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This study compares the performances of the resource type facets and format facets in Primo and WorldCat Discovery respectively. Through looking at librarians' perceived understanding of selected facets, the information retrieval mechanisms employed, and the search results yielded, the author reveals gaps between users' perception and the information actually retrieved. The goals are to see how successful Primo and WorldCat Discovery are in making themselves a one-stop shop for music information, and to determine whether the resource type or format facets in these tools facilitate information discovery. The findings also prompt librarians to reflect on what can be done to enhance information discovery through the teaching of information literacy and through collaboration with information and systems providers. [ABSTRACT FROM AUTHOR]

An edited transcript of a roundtable presentation held on Thursday, June 9, 2022, at the Canadian Association of Music Libraries (CAML) 2022 virtual conference. Through a series of six questions chosen to fit in a one-hour format, music librarians from three Canadian universities discussed their experiences with the acquisition of e-score databases. Topics included motivation for acquisition, selection criteria, marketing strategies, patron responses, resource issues, and impact on print collections. This article is offered to a broad audience of library professionals in the belief that topics discussed will be applicable to collection development in subject areas apart from music. [ABSTRACT FROM AUTHOR]

While music libraries fundamentally face the same preservation concerns as any other library, their collections face unique problems. Sheet music is heavily used in distinct ways, and comes in a wide variety of sizes, shapes, and formats, all of which lead to maintenance issues that apply specifically to these materials. Arguing that genre and use inform the formats and damage we see in sheet music, this paper systematically explores the different features of scores, including bindings, sizes, and uses. I discuss the major preservation issues faced by circulating, printed music collections and suggest possible solutions. [ABSTRACT FROM AUTHOR]

This paper presents extensive new biographical information, assembled from newspaper articles, about Ogreta McNeill, Canada's first professional music librarian: pianist, singer, teacher, single mother, Toronto Public Library branch director, writer and bibliographer, impresario, founder and first chair of the Canadian Music Library Association. The early accomplishments and influences of her formative years in Victoria BC offer were fully realized in her later identity as a generous contributor to the wider musical community. [ABSTRACT FROM AUTHOR]

This paper describes the creation of new and revised subject guides on diversity in music at the Marvin Duchow Music Library at McGill University, focusing on the objectives, selection criteria, and pedagogical vision that guided the process. We present our rationale for developing a taxonomy of resources organized according to use and how it responds to our primary objective of creating a guide that meets the teaching, performance, and research needs of the Schulich School of Music. While guided by a set of evaluation criteria for our selection of resources, we chose to include a wider range (from blogs to vendor websites) to acknowledge the prevalence of resources developed by various stakeholders, from professional associations to community groups. The guides, with their high percentage of externally available resources, reflect the network logic of facilitated collections as articulated by Lorcan Dempsey (2016). Finally, the guides function as a pedagogical tool for outreach and information literacy initiatives, helping the Music Library forge a stronger connection with the community it serves. [ABSTRACT FROM AUTHOR]

In June of 2020, alumni from the University of Toronto's Faculty of Music submitted a Call to Action to the Faculty, asking it to address systematic oppression, racism, and coloniality within the Faculty's programming. Fuelled by a desire for the university to decolonize education systems in wake of the Truth and Reconciliation Commission's Calls to Action (2015), and the Black Lives Matter protests related to the deaths of George Floyd and Regis Korchinski-Paquet, the Call articulated how academic institutions are perpetuating injustices that unfairly advantage certain peoples over others, and that music faculties are complicit in this outcome. As a critical support structure for the Faculty of Music's research and educational programming, the library quickly initiated a self-assessment to identify its BIPOC (Black, Indigenous, People of Colour)- related holdings and gaps, come up with a plan to address shortcomings, and ensure the availability of resources to support changing curricula. This essay charts the library's process of critical self-reflection and action across the past year. Specifically, it discusses in-progress plans to expand our collection of BIPOC materials, the collaborative process of developing a BIPOC music research guide, and efforts to go beyond highlighting BIPOC content to embedding it in the everyday activities of the Music Library and in the educational materials produced. This essay also provides an update on our activities since our November 2020 presentation at the Music Library Association NYSO chapter meeting. [ABSTRACT FROM AUTHOR]

Digital and streaming audio and video (A/V) content have usurped the primacy of physical media materials and their playback technology within institutional music libraries, notwithstanding throwbacks to and resurgences of physical media in commercial and personal contexts. Music libraries are challenged with the conflicting responsibilities of maintaining legacy format materials that are not digitally available, continuing to collect physical resources that are not available either digitally or through institutional streaming subscriptions, and acquiring born-digital and digitized resources. They must also reconcile these responsibilities with the fact that many streaming A/V resources are freely available to individual consumers. In an era of dwindling resources and appreciation for curated music collections, how will libraries ensure that their A/V resources, in all formats, remain relevant to current and future users? This paper presents the results of an A/V usage survey administered to affiliates of the University of Alberta's Music Department to learn about the attitudes, preferences and experiences of music library users' practises for accessing recorded music. [ABSTRACT FROM AUTHOR]

This paper describes the findings of a national survey of local music collection managers in Canadian libraries in 2018. The survey aims to capture a snapshot of local music collection management practices by identifying areas where collection managers make use of specialized skills and competencies and where practices may be improved. An online questionnaire was sent to local music collection managers in Canadian libraries and consisted of 20 questions that addressed demographics, collection scope, collection development, promotion, access, and preservation. The results show that local music collections are diverse in scope and include a wide range of formats. Many include archival materials or are described or organized using archival principles. Collection managers use a range of strategies to build and develop local music collections, including working with community members and donors to identify, select, and purchase collection materials. Collections are used most frequently by community members and researchers to conduct scholarly or historical research. Outreach and promotion are areas where collection managers are using diverse strategies, including community engagement, event hosting, and online marketing, to build awareness of collections. Physical and digital preservation practices are being implemented by most participants, and online access to collections is often available through additional collection description or digitization. Collection managers may face challenges due to the unique nature of local music collections. Strategies for collection management, collection development, outreach, or promotion may fall outside traditional professional skill sets or competencies. Areas for development include donor relations, community engagement, and archival collection management. [ABSTRACT FROM AUTHOR]

Music libraries have an important role in preserving and providing access to local music materials for scholarly and general audiences. This paper is based on research carried out as part of the "Regional Music Collections" project (led by Carolyn Doi, University of Saskatchewan, and now entitled "Sounds of Home: Exploring Local Music Collections and Collecting in Canada"). During this portion of the project, we conducted a qualitative systematic review and thematic analysis of the literature on local music collections. The paper will provide a brief description of the literature review process and content analysis, followed by a more detailed exploration of eight Canadian newspaper articles. In exploring the articles, NVivo software was used to identify three potential themes: new, copyright, and free. The goal of this paper is to see if these themes can aid in identifying what Canadian media sources say about local music collections, what the relationships are between a community and such a collection, and how Canadian media sources might inform practices for managing collections of local music. [ABSTRACT FROM AUTHOR]

This paper reports the results of a survey targeting current members of the Canadian Association of Music Libraries, Archives and Documentation Centres (CAML) that investigated the extent to which the current designs and structures of digital music libraries meet the needs of librarians in collecting, preserving, organizing, and disseminating diverse types of music documents. The challenges and barriers experienced in hosting digital collections are discussed. The gap between the current and ideal functionalities, as well as the future possibilities, are explored. [ABSTRACT FROM AUTHOR]

This paper describes the process of building a collection of Iranian music at the University of Toronto Music Library. The initiative was a response to the noticeable interest in Iranian studies, and more specifically Iranian music, at the University of Toronto. Following an environmental scan, the author elaborates on the observations that identified the need for this project. The rationale for building the collection was further formed through a field trip to Iran, which provided an overview of the country's print publication and audiovisual production output. A number of opportunities and challenges encountered in acquiring music materials from this country are discussed and the methods used in the selection and acquisition processes explained. Subsequent to an account of the project's outcomes, the author outlines the current limitations of the collection and discusses areas for its further development and discoverability. [ABSTRACT FROM AUTHOR]

The article offers information on the 8th Annual Meeting of the Quebec Chapter of the Canadian Association of Music Libraries, Archives and Documentation Centres (QCCAML) hosted by Library and Archives Canada on November 4, 2017 in Quebec. Topics discussed include presentation by Marc-André Goulet, optical recognition tools for music, and music collection development in music libraries.

The article presents abstracts on music library topics which include "If Sibelius Had Sibelius: Considering the Archives of Music in a Digital Age" by Laura Millar, "The Audiophile in Music Discourse: Implications for the Terms of Discussion Around Library Sound Recording Collections" by Ronald J. Rooth, and "Can I get a pickle with that? Specialists, Generalists, and the Academic McLibrary" by Timothy Neufeldt.

On August 10, 2015, the Eckhardt-Gramatté Music Library closed the doors of the space it had occupied at 65 Dafoe Rd at the University of Manitoba since it opened in 1965, and prepared to move to its new home down the street in the Taché Arts Complex, 136 Dafoe Rd. The move itself took three days, and was the culmination of eight years of planning, design, and preparation. The Library re-opened in its new home approximately one month later, on September 26, 2015. The new space is 2.5 times larger than the old, has nearly three times the number of student study seats, and every shelf has room for growth. This article documents a brief history of the Library, and chronicles the move to the new location from the announcement in 2008, through the space planning, design, and construction phases, to moving day and beyond. At the end of the article is an overview of lessons learned and a recommended reading list for anyone lucky enough to enter into a new library building project. [ABSTRACT FROM AUTHOR]

Information on the 2015 annual meeting of the Quebec Chapter of the music library organization Canadian Association of Music Libraries, Archives and Documentation Centres in Montreal on November 27 is presented. The topics discussed at the meeting include the search for musical documents, the changes on these types of documents and the presentation of sheet music collection using the VIRTUOSE discovery tool. The attendees of the meeting include Audrey Laplante and Ariane Legault-Venne.

This talk, delivered at the CAML Conference in Ottawa on June 4, 2015, examines a number of reasons for the reluctance of academic archivists/Special Collection librarians to acquire popular music fonds/collections. Arguments are put forward that popular music is an excellent indicator of the concerns of society and changes in culture, that it is worthy of scholarly research, and that as research trends are changing to incorporate popular music, so too should the collecting focus of music archivists/librarians. [ABSTRACT FROM AUTHOR]

Abstracts of presentations made during the Canadian Association of Music Libraries (CAML) Conference 2014 held on May 29-30, 2014 in Brock University, St. Catharines, Ontario, Canada are presented including "Digital Humanities and Music" by Stacy Allison-Cassin, "Reinforcing the Front Line: Music Publishing and the War Effort, 1914-1918 by Timothy Neufeldt and "The Speranza Club Archives in the University of Toronto Music Library" by Kyla Jemison.

The article provides information on International Inventory of Musical Sources (RISM), a multinational, non-profit joint venture whose aim is for a comprehensive documentation of extant musical sources worldwide. It cites RISM's version of its online catalogue featuring search for digitized music, boolean search and clearer attributions. RISM's goals is to raise the number of material in the database by developing a "minimum-level" record and market the database to music libraries.

The article explores and compares the digital sound recording collections from 3 national libraries namely Library and Archives Canada's Virtual Gramophone, the Library of Congress' National Jukebox ad British Library Sounds. Topics discussed include an examination of the scope of the collections, digitization methods and how the collections are developed and managed and the importance of the digital collections as resources for music libraries and institutions for sound-related user needs.

The article discusses the highlights of the annual general meeting of the Canadian Association of Music Libraries (CAML) on June 8,2013 at the University of Victoria in British Columbia. Topics include the approval of the agenda and the minutes of the annual general meeting on July 26, 2012 in Montreal, Canada, highlights of the president's report which include a letter to Daniel Caron over concerns about Library and Archives Canada's (LAC) recent change in direction.

The article offers information on the Naxos Music Library (NML) and contributions to musicians. Topics covered include details of the service, benefits of libraries from the service and impact on music streaming. Also mentioned is the use of the concepts of information architecture in the browse and search capabilities of NML.

The article describes the efforts of the author at Memorial University of Newfoundland's Music Resource Centre (MRC) to update its collection and audiovisual materials. She provides an overview of the university's libraries. She states that goal of the update, which is to find exact copies of specific performances, so that only format, rather than content, would change. She reveals that the LaserDisc copies were replaced by digital video disc (DVD) copies.

Digital technology has greatly increased access to music, both recordings and scores, protected by copyright. A large body of research addresses intellectual property (IP) issues in the recorded music industry, and Diane Parr Walker discusses how American copyright law adversely affects digital music libraries. However, the use of digitally accessible scores among Canadian classical music professionals remains largely overlooked. This paper provides the background for a research project investigating the relationship between copyright law and Canadian classical musicians in the digital age. The project will use a Canada-wide survey and a series of focus groups to analyze the everyday information-seeking behaviours of classical music professionals and to examine the intellectual property policies that encourage musicians to obey or contravene the law. [ABSTRACT FROM AUTHOR]

The article describes a local music project at the University of Alberta, while also providing background on the discourse on collecting local music in libraries. The challenges and opportunities inherent in this endeavor are addressed. An account of the author's experience in developing a local music collection at the University of Alberta Music Library is offered.

The article discusses the highlights of the Music Library Association's (MLA) 81st annual meeting in Dallas, Texas on February 15-19, 2012. Plenary sessions tackled a range of issues in music librarianship including copyright, new approaches to accessing and organizing multimedia content, accessing e-reserves and sharing music collections. Experiential learning techniques in the classroom to connect with music research tools were discussed. A summary of selected sessions is presented.

The article presents the minutes of Canadian Association of Music Libraries/Association Canadienne Des Bibliotheques et Centere de Documentation Musicaux (CAML/ACBM) Annual General Meeting held at the University of Regina Education on June 6, 2010. The agenda and minutes of the May 31, 2009 annual general meeting (AGM) at Carleton University were approved during the meeting. The President's Report, Proposed 2011 budget and Audit Committee report are also discussed.