (RIdIM). Green is the author of Allen Sapp: A Bio-Bibliography and has published articles in College Music Symposium, Music Reference Services Quarterly, and Notes: Quarterly Journal of the Music Library Association. Michael Duffy is associate professor and music librarian at Northern Illinois University, where he is responsible for reference, instruction, collection development, and cataloging. He has written pieces for publication in Music Reference Services Quarterly, Notes, The Reference Librarian, and Choice. He is formerly book review editor of Music Reference Services Quarterly.

Í A-R Editions, Inc. 8551 Research Way, Suite 180 Middleton, WI 53562 800-736-0070 608-836-9000 http://www.areditions.com

Basic Music Reference Green and Duffy

the Music Library Association and the International Association of Music Libraries, and currently serves

Í A-R Editions, Inc.