Notes for notes.

Krummel, D.W.

The new Jean Gray Hargrove Music Library at the University of California, Berkeley, was formally dedicated on 26 September 2004. Mack Scogin Merrill Elam Architects of Atlanta designed the freestanding three-story building of 28,775 gross square feet, positioned just south of Morrison Hall, where the library had been located since 1958. It was made possible through the generosity of Jean Gray Hargrove, a Berkeley pianist and 1935 graduate of the Berkeley Music Department, and other private donors. Its conspicuous placement, arresting design, and green slate tile exterior give it a strong presence on the campus, and the many windows furnish fine views of the surrounding area and bring in a wealth of natural light. Roughly two-and-a-half times the size of the old facility, it provides greatly expanded space for users, staff, and collections, and includes climate-controlled, high-security stacks for Berkeley's large collection of rare materials. The dedication was preceded by a scholarly symposium (the papers are scheduled to be published in the September 2005 issue of Notes) and a concert for violin and harpsichord by John Holloway and Davitt Moroney. Selected views of the new facility can be seen on the Hargrove Library Web site (http://www.lib.berkeley.edu/MUSI). There was a presentation about the building to the Music Library Facilities Subcommittee during the annual MLA meeting in Vancouver.

The Conference on Music and Technology in the Liberal Arts Environment, held at Hamilton College in Clinton, NY, on 21-22 June 2004, was funded by a grant from the Center for Educational Technology (CET) and the National Institute for Technology and Liberal Education (NITLE). The two-day program (organized by John Anderies, music librarian at Haverford College, Amy Harrell, Music and Performing Arts Librarian at Trinity College, and Nikki Reynolds, Director of Instructional Technology at Hamilton College) brought together a group of 35 faculty, librarians, and technologists from liberal arts colleges represented by the CET and NITLE. On the program were sessions on "Music Technology at Hamilton College"; "Setting up a Music Technology Lab"; "Online Audio Distribution"; "Integrating Digital Media into Course Management Systems"; "Enhancing Our Library Catalogs"; "Intellectual Property Rights Awareness on Our Campuses"; and "Music Information Retrieval in the Classroom and Library." Two concurrent workshops on authoring Synchronized Multimedia Integration Language (SMIL) presentations, and scanning musical scores were also offered. Speakers and workshop leaders were John Anderies (Haverford College), Dick Bulterman (National Research Institute for Mathematics and Computer Science in the Netherlands), Charles Cronin (Columbia University), J. Stephen Downie (University of Illinois), Amy Harrell (Trinity College), Linda Laderach (Mount Holyoke College), Sam Pellman (Hamilton College), Jenn Riley (Indiana University), Monk Rowe (Hamilton College), Adam Soroka (University of Virginia), Brian Walker (Haverford College), and Rob Whelen (emusictheory.com).

The Sidney Cox Library of Music and Dance at Cornell University is the recipient of four exceptional gifts. These include the scores, and in some cases, performance parts of the late Ithaca composer, Ann Silsbee, which were a gift from her husband Professor Emeritus Robert Silsbee. Ann was a graduate of Radcliffe College (B.A., 1951) and Syracuse University (M.M., 1969), and received her D.M.A. in composition from Cornell in 1979. In addition to her musical compositions, she published three volumes of poetry. The Leadbelly Archives, collected by the late Sean Killeen, was a gift to the library collection from his family. This massive archive will take some time to process, but it is a treasure trove for the person doing research on American blues singer and guitarist Leadbelly (Huddie Ledbetter, 1885-1949). The library has also received the music and tutors for all manner of folk and popular musical instruments, and some recordings and videos collected by the late Fred Kozlov, a local Ithaca folk/rock musician. Finally, the limited edition portfolio album, Eighteen Portraits (New York: Vincent Fitzgerald, 1985), containing musical portraits by Virgil Thomson with eighteen drawings of the same subjects by Maurice Grosser, was a gift from Mary S. Jaffe who knew Thomson in New York City in the 1940s.

The passing of James B. Coover was noted in our December 2004 issue. His esteemed colleague, Carol June Bradley, offers here a personal remembrance of him:

 James B. Coover died 28 May 2004, less than a week before his
 seventy-ninth birthday. Jim was called to Buffalo in 1967 to create an
 "instant" research library for the recently expanded Music Department
 of the University of Buffalo, now a "University Center" within the
 State University of New York. His success resulted in a well-respected
 departmental music library always located within the music building
 rather than segregated from it--as several administrators endorsed
 over the years. The issue was finally laid to rest in 1981 when the
 Music Department relocated into its newly constructed building on the
 university's new campus, where the music library occupies the entire
 first floor of the four-story building. Some would argue that victory
 to be a major memorial to a distinguished academic career.
 Born 3 July 1925 in Jacksonville, Illinois, Jim moved to Colorado as
 a child. After high school, he joined the army and served in the
 Battle of the Bulge during World War II. After the war, he attended
 the University of Northern Colorado, Greeley, on the GI Bill,
 supplementing his income by playing in dance bands in Colorado and
 Nebraska. After graduation, he worked at the Bibliographical Center
 for Research, Rocky Mountain Region in the Denver Public Library,
 while attending library school at the University of Denver. During
 that period, he collected data that became his Music Lexicography,
 first issued as "Bibliography of Music Dictionaries" in 1952, then
 under the imprint of the Bibliographical Center (1958), and finally in
 a third edition (1971).
 The first edition of his Lexicography doubtless impressed the
 selectors at Vassar College searching for a successor to George
 Sherman Dickinson, developer of the music library there. At
 considerable personal and family sacrifice, Jim relocated across the
 country in 1953 to begin a significant tenure as music librarian of
 Vassar College. During that period, he identified a major obstacle to
 the discographical control of the short compositions issued as
 anthologies of Medieval and Renaissance music on 33 1/3 rpm records.
 With colleague Richard Colvig, he published Medieval and Renaissance
 Music on Long-Playing Records (1964), and a supplement (1973).
 Meanwhile he was collecting data for the series of bibliographical
 studies issued during his Buffalo years. The last of those, Private
 Music Collections ... was published in 2001. (During the last year of
 his life, he regretfully discarded data collected for future
 projects.)
 A detailed study of the English auction firm, Puttick and Simpson,
 required extensive research in both the U.S. and England. That work
 was published in 1988 as Music at Auction.... An interest in the
 piracy of musical editions led to the 1985 compilation Music
 Publishing, Copyright, and Piracy in Victorian England.
 The elusive nature of ephemera, including the publishers' catalogs
 with which he worked throughout his career, led to a deep concern for
 the protection of other formats of fleetingly available materials.
 That concern resulted in several unique collections in the SUNYAB
 Music Library, including an extensive poster collection, and runs of
 musical programs.
 During the Vassar years, he worked tirelessly for the Hudson Valley
 Philharmonic Orchestra. In addition to playing timpani in the
 orchestra, he was personnel manager and special concerts manager. In
 Buffalo, as professor of music, he actively participated in the
 affairs of the Music Department. He was recognized as a 'good citizen'
 of the department for his willingness to accept tough committee
 assignments.
 Jim was fun to work with. For more than 35 years we shared an
 office--sometimes cramped, sometimes commodious--but even on the
 grimmest days, we somehow managed some laughter. From his dance band
 years, he retained the lyrics of popular music's worst songs, which he
 sang--in the office, in the car, walking to meetings. It would become
 necessary to say, 'Jim, don't sing!' You could talk anything over with
 him; he saw the crux of the issue and suggested tactics, solutions. He
 was probably the most polite person I've ever known, a training he
 credited to his mother.
 Jim refused to capitulate to the whims of inept library
 administrators. Buoyed by his own high standards and dignity, he
 persevered until his personal standards were met. He took great
 pleasure in the successes of our double master's program graduates. He
 would be especially pleased that the editor of this journal was that
 program's first graduate.

Albi Rosenthal, who died in Oxford on 3 August 2004, was the preeminent antiquarian music dealer of his day. Born into a major bookselling dynasty in Munich on 5 October 1914, he moved to London in the early 1930s. Here he acquired in 1955 the firm of Otto Haas, successor to Leo Liepmannsohn. Through his friendship with Richard S. Hill, his shop on Belsize Park Gardens became the British agent for Notes during its early years. His scholarship was impeccable, appropriate to his musical tastes in the Three M's: Monteverdi, Mozart (whose thematic catalog he edited with Alan Tyson), and Mendelssohn (whose original manuscripts are now in collections from Oxford to Chicago, thanks to him). Many other treasures, including much of the Alfred Cortot collection, came to America through his efforts. His many close friends and customers included the great collectors, Paul Hirsch, Genevieve Thibault, Robert Owen Lehmann, and James J. Fuld among them. Those of us who were fortunate to know him will always remember his erudition (vast but powerful in its understatement), humor (gentle and unexpected), and kindness (thoughtful for its being gratuitous).

D. W. KRUMMEL

University of Illinois, Urbana