Notes: a sixtieth birthday retrospective.
Krummel, D.W.
Forty years ago, the late Frank Campbell, editor of Notes, needed
an essay celebrating the journal's first twenty years. These were
dark days for both the association and its journal: funds were short,
and the vision was strong but not confident. Implicit in my assignment
was the case for the journal to continue. (1) My sequel twenty years
later reflected a happier time: (2) the journal was still highly
respected, but the crisis that lay behind the 1962 essay had passed. For
the present third essay, the news is still good: if there is a crisis at
all, it is partly caused by success. (3) The editorial practices have
been worked out, and special features have been added, removed, revised,
or deleted in orderly and convincing fashion. The turnover in editorial
staff has been continuous and inconspicuous (editorial staff are
recognized in table 1 (4)). The page count put on weight, then went on a
diet. Advertisers, knowing that Notes readers come to remember their
names and look for their new titles, have remained steady in their
support. While other timely features (as listed in table 2) have served
the special needs of many readers, it is the articles and reviews that
have characterized the journal.
Back in 1962 I proposed that the setting in the music world, which
makes up the community of readers in the music library, was solid; but
that the setting in the library world, which provides the administrative
context for the music library, needed attention. In 1982 I thought the
reverse was true. For this third retrospective, are there problems?
Reviewing the contents of the last twenty years, and in the light of
changes in the music world of today, there probably are, although they
are hard to define, let alone address. Music librarians are well aware
of them, and Notes is part of the answer, at least to the extent that
the problem has a solution. Few of us expect things twenty years from
now to be propitious in quite the same way as they are now.
Both the music world and the library world continue to spin out of
control. (So what is new?) The one has seen a proliferation of writings,
kinds of interests, and communities of knowledgeable readers. The other
has seen a proliferation of practices for addressing technical library
practices. (The music library was such a safe and happy place in the
1950s: say this to the old-timers and watch them laugh!)
Other professional organizations have also proliferated, and caught
the eyes of music librarians. In music, the American Musicological Society (AMS) is still the next-door neighbor, partly because its
members are our most numerous and supportive readers and contributors.
But the Society for American Music (SAM), formerly the Sonneck Society,
reflects a long-standing special interest of music libraries. Other
music groups--the College Music Society (CMS), the Society for
Ethnomusicology (SEM), and International Association for the Study of
Popular Music (IASPM) most notably, and many other delimited groups--are
in the wings. In the library world, the American Library Association
(ALA, as well as its components like ACRL and PLA) has been the obvious
counterpart to AMS, but its primacy is being shared with the American
Society for Information Science (ASIS). Music librarians today,
furthermore, often find their kindred spirits in the International
Association of Music Libraries, Archives, and Documentation Centres
(IAML), or the Music OCLC Users Group (MOUG), the Association of
Recorded Sound Collections (ARSC), or even the Art Library Association
of North America (ARLIS-NA). The litany of acronyms makes it clear:
while Notes has many good neighbors, it lives in its own home.
The articles in Notes--in the beginning usually two per issue,
averaging about ten pages each--have been the most conspicuous section
of the journal. (5) A survey of the essays, arranged by broad topics to
provide a scanning list of sorts, will suggest the content of the
journal:
MLA Activities. The parent organization reported on its activities
in a Supplement for Members between 1947 and 1964; these reports resumed
in 1969 in a newsletter, which continues publication today in electronic
form. (6) The association's activities often stand to benefit from
the larger audience of Notes itself. Thus the most important general
reports have been published in Notes, among them the final report from
the association's Ad Hoc Task Force on Plan 2001 Implementation
(58, no. 2 [December 2001]: 272-90), Mary Wallace Davidson's report
from the Self-Study Steering Committee (53, no. 4 [June 1997]:
1092-1105), and David Lesniaski's profile of the membership (56,
no. 4 [June 2000]: 894-906).
Music Librarianship in General. Other essays have addressed the
music library as an institution in general. Mary Wallace Davidson wrote
on the challenges of American music libraries in the nineties (50, no. 1
[September 1993]: 13-22). To celebrate the new millennium, Notes editor
Richard Griscom, assisted by Amanda Maple, prepared a special issue,
Music Librarianship at the Turn of the Century (56, no. 3 [March 2000]),
with essays by Daniel Zager ("Collection Development and
Management"), John Shepard ("Preservation"), A. Ralph
Papakhian ("Cataloging"), H. Stephen Wright
("Technology"), Mary Wallace Davidson ("Copyright"),
David Lasocki ("Reference"), John E. Druesedow
("Reference Sources"), Leslie Troutman ("User
Education"), George Sturm ("Music Publishing"), Tom Moore
("Sound Recordings"), John and Jude Lubrano ("The
Antiquarian Music Market"), R. Wayne Shoaf ("Archives"),
and Jean Morrow ("Education for Music Librarianship"). (The
issue was also published separately as a book by Scarecrow Press in
2000.) Diane Parr Walker further updated the plausible future in
"Music in the Academic Library of Tomorrow" (59, no. 4 [June
2003]: 817-27).
History of the American Music Library Community. Carol June Bradley
recalled America's early music librarians (43, no. 2 [December
1986]: 272-91), and two leaders in particular: Edward N. Waters (50, no.
2 [December 1993]: 485-501), long at the Library of Congress and
eventually chief of the Music Division, also briefly an editor of Notes;
and William J. Weichlein (51, no. 4 [June 1995]: 1254-59), longtime
factotum of MLA. Patricia Elliott and Mark Roosa prepared a bibliography
of Vincent Duckles (44, no. 2 [December 1987]: 252-58), while Danette
Cook Adamson and Mimi Tashiro celebrated the early leaders in the
California music library world (48, no. 3 [March 1992]: 806-35), and
John Anderies discussed the work of Ethel Louise Lyman at Indiana
University (59, no. 2 [December 2002]: 264-87). (7)
Major Music Libraries. Libraries have many great stories to go with
their collections, and it is always a pleasure to learn about them. Thus
we now have important histories by J. Rigbie Turner on the Pierpont
Morgan Library (55, no. 2 [December 1998]: 283-326, and no. 3 [March
1999]: 547-82), by Jane Gottlieb on the Juilliard School library (56,
no. 1 [September 1999]: 11-26), by Carol June Bradley and James Coover
on the State University of New York at Buffalo (57, no. 1 [September
2000]: 21-45), and by Mary Wallace Davidson on Indiana University (59,
no. 2 [December 2002]: 251-63). Kathleen McMorrow ingeniously tells the
story of music at the University of Toronto through two scores acquired
for the collection there (59, no. 1 [September 2002]: 9-19).
Interesting discoveries abroad continue to fascinate. A few involve
displacements that are still being discovered from World War II, among
them Christoph Wolff's reports on two Berlin libraries, one the
Spitta collection in Lodz (46, no. 2 [December 1989]: 311-27), the other
in Kiev (58, no. 2 [December 2001]: 259-71), and Brian Mann's on
Italian partbooks from Berlin now in Cracow (49, no. 1 [September 1992]:
11-27). Other essays described important materials for scholars, among
them David A. Day's on manuscript scores at Covent Garden (44, no.
3 [March 1988]: 456-62), Jeanice Brooks's on Nadia Boulanger's
Nachlass (51, no. 4 [June 1995]: 1227-37), and Richard G. King's on
Victor Schoelcher's Handel library, also in Paris (53, no. 3 [March
1997]: 697-721). Tom Moore has reported on the major collection of
Brazilian piano music in the Biblioteca Alberto Nepomuceno in Rio de
Janeiro (57, no. 1 [September 2000]: 59-87). Albert Cohen discusses a
French singer's library, ca. 1740 (59, no. 1 [September 2002]:
20-37); and Bruce Gustafson the music of Madame Brillon, from Benjamin
Franklin's circle during his sojourn in France (43, no. 3 [March
1987]: 522-43).
Special Holdings in Music Libraries. The holdings of American
libraries are still often not as well known as they should be, and Notes
is obviously the appropriate site for the reports, for instance, by Joan
Evans on the Hans Rosbaud Library at Washington State University (41,
no. 1 [September 1984]: 26-40); David L. Sills on the Ernest Bloch
manuscripts at Berkeley (42, no. 1 [September 1985]: 7-21) and at the
Library of Congress (42, no. 4 [June 1986]: 727-53); Mark Evan Bonds on
the Albert Schatz Collection of Opera Librettos at the Library of
Congress (44, no. 4 [June 1988]: 655-95); Samuel F. Pogue on unpublished
letters of Leopold Stokowski (46, no. 1 [September 1989]: 25-36);
Richard Jackson on Gottschalk sources (46, no. 2 [December 1989]:
352-75); David Demsey on the Alec Wilder Archive at the Eastman School
of Music (46, no. 4 [June 1990]: 919-27); Brian Mann on the collection
of Venezuelan pianist and composer Teresa Carreno at Vassar (47, no. 4
[June 1991]: 1064-83); Peter G. Laki on a newly discovered early Kodaly
manuscript (49, no. 2 [December 1992]: 28-38); Ross W. Duffin on a
Jacobean catch manuscript at Case Western Reserve University (49, no. 3
[March 1993]: 911-24); Christopher Hailey on the Paul Bekker Collection
at Yale (51, no. 1 [September 1994]: 13-21); the late Calvin Elliker on
a Liszt autograph at the University of Michigan (51, no. 4 [June 1995]:
1238-53); Stephen McClatchie on the Gustav Mahler-Alfred Rose Collection
at the University of Western Ontario (52, no. 2 [December 1985]:
385-406); Richard Charteris on Purcell manuscripts in the Clark Memorial
Library at UCLA (52, no. 2 [December 1995]: 407-21); James Grymes on the
Ernst von Dohnanyi Collection at Florida State University (55, no. 2
[December 1998]: 327-40); John Koegel on musical sources from Spain and
colonial Mexico in the Sutro Branch of the California State Library in
San Francisco (55, no. 3 [March 1999]: 583-613); Paul Corneilson on a
Grieg autograph in Blue Mounds, Wisconsin (56, no. 4 [June 2000]:
907-14); George Boziwick on the Henry Cowell materials at the New York
Public Library (57, no. 1 [September 2000]: 46-58); Calvin Elliker on
the Thomas A. Edison Collection of Early American Sheet Music at the
University of Michigan (57, no. 3 [March 2001]: 555-73); and Robert Shay on a Purcell manuscript at Yale (57, no. 4 [June 2001]: 819-33). In
"Marking the Way," John Bewley discussed the significance of
the annotations in Eugene Ormandy's scores at the University of
Pennsylvania (59, no. 4 [June 2003]: 828-53), while Peter Bergquist
uncovered and described Johann Eccard's tribute to Orlando di Lasso at Concordia Seminary in St. Louis (60, no. 3 [March 2004]: 601-12).
Music Centers. Among the recent happy events has been the attention
paid to special research institutes, mostly on American music topics and
with major collections. Essays describe the activity at the Popular
Culture Library and Sound Recordings Archive at Bowling Green State
University, by Bonna J. Boettcher and William L. Schurk (54, no. 4 [June
1998]: 849-59); at the Center for Popular Music at Middle Tennessee
State University, by Paul F. Wells (54, no. 4 [June 1998]: 860-72); at
the John Philip Sousa Archives for Band Research at the University of
Illinois, by the late Phyllis Danner (55, no. 1 [September 1998]: 9-25);
and at the Center for Black Music Research at Columbia College in
Chicago, by Suzanne Flandreau (55, no. 1 [September 1998]: 26-36).
New Activities in the Music Library. Among the new areas are
computers, and Robert Skinner's piece on microcomputers in the
music library (45, no. 1 [September 1988]: 7-14) has good points in it
(surprisingly, in that it predates the Internet!). Lenore Coral and
others had a bit earlier discussed the automation requirements for music
information (43, no. 1 [September 1986]: 14-18), (8) while Deborah
Campana, in the early days of the association's electronic mailing
list, MLA-L, wrote on the written information flow among music
librarians (47, no. 3 [March 1991]: 686-707). The delivery of digitized
sound over the Internet was surveyed by Richard Griscom (59, no. 3
[March 2003]: 521-41), and Yale Fineman discussed the electronic
publishing of dissertations (60, no. 4 [June 2004]: 893-907). Such
articles may soon be obsolete (although they will surely be studied
someday as part of the history of music library technology), but this
makes them all the more important now.
Collection development also emerged as a formal activity in music
libraries. (In earlier times, we bought the scores, books, and records
that we thought we might need; now we do things--when we have
money--that fit within the conditions spelled out in policy statements.)
Institutional cooperation led to a report on describing and assessing
the national music collection by Joan Kunselman, Peggy Daub, and Marion
Taylor (43, no. 1 [September 1986]: 7-13). Preservation has also become
more formal. (In earlier times, we worried and used scotch tape, Gaylord
binders, or Gamble hinges; now we do things--when we have money--that
reflect scientifically tested practices.) In Notes, Sion M. Honea
described preservation at the Sibley Music Library (53, no. 2 [December
1996]: 381-402); Brenda Nelson-Strauss discussed preserving collections
of recorded sound (48, no. 2 [December 1991]: 425-36); while Jim
Farrington wrote on preventive maintenance for audio tapes and discs
(48, no. 2 [December 1991]: 437-45).
Music Cataloging and Classification. The main internal activity in
libraries has always been the control of its collections, and music
cataloging--legendarily awkward in our book-oriented settings--has been
much discussed. David H. Thomas and Richard P. Smiraglia examined
definitions of the "musical work," and the relationship of the
work to its physical "instantiations" in cataloging (54, no. 3
[March 1998]: 649-66); Smiraglia also discussed these implications in
the broad terms of information retrieval (58, no. 4 [June 2002]:
747-64). The MLA Music Thesaurus Project Working Group reported on its
work to develop a thesaurus for music (45, no. 4 [June 1989]: 714-21),
and five years further on Harriette Hemmasi elaborated on the thesaurus
concept (50, no. 3 [March 1995]: 875-82). In a study of classification
systems of the nineteenth and twentieth centuries, Calvin Elliker used a
Schenkerian approach to look at how they tend to organize scores (50,
no. 4 [June 1994]: 1269-1320). In a study of music metadata and
authority control (57, no. 3 [March 2001]: 541-54), Sherry L. Vellucci
introduced another new important concept in systems planning.
Music Reference Services. Work with readers has always been a joy,
partly because the readers themselves will justify the importance of
music libraries, partly because they are interested so passionately in
so many widely different musical things. The late Leslie Troutman was
among the first to discuss Internet sources for music librarians (51,
no. 1 [September 1994]: 22-41), which David Lasocki later developed (56,
no. 4 [June 2000]: 879-93). Public libraries have not supported Notes
and MLA as well as their academic counterparts have, but in reference
work it is understandably the ideal of the public library that has
always prevailed.
Within academia, however, the support for study and writing has
been greater, and Notes has thus been the beneficiary of studies like
that by Amanda Maple, Beth Christensen, and Kathleen A. Abromeit on
undergraduate information literacy in music, followed in the same issue
by Mark Germer's discussion of the benefits of collaboration
between applied faculty, librarians, and students in a course of study
(52, no. 3 [March 1996]: 744-53, 754-60). Beth Christensen, Mary Du
Mont, and Alan Green discussed the assessment of reference service in
academic music libraries (58, no. 1 [September 2001]: 39-54). Deborah
Pierce introduced two essays on music information literacy in volume 60,
no. 3 (March 2004): 613-15: Beth Christensen on weaving the practice
into an undergraduate music curriculum, ("Warp, Weft, and
Waffle," 616-31), and Kathleen A. Abromeit and Victoria Vaughan on
their work with the Oberlin Opera Theater ("Info Lit and the
Diva," 632-52).
Reference Sources. A range of compilations and evaluative essays
have served the needs of reference librarians and scholars. Robin A.
Leaver addressed the genre of hymnals and hymnal companions with a view
to library collection development (47, no. 2 [December 1990]: 331-54).
David Littlejohn surveyed opera reference sources (51, no. 3 [March
1995]: 843-64), while Barry Kernfeld and Howard Rye discussed recent
discographies of jazz, blues, and gospel (51, no. 2 [December 1994]:
501-47, and no. 3 [March 1995]: 865-91). Marc-Andre Roberge discussed
piano reductions by major composers of orchestral music written by
others (49, no. 3 [March 1993]: 925-36), while Thomas F. Heck helped us
all celebrate the quincentenary operas on the Columbus story (49, no. 2
[December 1992]: 474-97). Less important as a list than as a splendid
help in using lists, and in understanding jazz musicians in general, was
Rick McRae's lexicographic exploration of jazz slang (57, no. 3
[March 2001]: 574-84). To help compilers and publishers, MLA proposed
guidelines for preparing music reference works (50, no. 4 [June 1994]:
1329-38).
In the new world of electronic sources, Michael Colby evaluated the
music coverage in general periodical databases (54, no. 1 [September
1997]: 27-37), while Martin D. Jenkins examined the music subject
indexing in Music Index Online, International Index of Music
Periodicals, and RILM Abstracts of Music Literature (57, no. 4 [June
2001]: 834-63). Kerala J. Snyder presented a case for the publication of
music scholarship in electronic journals (58, no. 1 [September 2001]:
34-38), and Yale Fineman for the need for music Internet megasites (58,
no. 3 [March 2002]: 504-10).
Landmark Reference Works. Separate from the book reviews, a few
major sources have been the subject of special essays, often by their
main editors. Thus, the preparations for publication of the New Grove
Dictionary of American Music were described by H. Wiley Hitchcock (41,
no. 3 [March 1985]: 467-70), and Stanley Sadie presented a history of
the Grove dictionaries, with emphasis on the second edition of the New
Grove (57, no. 1 [September 2000]: 11-20). In an essay entitled
"Defining Music" (43, no. 4 [June 1987]: 751-66), Don Michael
Randel discussed his 1986 edition of the New Harvard Dictionary of
Music. The first volume of the Sachteil of the new edition of Die Musik
in Geschichte und Gegenwart was reviewed by Mark Germer (52, no. 1
[September 1995]: 39-44), and among major scholarly editions, Wolfgang
Rehm discussed various editorial aspects of the Neue Mozart-Ausgabe (48,
no. 1 [September 1991]: 11-19).
Other reference projects led to bibliographical lists. Marita P.
McClymonds and Diane Parr Walker described the U.S. RISM libretto program (43, no. 1 [September 1986]: 19-35), and Raoul F. Camus
discussed his compilation Early American Wind & Ceremonial Music,
1636-1836, phase two of The National Tune Index (52, no. 3 [March 1996]:
723-43). The vast torso of "The Mysterious WPA Music Periodical
Index" was explored by Dena J. Epstein (45, no. 3 [September 1989]:
463-82).
Musicians and Musical Life. Work in music libraries often leads to
essays in which the sources need to stand out in their own right. A
number of pieces have thus appeared on musical topics, several being on
composers: Michael Beckerman interviewed Jarmil Burghauser on Janacek
and editorial practices in that composer's collected edition (41,
no. 2 [December 1984]: 249-58); Karl Kroeger wrote on
early-twentieth-century American composer and pianist Daniel Jones (41,
no. 3 [March 1985]: 471-82) and, with Joan R. Callahan, on early
American Nathaniel Billings (60, no. 2 [December 2003]: 377-92); Austin
Clarkson gave us a brief catalog of Stefan Wolpe's works (41, no. 4
[June 1985]: 667-82); H. Wiley Hitchock on the original and revised
versions of Ives's The Unanswered Question (44, no. 3 [March 1988]:
437-43); Albert Cohen, Carl B. Schmidt, and Bruce Gustafson on the
complex relationships among the works of Lully, and resulting
misattributions in Schneider's Lully thematic catalog (44, no. 1
[September 1987]: 5-39); Sabina T. Ratner on Saint-Saens's Suite
for Cello and Piano, op. 16 (48, no. 1 [September 1991]: 20-25); Alain
Frogley on Ralph Vaughan Williams in America (48, no. 4 [June 1992]:
1175-92); Albert Cohen on music at the French court in the baroque era
(48, no. 3 [March 1992]: 767-805, and 49, no. 4 [June 1993]: 1390-94);
Michael Beckerman on Henry Edward Krehbiel and Dvorak's symphony
"From the New World" (49, no. 2 [December 1992]: 447-73);
JoAnn Taricani on the Herwarts, early Augsburg patrons (49, no. 4 [June
1993]: 1357-89); John Mangan on Ukrainian composer and conductor Thomas
de Hartmann (53, no. 1 [September 1996]: 18-29); George S. Bozarth on
"The Origins of Brahms's 'In stiller Nacht'"
(53, no. 2 [December 1996]: 363-80); a whole issue on Kurt Weill (56,
no. 2 [December 1999]), including Giselher Schubert and Edward Harsh on
the editorial priciples of The Kurt Weill Edition (pp. 340-43), Stephen
Hinton on editing Die Dreigroschenoper (pp. 319-30), and Joel Galand on
reconstructing the Broadway operetta The Firebrand of Florence (pp.
331-43); Ned Quist on the legacy of Joseph Schillinger (58, no. 4 [June
2002]: 765-86); H. Colin Slim on a Stravinsky photograph-autograph at
the University of British Columbia (59, no. 3 [March 2003]: 542-55); and
Vassilis Vavoulis on seventeenth-century Venetian musical life as
preserved in the Massi correspondence in Hannover (59, no. 3 [March
2003]: 556-609).
Music Bibliography in General. Bibliography means many things: it
may be a dumping ground, but it is an immensely important and useful
dumping ground. David Hunter surveyed achievements in music bibliography
in the preceding fifty years, and made suggestions for the next fifty on
the occasion of Notes' fiftieth birthday (50, no. 1 [September
1993]: 23-38). My tribute to Otto Albrecht, in the form of a brief
discourse on degressive music bibliography, brings out the differences
between catalogs and bibliographies (56, no. 4 [June 2000]: 867-78).
Among the specialized essays were Michael Ochs on the wit and wisdom of
nineteenth-century German musicologist Robert Eitner (48, no. 4 [June
1992]: 1216-24); Frances Barulich and James J. Fuld on his exhibition of
music graphics by famous artists (43, no. 2 [December 1986]: 259-71),
and Mary Prendergast on the University of Virginia's Lifting Every
Voice exhibition (60, no. 2 [December 2003]: 393-406); Jan LaRue, with
Jeanette B. Holland, on "Biblioprotocol," including a glossary
of German terms useful in music libraries (42, no. 1 [September 1985]:
29-35), and with David Cannata on the need for incipits to identify
musical works (50, no. 2 [December 1993]: 502-18), and with Amy Daken on
the 1859 thematic catalog of Thaddaus Freiherr von Durniz (50, no. 4
[June 1994]: 1321-28); and John Lubrano on music antiquarian dealers and
librarians (47, no. 1 [September 1990]: 21-27). An MLA group headed by
Kent Underwood prepared archival guidelines for music publishers (52,
no. 4 [June 1996]: 1112-18), and Edward J. Hathaway on state archives of
local music (45, no. 3 [March 1989]: 483-94). Michael Ochs further
reflected on his experience as editor for a major American book
publisher by discussing "What Music Scholars Should Know About
Publishers" (59, no. 2 [December 2002]: 288-300).
Early Music Printing and Publishing. The topic was long central to
the focus of academic musicology, and hence the presentations in Notes
have been of distinguished scholarship. These include Mary S. Lewis on
Zarlino's theories of text underlay (42, no. 2 [December 1985]:
239-67) and on the contexts of sixteenth-century Italian music books
(46, no. 4 [June 1990]: 899-918); Jane A. Bernstein on early Scotto
editions (42, no. 3 [March 1986]: 483-501); Donna T. Cardamone and David
L. Jackson on the printing of the Susato first edition of Lassus's
opus 1 (46, no. 1 [September 1989]: 7-24); Michele Fromson on sources
for the sixteenth-century motet (52, no. 1 [September 1995]: 45-54);
Jeremy L. Smith on "The Hidden Editions of Thomas East" (53,
no. 4 [June 1997]: 1059-91); and Richard Charteris on an Adam
Gumpelzhaimer collection (58, no. 3 [March 2002]: 511-35).
Later Music Printing and Publishing. In generally chronological
order, the articles have been by David Hunter on the printing of English
opera and song books, 1703-26 (46, no. 2 [December 1989]: 328-51), and
on their publishing (47, no. 3 [March 1991]: 647-85), and with Rose
Mason on Handel subscription lists (56, no. 1 [September 1999]: 27-93);
James J. Fuld on songs from Messiah published during Handel's
lifetime (45, no. 2 [December 1988]: 253-57); Patricia Stroh on the
Artaria edition of Beethoven's Piano Sonatas, op. 2 (57, no. 2
[December 2000]: 289-329, and 60, no. 1 [September 2003]: 46-129);
Calvin Elliker on an early-nineteenth-century French guitar method (58,
no. 3 [March 2002]: 491-503); and Erik Stenstadvold on a French
periodical of the 1820s with music for voice and guitar (58, no. 1
[September 2001]: 11-33); Hans Lenneberg on early-nineteenth-century
music printing (41, no. 2 [December 1984]: 239-48) and on the early
history of the miniature score (45, no. 2 [December 1988]: 258-61);
Philip Olleson on Samuel Wesley and the European Magazine (52, no. 4
[June 1996]: 1097-1111); Leanne Langley, James B. Coover, and me on
Victorian music periodicals in general (46, no. 3 [March 1990]: 583-92);
Philip Gossett on the 1857 Ricordi numerical catalog (42, no. 1
[September 1985]: 22-28); Victoria Cooper-Deathridge on the Novello
stockbook of 1858-69 (44, no. 2 [December 1987]: 240-51); and James
Deaville on the C. F. Kahnt archives in Leipzig (42, no. 3 [March 1986]:
502-17).
American Music Printing and Publishing. Americana has been a
continuing interest of both Notes and MLA, and the array of essays has
extended from the first music books to the present, beginning with my
tercentenary piece on the Bay Psalm Book (55, no. 2 [December 1998]:
281-87) and J. Terry Gates on eighteenth-century publisher and
bookseller Samuel Gerrish (45, no. 1 [September 1988]: 15-22). The spicy
but sad spectacle of the recent Hopkinson manuscript
"discovery" is exposed by a gaggle of music library types
(Gillian Anderson, Kathryn Miller Haines, Deane Root, Kate Van Winkle
Keller, Jean Wolf, and Brad Young) in "Forgery in the Music
Library: A Cautionary Tale" (60, no. 4 [June 2004]: 865-92). From
the nineteenth century, Harry Eskew wrote on an 1847 Tennessee tunebook
(58, no. 2 [December 2001]: 291-301) and Steven Saunders on the
publication history of Stephen Foster's "Massa's in de
Cold Ground" (43, no. 3 [March 1987]: 499-521). Music periodicals
of the period were discussed by Mary Wallace Davidson (54, no. 2
[December 1997]: 371-87), while Bonny H. Miller called attention to the
music that was published in general periodicals (50, no. 3 [March 1994]:
883-901). Other special genres include music issued in newspapers, as in
the New York Journal, discussed by John Graziano (48, no. 2 [December
1991]: 383-424), and American circus songsters, discussed by Jean M.
Bonin (45, no. 4 [June 1989]: 699-713). Bonlyn G. Hall wrote about the
Luther Whiting Mason-Osborne McConathy Collection of songsters at the
Library of Congress (41, no. 3 [March 1985]: 482-91), Amy Stillman about
early Hawaiian songbooks (44, no. 2 [December 1987]: 221-39). For the
twentieth century, Notes featured Carol J. Oja's essay on the Cos
Cob Press (45, no. 2 [December 1988]: 227-52), and E. Douglas
Bomberger's study of the relationship between the composer Edward
MacDowell and the publisher A. P. Schmidt (54, no. 1 [September 1997]:
11-26). Calvin Elliker discussed the genre of sheet music in general
(53, no. 1 [September 1996]: 9-17, and 55, no. 4 [June 1999]: 835-59).
Related Topics. Finally, some articles are a privilege to see in
Notes mostly because their scope is as broad and unpredictable as, well,
a good music library ought to be. Jessie Ann Owens discussed "Music
Historiography and the Definition of 'Renaissance'" (47,
no. 2 [December 1990]: 305-30); Erik D. Gooding described Plains Indian
music (55, no. 1 [September 1998]: 37-67); Nicholas Temperley spoke to
the work in editing facsimiles for performance (41, no. 4 [June 1985]:
683-88); Peter Jeffery introduced the new Solesmes chant books (47, no.
4 [June 1991]: 1039-64); Anne E. Feldman identified women composers and
patrons at the 1893 Chicago World's Columbian Exhibition (47, no. 1
[September 1990]: 7-20); Irene Heskes introduced the participation of
Jewish women in liturgical music (48, no. 4 [June 1992]: 1193-1202); J.
Peter Burkholder presented an overview of music borrowing as a field
(50, no. 3 [March 1994]: 851-70), with a bibliography on music borrowing
by Andreas Giger (pp. 871-74); and Stephen Miles explored new ways of
thinking about music in "Critics of Disenchantment" (52, no. 1
[September 1995]: 11-38) and "Critical Musicology and the Problem
of Mediation" (53, no. 3 [March 1997]: 722-50). In "Jamming
the Reception," Steven F. Pond discussed "Ken Burns, Jazz, and
the problem of 'America's Music'" (60, no. 1
[September 2003]: 11-45). No doubt these are for the most part articles
that their authors likely prepared for Notes in preference to other
journals. For all their scholarship, they are written in a missionary
spirit appropriate to the unpretentious setting of the music library.
The breathing (if such exists at all) is conspicuously less heavy in
Bonna J. Boettcher's bibliography of 137 mystery novels in
"Music and Musicians in Mystery" (59, no. 4 [June 2003]:
854-60).
Respected scholars (many of them proud to be MLA members) opted to
publish in Notes because of its emphasis on the artifacts of music
libraries, and also as a setting for essays that could be both
thoughtful and unpretentious. The supply of publishable articles for a
small but catholic audience (i.e., general but serious) has remained
fairly steady. No less important to readers are the journal's other
features: the reviews, lists, indexes, even (but most certainly) the
advertisements. Editors have agonized over the proportions for these
other features, much as the MLA Board has agonized over the funding. The
agony is needed if Notes is to celebrate and serve America's music
libraries--both their large world as social and cultural institutions,
and (insofar as this can be separated) the small world of the music
library profession as reflected in the programs of the MLA.
The reviews continue to be a problem: there is too much to cover,
and many authors, publishers, and readers suffer from the neglect. The
review sections are still the most extensive in any music journal today.
(9) Publishers issue several times more titles than Notes has room to
review, and it has not been easy to find reviewers (for new music
editions especially) who can do work that is authoritative, readable,
brief, and prompt. As for the regular lists, from the earliest issues
the music list has cited titles received for review. The book list, in
contrast, covers the world's publishing output as received and
cataloged by the Library of Congress, excepting only reprints and minor
efforts, when this can be determined. Many titles are in languages that
few Notes readers can manage, but more important, the list is a
testimony to the cause of world music, and to our increasingly urgent
need to know as much of the world as possible. As for the vast and
venerable "Index to Record Reviews," its departure is a mixed
blessing. It was much used and respected, but it was also prohibitively
costly, both to edit well and to print. Other factors are at work as
well, notably the changes in the recording industry, so as to call on
music libraries to find new ways to provide listening material.
Neverthless, the introduction of the "Sounds Recording
Reviews" column in the March 2002 issue assists music librarians in
staying abreast of new releases. As a reflection of changing times,
volume 45 saw the introduction of the "Music Software" column,
which became the "Interactive Multimedia and Software Reviews"
column in volume 50, and evolved into "Digital Media Reviews"
in volume 56. "Video Reviews," however, had a limited life
span between volumes 50 and 54.
The balance of responsibilities of the music library in providing
materials for readers, performers, and listeners, is but one of the many
ecologies of a changing profession. Other balances are no less
important: between local and world music (this is now no longer a
distinction between what is well known and unknown); between
"serious" and "popular" (whatever the difference may
be, and whatever it may matter); between the personal and the social
experience of music. These are part of the world that Notes has
reflected, and will continue to affect as well. Few of us expect things
twenty years from now to be happy in quite the same way as now, but
there is a strong faith that Notes needs to and will play a major role
in contributing to its quality.
TABLE 1: Notes Editorial Staff, 1983-2003
Editorial staff are credited for their continuous contributions to
editorial policy, stylistic decisions, and procedural processes involved
in producing Notes, in addition to their responsibilities as assistant
or column editors. Volume/issue numbers indicate periods of editorial
service.
Editors:
Susan T. Sommer, 40/1-43/4
Michael Ochs, 44/1-48/4
Daniel Zager, 49/1-54/1
Richard Griscom, 54/2-57/1
Linda Solow Blotner, 57/2-61/1
Assistant Editors:
Richard Koprowski, 40/1-40/3
Frances Barulich, 40/2-43/4
Nym Cooke, 44/1-46/1
Lise Foss, 46/1-48/2
Ruth Tucker, 46/4-48/4
Carl Leaftstedt, 48/3-48/4
Paula Hickner, 49/1-54/3
David Knapp, 49/1-54/3
Mark McKnight, 54/4-58/1
Amanda Maple, 54/4-58/2
R. Michael Fling, 58/2-
Charles Turner, 58/1-60/2
Keith Cochran, 60/2-
Book Review Editors:
Paula M. Morgan, 40/1-42/3
Richard Koprowski, 42/3-43/4
Marion Gushee, 44/1-47/1
Ann P. Basart, 47/2-48/1
Mark Germer & Marjorie Hassen, 48/2-51/1
David Hunter, 51/2-54/4
Eunice Schroeder, 55/1-58/2
David Gilbert, 58/3-
Books Recently Published:
David Sommerfield, 40/1-41/1
William C. Parsons, 41/2-42/4
Stephen Yusko, 43/1-
Rebecca Littman, 53/1-58/1
Karen R. Little, 58/2-
New (Music) Periodicals:
Stephen M. Fry, 40/2-44/2
Deborah Coclanis, 44/3-49/2
Suzanne Eggleston, 49/3-54/3
Karen R. Little, 54/4-58/1
Margaret D. Ericson, 58/2-59/1
Tracey Rudnick, 59/2-
Music Review Editors:
Nina Davis-Millis, 40/1-45/2
Frances Barulich, 40/2-53/2
Darwin F. Scott, 53/1-
Music Received:
Ruth Watanabe, 40/1-53/1
Laura M. Snyder, 53/2-57/2
Linda Blair, 53/2-55/2
Sion M. Honea, 53/2-55/1
David Knapp, 57/3-
Music Publishers' Catalogs:
George R. Hill, 40/1-
Music Price Index:
George R. Hill and Joseph Boonin, 40/3-43/3
Calvin Elliker, 52/3-57/3
Brad Short, 58/2-60/2
Record Reviews Index (since 44/1, "CD Reviews Index"):
Kurtz Myers, 40/1-43/4
Richard LeSueur, 44/1-48/4
Paul Cauthen and Mark Palkovic, 49/1-54/1
Sound Recording Reviews:
Rick Anderson, 58/3-
Audio and Video Equipment Reviews Index:
Arne Jon Arneson & Stuart Milligan, 41-48
Bonna J. Boettcher & Shelley L. Rogers, 49-51
Music Software:
Robert Skinner, 45/3-49/4
Interactive Multimedia and Software Reviews:
Charlotte Crockett, 50/1-55/2
Stephen Davison, 55/3-56/3
Digital Media Reviews:
Stephen Davison, 56/4-59/2
Alec McLane, 59/3-
Video Reviews:
Charles Croissant, 50/1-50/3
James Cassaro, 50/4-54/4
Obituary/Necrology Index (June issues):
Karen M. Nagy, 40-48/4
Mimi Tashiro, 49/4-54/3
Nathan Eakin, 54/4-57/2
Paul Hahn, 57/3-
Index:
Diane Parr Walker, 40-43
Karen R. Little, 44-50
Bonna Boettcher, 51-55
Martin D. Jenkins, 56-
Advertising:
Christine Hoffman, 40/1-44/4
Susan C. Dearborn, 45/1-
TABLE 2: The Changing Content of Notes
Total numbers and pages*
5 15 25
Vol. (1947-48) (1957-58) (1968-69)
Total pages 590 680 912
Articles (number) 14 4 12
Articles (pages) 266 45 67
Notes for Notes 7 19 15
Book reviews (number) 93 78 104
Book reviews (pages) 78 70 114
Book list (pages) 13 88 96
New periodicals 0 0 0
Music reviews (number) 63 52 70
Music reviews (pages) 51 75 138
Music list (pages) 30 62 47
Music publishers' 0 0 17
catalogs[double dagger]
Music price index 0 0 0
Forthcoming editions and reprints 0 0 17
Record reviews index (pages) 40 196 146
Equipment reviews index 0 0 0
Music Software
Interactive Multimedia and Software 0 0 0
Reviews[dagger]
Digital Media Reviews[dagger]
Music Obituary/Necrology Index 0 0 5
Volume Index 0 0 13
Advertising 93 120 187
Miscellaneous (pages) 12 5 50
35 45 55
Vol. (1978-79) (1988-89) (1998-99)
Total pages 1075 936 1096
Articles (number) 14 9 9
Articles (pages) 226 106 211
Notes for Notes 16 12 14
Book reviews (number) 86 52 150
Book reviews (pages) 114 100 271
Book list (pages) 57 56 116
New periodicals 13 8 5
Music reviews (number) 83 75 39
Music reviews (pages) 106 110 124
Music list (pages) 64 58 58
Music publishers' 40 24 24
catalogs[double dagger]
Music price index 0 0 13
Forthcoming editions and reprints 0 0 0
Record reviews index (pages) 160 224 0
Equipment reviews index 0 23 0
Music Software
Interactive Multimedia and Software 0 0 14
Reviews[dagger]
Digital Media Reviews[dagger]
Music Obituary/Necrology Index 9 10 13
Volume Index 12 12 17
Advertising 167 142 165
Miscellaneous (pages) 91 51 51
* To compare these totals closely one needs to consult the copies,
where the differences will come into context. The "Music reviews
(number)" totals, for instance, often cover a number of titles in a
single review. The articles in vol. 5 take up an unusual number of pages
because of Alfred Einstein's addenda to Vogel's Bibliographie des
gedruckten Vokalmusik italiens (87 pp.) and the landmark "Bibliography
of East Asiatic Musics" (46 pp.). both spread over several issues; and
the "Audio-Visual Matters" sections by Philip L. Miller and Kurtz Myers
(15 pp.). "Miscellaneous (pages)" includes administrative matter such as
MLA financial statements, preliminary pages, and letters to the editor.
[double dagger] Vol. 25 included also dealers catalogs. In earlier
volumes, new publishers' and dealers' catalogs were listed in the "Notes
for Notes" column.
[dagger] "Interactive Multimedia and Software Reviews" became "Digital
Media Reviews" with vol. 56 no. 4.
1. D. W. Krummel, "Twenty Years of Notes: A Retrospect,"
Notes 21, no. 1-2 (Winter-Spring 1963-64): 56-82.
2. Ibid., "The Second Twenty Volumes of Notes: A Retrospective
Re-Cast," Notes 41, no. 1 (September 1984): 7-25.
3. The parallel with John Updike's "Rabbit"
tetralogy is curious. The spirit of the first twenty years is not unlike
that in Rabbit, Run (1960); the second twenty years in Rabbit Redux
(1971); the most recent decades in Rabbit Is Rich (1981). As for Rabbit
at Rest (1990), I may not be around, for it is the next sequel; but then
again, I have never thought of Notes as Rabbit Angstrom to begin with.
4. This list is derived from both the mastheads on the verso of the
title pages and also from the headings themselves. In many ways, the
most serious problem Notes faces is in finding staff members who know
the fields and have the time to do the work. The support of enlightened
institutions is invaluable, institutions that know how the efforts of
their employees nationally contribute to the quality of their service
locally. The names speak to major commitments of personal time and
erudite thought. Two contributors in particular, however, need to be
singled out for commitments over many years: Susan C. Dearborn, who has
handled the complex and essential dealings with advertisers since 1989,
and George R. Hill, who has compiled the "Music Publishers'
Catalogs" column over the entire twenty-year period (and in fact
extending back to 1977, and before that he compiled the
"Forthcoming Books about Music" column in 1976!).
5. These are covered by major indexing and abstracting services, as
recorded on the page preceding the table of contents of each issue.
Since December 2000, the articles (and other features, depending on the
vendors) are available electronically at sources listed there as well.
6. Issues beginning with no. 120 (March-April 2000) are available
on the MLA Web site, http://www.musiclibraryassoc.org/ (accessed 25 May
2004).
7. This is a fine article, but I am sorry that the author did not
mention the legend by which Miss Lyman was lovingly remembered by the
music library community for so many years. At an MLA meeting (never
specifically identified), during a long and heavy discussion, many of
those present woke up suddenly when she said, "When our Bach
Gesellschaft edition went down on the submarine...." Nobody to my
knowledge ever dared ask her for more details, and the archives in
Bloomington have yielded no clues. The zany event is in itself
sufficiently imaginative to have long delighted music librarians, and
deserves to be memorialized, if not as part of Miss Lyman's
biography, at least in the lore of MLA.
8. This report has been updated (rev. 29 February 2000) by the
Integrated Library Systems Subcommittee of the MLA Administration
Committee, and is now available at http://www.musiclibraryassoc.org/ at
Committees > Administration (accessed 25 May 2004).
9. Mention here should be made of the Eva Judd O'Meara Award,
honoring the journal's first editor. The award has been given each
year since 1979 to what the MLA Publications Awards Committee sees as
the best review in Notes. The recipients are listed in the MLA
Membership Handbook.
D. W. Krummel has been professor of library and information
science, and of music at the University of Illinois in Urbana. Cornelius
Pereira has provided invaluable assistance in preparing this essay.