Indiana University's William & Gayle Cook Music Library: an introduction.

Davidson, Mary Wallace

It has been said that great oaks from little acorns grow, and so it is with the William & Gayle Cook Music Library. The "acorn" first appeared about 1918, in the form of a Victrola, a player piano with plenty of rolls (then standard in supporting music appreciation courses), and a few books and scores gathered into what the first head of the Music Department, Charles Diven Campbell, "liked to call a 'musical reading room.'" (1) Three years later Dean Winfred Merrill moved the collection into glass cases in his office, under the supervision of his secretary.

The cataloged collections now consist of a total of some 560,686 items: 83,140 books and bound journals, 100,620 scores plus 222,377 performance parts, 134,640 sound recordings, 1,956 videocassettes or discs, and 17,953 microforms--but no player-piano rolls. Its growth has of course paralleled the similar burgeoning of what is now the School of Music, founded as a department in 1910, and as a school in 1921.

EARLY DEVELOPMENT

The growth of the library during its first twenty years was slow. By 1938, the first year in the new music building (now Merrill Hall), the collection numbered only 1,500 volumes, "supplemented by collections of scores and recordings." (2) Dean Robert L. Sanders wrote in his first annual report in June 1939 that the library "was little more than a good beginning and was without effective supervision." (3)

On 1 July of that year, the first full-time librarian, Ethel Louise Lyman (1893-1974), arrived to take up her position after nearly seventeen years as music librarian at Smith College in Northampton, Massachusetts.

Some of Lyman's success that followed was no doubt due to her long years of experience, and previous analytical visits to major collections elsewhere, beginning with the Sibley Music Library at the Eastman School of Music in Rochester in 1923. During a sabbatical leave in 1936 she had undertaken a survey of fifty-three American libraries, including the Library of Congress, and completed this study during the year after she left Smith College. While Sanders doubled the size of the School of Music faculty during the World War II years, Lyman increased the size of the library's collections within her first five years by nearly ten-fold, to 15,000 volumes and 3,000 sound recordings. Between 1948 and her retirement in 1959, she more than doubled the collection again, to 35,000 books, 80 sets of periodicals, more than 137,840 items of printed music, and in the Record Library 12,000 recordings plus 1,000 study scores. (4)

Lyman must have been influenced and supported in her second decade at Indiana by the legendary Wilfred Bain, dean of the School of Music from 1947 to 1973. In his view, there were three foundations, or "posts," on which a great music school must rest. The first was a "splendid" orchestra, the second a "good" department of theory, and the third, "a good library, especially of scores and recordings." (5) Bain was particularly conscious of the isolated position of the university, in the midwestern section of the United States, fifty miles from the nearest city (Indianapolis), and two hundred miles from a metropolis (Chicago) with a major orchestra and an opera company. His strategy was to assure quality by quantity. Frequently he was heard to repeat

his favorite aphorism: "It takes an awful lot of milk to get to the cream." (6) By 1960 total student enrollment had passed 700, and was still growing at a rate consistently higher than the university as a whole. (7) Lyman, too, shared that strategy in building the l ibrary's collections to support the growing faculty, student body, and curriculum.

Musicologist Carol MacClintock oversaw operations in the library on an interim basis after Lyman's retirement in 1959 until the appointment later that year of Dorothy Ann Eckstrom, who had a B.M. from Northwestern University, and was pursuing an M.A. in library science at Indiana University. In 1963, Eckstrom was succeeded as music librarian by Dominique-Rene De Lerma, whose tenure coincided with Bain's last decade as dean. By De Lerma's own admission, he knew nothing about music libraries. (8) The collections were beginning to outgrow the space, but De Lerma had other, more specialized research interests. Five years earlier he had written his doctoral dissertation at Indiana University on the early works of Mozart, (9) and he seemed to enjoy writing about the collections rather than building them, at least for the first few years. The library's catalog contains many bibliographies and finding aids that he produced on a variety of subjects. De Lerma also developed a classification system for the library's rec ordings, in use to this day, that, much like the systems in the music collections at Harvard University, keeps music together by composer, subdivided by musical genre, the notion being that students most frequently want to browse for music in collections arranged by composer, whether for research, performance, or recreation. (10)

Immediately after the assassination of Dr. Martin Luther King in 1968, the School of Music established a Black Music Committee for research on contemporary and earlier composers of African descent in Europe, Africa, and the Southern Americas. With the support of the National Endowment for the Humanities, a Black Music Center was established in 1971. De Lerma directed the center as well as the music library, but by 1975 the center was closed. (11)Its legacy is a collection of some 3,250 books, scores, and recordings in the Cook Music Library, (12) as well as the many essays, bibliographies, and music by African American composers, written, compiled, and edited by De Lerma since 1971. (13)

David E. Fenske arrived as associate music librarian in 1971, and succeeded De Lerma in 1974. He was awarded a Ph.D. degree in musicology from the University of Wisconsin-Madison in 1973 that included a minor in library science, and he also had three years' experience as assistant to the head of the music library there. He was immediately responsive to the needs of research scholars at Indiana University for both primary and secondary resources, and embarked upon a rapid expansion not only of the general collections, but also of the microfilm collections, while creating a modest collection of manuscripts and early editions. (14) His interests and greatest energy, however, soon concentrated on broadening the professional activities and scope of the music library, while playing an increasingly large role in the School of Music himself. In 1979 he established a program in music librarianship in the School of Library and Information Science, in which all music library faculty now participate in admissions, teachi ng, and mentoring, and which has yielded some sixty graduates. (15) He is perhaps best known as a forerunner among American music librarians in developing the role of technology in the service of these activities during the 1980s and 1990s.

Rather than continue a detailed historical account of the development of an increasingly large and complex music library, let us jump to a description of the institution as it stands today, a dynamic testament to Fenske's vision and energy. (16)

THE MUSIC LIBRARY'S CURRENT PRIMARY CLIENTELE

Indiana University's School of Music is considerably larger than most American schools of music. In the academic year 2000/2001, the number of full-time degree candidates stood at about 1,500, of whom 53 percent were undergraduates. An Office of Pre-College and Special Programs brings in hundreds of workshop participants, especially in the summer, who use the Cook Music Library. There are about 150 full-time faculty, yielding a student-to-faculty ratio of about ten-to-one. Degrees are offered at the undergraduate and graduate levels in twenty-two different musical instruments, voice, jazz, early music (instruments and voice), church music, musicology, theory, music education, conducting, and composition, as well as ballet, audio recording, music theater scenic techniques, and stage direction. Associate of Fine Arts degrees are offered in audio, costume, stagecraft, and string instrument technology. Performers' and artists' diplomas are also awarded. A few other degrees are offered in conjunction with other de partments in the university, for example in ethnomusicology, cognitive music theory, and arts administration. Associated with the school and populated by its faculty are Centers for Electronic and Computer Music (www.indiana.edu/~emusic), the History of Theory and Music Literature (www.music.indiana.edu/chmtl), and Latin American Music (www.music.indiana.edu/som/lamc), (17) as well as the Early Music Institute (www.music.indiana.edu/som/emi). There are seven vocal ensembles, five orchestras, four bands, three jazz ensembles, and six chamber ensembles conducted by the faculty, in addition to numerous other groups conducted by associate instructors. The Opera Theater is well known for its outstanding facilities and productions. It offers eight fully staged productions per year, each performed four times over two weeks by alternating casts. Each production is locally designed and built, coached and directed by Opera Theater faculty, accompanied by one of the school's orchestras, and presented in the 1,460-seat M usical Arts Center, generally to capacity audiences.

Because the university derives a substantial portion of its operating budget from the state, the libraries serve all citizens of the state of Indiana. Given the geographical isolation, and the specialized nature of the library's materials, however, outside use of the collections is made chiefly by serious scholars or musicians, and local graduates.

THE COOK MUSIC LIBRARY NOW

Collections

The library's holdings reflect the breadth of the School of Music's program, chiefly in Western art music, and indeed that breadth is its chief strength. The collections have been well supported over the years by budgetary allotment, but also by small gifts and funds, the largest of which was provided by Miss Lyman's estate. The library does not have an approval plan for music. Each tide is thus individually selected by a librarian from among the many lists available, and response is immediate to faculty and student requests. In general, works only by established and emerging composers of "serious" music are acquired, but every effort is made to collect comprehensively among those, including in the case of public domain works most of the available printed editions. Multiple copies are purchased as necessary, to satisfy needs as they are perceived or reported.

There is great depth in certain areas, particularly operatic scores (over 6,500) and recordings (nearly 15,000), as well as literature about opera.

Several gifts of vocal recordings were acquired from astute collectors in the 1980s, including the largest known gathering of the recorded performances of the tenor Jussi Bjorling (about 3,000 in various formats). Among these gifts there are many recordings represented that were issued privately, or issued commercially in limited editions, for example in Eastern Europe during the Cold War, or of contemporary music. Thanks to the long tenure of the scholar of twentieth-century Russian music Malcolm Hamrick Brown (b. 1929), the library has collected this genre in depth, to the extent it was obtainable.

Of greatest numerical strength are the library's chamber music collections, and the parts for larger ensembles, orchestra, and chorus represented in the Performing Ensembles Division (about 3,500 tides). Although a good estimate of the number of chamber music editions is hard to obtain, one is particularly impressed in browsing through these classifications with how well chosen and comprehensive the collections are within the parameter of established composers. Special emphasis is to be found in music before 1800, thanks to the establishment of the Early Music Institute (EMI) in 1979 by lutenist and musicologist Thomas Binkley (1931-1995), formerly of the Studio der Fruhen Musik and the Schola Cantorum Basiliensis. (18) In addition to the many modern or facsimile editions of baroque and earlier music issued in recent years, the EMI students make heavy use of monumental series and editions of composers complete works (also collected with intensity), and microfilm copies of manuscripts and early editions from E uropean libraries. The Early Music Archive (now the Thomas Binkley Early Music Recordings Archive) was established in 1989 with the help of the Andrew W. Mellon Foundation and a few recording companies, and now comprises some 5,600 titles.

Although the Cook Music Library does acquire a few rare editions on occasion, the principal collections of the university's music manuscripts and early imprints are at the Lilly Library. (19) Chief among these are collections of opera scores (manuscripts and printed editions), and first and early editions purchased from composer and critic Everett Burton Helm (1913-1999), as well as his own papers. Included among the first editions is a comprehensive collection of the works of the composers comprising Les Six (Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre). (20) Frequently consulted is the extensive collection of scores and related material by composer George Frideric Handel (1685-1759), formed by the duplicates that emerged after collector Gerald Coke purchased the library of Handel bibliographer William C. Smith (1881-1972) in 1963. Also notable are the papers and annotated scores of the Westphalian conductor Fritz Busch (1890-1951), who was director of the Dresden State Opera from 1922 to 1933, as well as the founding director of the Glyndebourne opera festivals from 1934 to 1939. (21) Distinguished among American collections of popular sheet music is the Starr Sheet Music Collection of over 100,000 items; (22) supplemented by about 24,000 items from the Sam DeVincent Collection; (23) and the sheet music, manuscripts, letters, and memorabilia of Indiana popular singer-composer Hoagy Carmichael (1899-1981). (24) Carmichael's recordings are housed alongside the large collections of ethnographic sound recordings at Indiana University's Archives of Traditional Music. (25)

Access to Collections

Essentially all the Cook Music Library's accessioned collections, in all formats, are represented in the University Libraries' online Web-based catalog, where in addition to author, title, subject, and keyword searching, users may browse in a particular Library of Congress classification area. (26) In the 1980s, Fenske was successful, together with the Associated Music Libraries Group, in acquiring federal funding for the retrospecfive conversion of all titles (with the exception of a few early local concert tapes), in a cooperative project that enriched dramatically the weak representation of music holdings in the OCLC database. (27) At the same time he sought and received additional funding for cataloging of the recently received recorded vocal music collections. Cook Music Library catalogers have typically assigned a special subject heading to each item cataloged from one of the special collections, so that a given collection--for example the Alvin M. Ehret Collection of some 28,000 recordings--may be so b rowsed through the online catalog. (28)

Most music research libraries acquire more materials than they can afford to catalog promptly, especially in recent years, and the Cook Music Library is no exception. As an antidote, acquisitions staff members enter every item that is ordered, or gift that is accessioned, into the online catalog immediately. There are three forms of entry: (1) provisional record (created by staff, or imported from library vendor databases if no OCLC record is found); (2) full record (imported from OCLC's "best" record in the judgment of the staff); and (3) full Library of Congress record. With some exceptions (course reserves, user requests, and reference), materials entered as (1) or (2) are minimally processed and go into the closed-stack "Frontlog," from which they may be paged and circulated as if fully cataloged, while those entered as (3) go directly into the cataloging workflow. Priorities for cataloging the remainder are established based on actual or anticipated use--the "actual" based on statistical reports from the integrated library system, and the "anticipated" based on the librarians' best judgments. The collection development librarian does much of the acquisitions work, with the help of a part-time assistant. The Technical Services Department has grown from one cataloger when Fenske arrived, through a large expansion during the retrospective-conversion years. now reduced to two librarians, and two staff members, assisted by students.

With such a large body of students and faculty, the library has always had a busy and active reference service--in person, by phone, by fax, and in recent years by e-mall. Under Fenske's direction, the music library pioneered in the use of technology to transform modes of library access, beginning in the mid-1980s with the use of microcomputers to create undergraduate tutorials in bibliographic instruction. (29) At just about the time the term "World Wide Web" entered library literature (1993-94), Fenske had already experimented with establishing the library's Worldwide Internet Music Resources Web page with a view toward helping students and faculty become more self-sufficient (and interactive) in their information queries. (30) He turned development of this work over to the reference staff in 1994, and in 1996 an electronic resources librarian was hired, among other reasons, to oversee all of the library's Web work (organization of information about the library, development of online forms for various purpo ses, and so forth). (31) The Worldwide Internet Music Resources site is now linked to the Web resources page of most music libraries in the United States, in some cases serving as a substitute for their own.

The library's most innovative and well-known project with respect to computer-assisted access to collections is the Variations Project. The name refers to the musical form, and was intended "to describe a system that would integrate a database of music information objects (text, images, scores, sound, and a catalog) with a graphically oriented hypermedia user interface." (32) Fenske and a collaborator from the Indiana University Department of Computer Science originally presented the idea at an international conference in 1990, (33) and at Indiana he and Jon Dunn began developing a prototype simultaneously with the appearance on the market of good high-fidelity audio hardware, streaming multimedia servers, hierarchical storage management systems, and the World Wide Web. Although Variations was initially implemented experimentally as a reserve system for sound recordings for one large course in 1995, the vision from the beginning, as suggested by the name, was eventually to provide digital access to text (libr ettos, program notes), graphic images (scores, illustrations), and eventually video files. The effort coincided with the design and construction of new and renovated space for the library, bringing collections in disparate locations together with horizontal and vertical adjacency for the first time in over thirty years. Soon after the new facility opened in January 1996, Variations was being used for all course audio reserves. Currently, over 7,000 recordings can be streamed to any of the 140 public workstations in the Cook Music Library, to one in each of the library's three seminar rooms, and to all staff workstations. The instructor's podium in a large School of Music classroom and two public workstations in the Main Library also are equipped for Variations. Over one hundred scores, chiefly operas and songs in the public domain, have been digitized as a pilot project, and can be viewed and printed by Web users worldwide. Together, the digital media objects form the beginnings of a true digital music librar y, not just a collection for course reserves. Once digitized, the scores continue to be retrievable through the online catalog, and the audio files accessible from all authorized workstations.

In September 2000 the university received a three million dollar grant from the National Science Foundation as part of its Digital Libraries Initiative--Phase 2 program, with additional support from the National Endowment for the Humanities, to create a digital music library, subsequently dubbed Variations2 in spring 2002 when its first phase was ready for demonstration. (34) The emphasis, given the auspices of the funding, is on research, design, and testing, rather than on tailoring development to a specific course or library implementation. Whereas Variations links to the university's library catalog for its metadata, Variations2 will create its own metadata to describe and navigate the extraordinarily high degree of complex relationships among musical works, their creators, performers, editors, publishers, arrangers, and the various instantiations and containers of these works (full scores, miniature scores, vocal scores, parts, arrangements, facsimiles, anthologies, recordings, etc.). System design is, o f course, a major thrust of the research, as is usability testing and feedback, music instruction, copyright, and networking with a number of satellite sites identified in the proposal.

Facilities

That first Victrola player was housed in Mitchell Hall, originally built in 1885 and renovated in the summer of 1918 for what was then the Department of Music. (35) In the first building built specifically for the School of Music in 1937 (Merrill Hall), space was set aside for the Music Library on the second floor. (36) To make room for the regular library materials Lyman was acquiring, the orchestral and choral performance materials were withdrawn and moved to a separate space on the same floor in 1950. Although small expansions occurred during the 1950s and 1960s, it finally became necessary to remove the sound recordings to the ground floor during those years. By the 1970s the print collections had outgrown their space in Merrill Hall, and all but the choral and orchestral materials were moved to a newly renovated area in the basement of nearby Sycamore Hall. Thus, the collections were spread among three separate locations in two buildings, and remained so, with slight additional renovations, for nearly a quarter of a century. (37)

Beginning in the 1980s, the School of Music embarked on a fundraising effort to build a major facility that would house both the music library and three new recital halls. As adjacent land was not readily available, the focus changed after 1985 to a major renovation of the Wendell Wright Building, originally built in 1937-38 for the University's laboratory school, and since the 1960s occupied by the Department of Speech and Hearing Sciences and the School of Education. The latter moved to new quarters in 1992, thus releasing all but 22,000 square feet. The task was to renovate existing space for staff and readers, while constructing new adjacent space with enough floor loading capacity for book stacks. The projected costs rose more than the amount available from private sources, and no state funds were awarded. A difficult decision was taken, but one of major significance for the future of the Music Library: one of the three envisioned concert halls was sacrificed to assure that the library would have enough space for future development. (38) Construction began in 1993, and the facility reopened in January 1996, having been renamed the Bess Meshulam Simon Music Library and Recital Center at a dedication ceremony in November 1995.

The library itself on the same occasion was named the William & Gayle Cook Music Library (see illustration, p. 263). It occupies 55,000 square feet on four floors, three of which are open to the public. The ten and one-half miles of shelving includes some electronically-operated mobile compact shelving in both public and staff areas. There are several types of seating and study accommodations for 375 persons, including 116 assignable carrels to which library materials may be charged. In 1999 the library incorporated a computing "cluster" of 140 workstations (72 with MIDI keyboards), all upgraded on a three-year cycle. (39)

The William & Gayle Cook Music Library has come a long way from the Victrola and the player piano of 1918. Its emphasis, however, remains the same: to provide the best possible music collections, services, and instruction, using the latest available technology, and by doing so, to create fluency in that technology, stimulating further teaching, learning, scholarship, and performance among the faculty, students, and staff of Indiana University's School of Music and beyond.

(1.) George M. Logan, The Indiana University School of Music: A History (Bloomington: Indiana University Press, 2000), 16-17.

(2.) Ibid., 53.

(3.) Ibid., 101.

(4.) Wilfred C. Bain, "Indiana University School of Music: The Bain Regime, 1947-73" (Bloomington, Ind., 1980, photocopy of typescript), 431-32.

(5.) Logan, 138; the quotation about the "good library" derives from interviews with Bain by John Wolford, contained in a collection of interviews undertaken by the Oral History Research Project, and housed in the Lilly Library at Indiana University.

(6.) Ibid., 137, quoting Professor Mary Wennerstrom, currently associate dean for instruction.

(7.) Ibid., 214.

(8.) Gene Lees, "Dr. De Lerma, I Presume," in his Cats of Any Color: Jazz Black and White (New York: Oxford University Press, 1994), 25, quoting De Lerma from an undated interview in the early 1990s.

(9.) Dominique-Rene De Lerma, "Wolfgang Amadeus Mozart: The Works and Influences of His First Ten Years" (Ph.D. diss., Indiana University, 1958).

(10.) Dominique-Rene De Lerma, "Philosophy and Practice of Phonorecord Classification at Indiana University," Library Resources & Technical Services 13 (1969): 86-92.

(11.) Robert A. Green described the research resources of the center in "Report from Bloomington: The Black Music Center at Indiana University," Current Musicology 18 (1974): 35-36; Alice Tischler reported the center's near demise in the Music Library Association Newsletter 16 (March-April 1974): 2. The research files were packed in boxes, and at this writing have not yet been located at the university.

(12.) These materials are integrated into the collection, but collocated by use of the local subject heading "Black Music Collection" in the online catalog. http://www.iucatiu.indiana.edu.

(13.) The most extensive of these is his Bibliography of Black Music, 4 vols. (Westport, Conn.: Greenwood Press. 1981-84).

(14.) See, for example, Claude K. Sluder, "The Ketcham Tune-book: Examples of 18th-Century Hymnody in Indiana," Current Musicology 23 (1977): 79-89.

(15.) This program, which offers dual degrees (M.L.S., and M.A. or M.M. with emphasis in musicology or theory), or a specialization within the School of Library and Information Science, is described and compared with other programs by J. Bradford Young, "Education for Music Librarianship," Notes 40, no. 3 (March 1984): 510-28; current information about the joint masters' degrees and the specialization is available at http://memex.lib.indiana.edu/degrees/joint/mamusic.html and http://memex.lib.indiana.edu/degrees/joint/specmusic.html, respectively (both accessed 29 April 2002).

(16.) In May of 1999 Fenske became dean of the College of Information Science and Technology at Drexel University, Philadelphia, Pennsylvania (http://www.cisdrexel.edu/).

(17.) Materials collected by the Latin American Music center are housed in the cook Music Library, and collocated in the library's online catalog with the local subject heading "Latin American music." A print catalog of the collection was published in 1995 as Scores and Recordings at the Indiana University Latin American Music Center, ed. Ricardo Lorenz, with Luis R. Hernandez and Gerardo Dirie (Bloomington: Indiana University Press, 1995).

(18.) David Lasocki, "The Several Lives of Tom Binkley: A Tribute," Early Music America 1 (fall 1995): 16-24.

(19.) A general description of the Lilly Library and contact information may be found at Indiana University Libraries: The Lilly Library, http://www.indiana.edu/~liblilly/ (accessed 29 July 2002). The music collections are briefly described at "Music," The Lilly Library: Overview of the Collections, http://www.indiana.edu/~libilly/overview/music.shtml (accessed 29 July 2002). For some insight into its manuscript music holdings, the reader may perform a search using the word "music" at The Lilly Library: Search the Lilly Website, http://www.indiana.edu/~liblilly/searchsite.shtml (accessed 29 July 2002); see also Joan O. Falconer, "Music in the Lilly Library: Handel, Opera, and Latin Americana," Notes 29, no. 1 (September 1972): 5-9. Currently only about 20 percent of that library's music holdings are represented in the university's online catalog.

(20.) See also Christina Olton Williams, "Beethoven First Editions: A Timely Acquisition," Your Musical Cue 6 (May 1970): 14-19.

(21.) Dominique-Rene De Lerma, The Fritz Busch Collection: An Acquisition of Indiana University, Lilly Library Publication, 15 (Bloomington: Indiana University Libraries, 1972); David E. Anderson, "Fritz Busch and Richard Strauss: The Strauss Scores in the Busch Nachlass," Music Review 49 (1988): 289-94.

(22.) Lilly Library, Indiana University, A Guide to the Starr Sheet Music Collection (Bloomington, 1976).

(23.) Indiana University Libraries, press release of May 1999, Crooners Take Note: Lilly Library Scales Up Its Sheet Music Collection, http://www.indiana.edu/~libadmin/pr_llmus.html (accessed 29 April 2002). The bulk of DeVincent's collection is at the Smithsonian Institution; see Smithsonian Institution, Archives Center, Sam DeVincent Collection of Illustrated American Sheet Music. ca. 1790-1980," American Music Collections, Collections and Research Aids, 300, http://americanhistory.si.edu/archives/d5300.htm (accessed 29 April 2002); the Lilly's portion comprises duplicates, plus sheet music DeVincent purchased after the transfer of his collection to the Smithsonian in 1988. It is described at, and can be searched from, http://www.indiana.edu/~liblilly/devincent.shtml (accessed 29 April 2002).

(24.) Hoagy Carmichael collections are held in several libraries at Indiana University; for an overview, and digitized images and audio files from the collection, see The Haagy Carmichael Collection, http://www.dlib.indiana.edu/collections/hoagy/ (accessed 29 April 2002).

(25.) For an overview of these collections, see Archives of Traditional Music at Indiana University, http://www.indiana.edu/~libarchm/ (accessed 29 April 2002).

(26.) IUCAT Indiana University Libraries, http://iucat.iu.edu/ (accessed 29 April 2002).

(27.) Mary Wallace Davidson, "Towards a National Program for the Retrospective Conversion of Music Records," Fontes, Artis Musicae 33 (1986): 52-59.

(28.) For a list of the Cook Music Library's special collections, and the method of access to each, see [R. Michael Fling], William & Gayle Cook Music Library: Special Collections, http://www.music.indiana.edu/collections/specia1.html (accessed 29 April 2002).

(29.) R. Michael Fling and Kathryn Talalay, "Music Bibliographic Instruction on Microcomputers," parts 1 and 2, Music Reference Services Quarterly 2 (1993): 157-63, 165-81; reprint, in Foundations in Music Bibliography, ed. Richard D. Green (New York: Haworth Press, 1993). These papers were originally presented at the Conference on Music Bibliography, Northwestern University, Evanston, Illinois, 10-11 October 1986.

(30.) William & Gayle Cook Music Library, Worldwide Internet Music Resources, http://www.music.indiana.edu/music_resources/ (accessed 29 April 2002; various sections updated at various times).

(31.) With the exception of a position for regional campus music cataloging (1989-99), this was the first addition to the library faculty since Fenske's initial expansion in the years immediately following his appointment. This faculty now consists of a Head, an Assistant Head and Collection Development Librarian, Head of Reference Services, Head of Technical Services, Sound Recordings Cataloger, and Electronic Resources Librarian. Two professionals and seven paraprofessionals bring the staff to 14.75 FTE plus student assistants.

(32.) Jon W. Dunn and Constance A. Mayer, "VARIATIONS: A Digital Music Library System at Indiana University," in DL '99: Proceedings of the Fourth ACM Conference on Digital Libraries (Berkeley, Calif., August 1999): 12-19, at http://www.dlib.indiana.edu/variations/VARIATIONS-DL99.pdf (accessed 29 April 2002; posted by permission of ACM; may not be redistributed). This article provides technical details about the system current in 1999.

(33.) Michael Burroughs and David Fenske, "variations: A Hypermedia Project Providing Integrated Access to Music Information," in ICMC Glasgow 1990, Proceedings of the International Computer Music Conference, 1990, ed. Stephen Arnold and Graham Hair (Glasgow: ICMC for the Computer Music Assoc., 1990), 221-24.

(34.) Indiana University, Digital Music Library Project, http://variations2.indiana.edu (accessed 29 July 2002). The original proposal may be found there from the link to "Overview," or directly at http://variations2/overview/proposal.html (accessed 29 July 2002).

(35.) Logan, 15-17, and figs. 3 and 5.

(36.) Ibid., fig. 11.

(37.) [R. Michael Fling], William & Gayle Cook Music Library: History and Overview, http://www.music.indiana.edu/information/description.html (accessed 5 September 2002).

(38.) Logan, 306.

(39.) Statistics about this facility, including details about computing hardware and software, are found at [R. Michael Fling], William & Gayle Cook Music Library: Fact Sheet, http://www.music.indiana.edu/collections/factsheet.html (last updated July 2002; accessed 19 August 2002). Exterior and interior illustrations of the current facility may be viewed at William & Gayle Cook Music Library: Virtual Tour, http://www.music.indiana.edu/collectiono/virtual_tour/floor_plans.htm l (accessed 17 July 2002).

Mary Wallace Davidson directs the library here described. This article is a slightly revised version of "La bibliotheque de musique william et Gayle Cook de l'universite de l'Indiana." Bulletin des bibliotheques de France 47, no. 2 (2002): 66-72 (trans. by Oristelle Bonis); used by permission. The author gratefully acknowledges the improvements of content as well as style contributed to this version by the library's assistant head. R. Michael Fling, in his capacity of assistant editor of Notes.