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Educating the next generation of librarians requires a combined effort involving practicing librarians, library educators and the programs that they represent, and the profession represented through its many allied organizations. This chapter will examine the practicum program at the library and information science (LIS) program of the University of North Carolina at Greensboro (UNCG). First accredited by the American Library Association in 1982, the program focuses primarily on libraries, archives, and similar information organizations as the place where people and information connect through services provided by professional librarians. About one-third of the students specialize in service to higher education institutions at the community college, four-year liberal arts, and university levels. The program recently instituted a requirement for studentsto complete hours in a workplace setting as part of a capstone course, but this chapter is based on reports from students who completed a 120-hour practicum elective (also sometimes called an internship, field experience, or other names, depending on the institution).1 Through the use of a survey and gathered testimonials, the students reported on their experiences with learning while doing in the field.

Albert R. Rice is a well-known author of scholarly works about the clarinet and its history, literature, and development. His research on the clarinet in the Baroque and Classical periods has been praised as a "massive and rather daunting organizational task" (Eric Hoeprich, review of The Baroque Clarinet, by Albert R. Rice, Notes 50, no. 1 [September 1993]: 187) involving "a vast amount of data" (Alissa Abrams, review of The Clarinet in the Classical Period, by Albert R. Rice, Notes 62, no. 3 [March 2006]: 729). Like his earlier works, Rice's most recent publication, Notes for Clarinetists: A Guide to the Repertoire, is thoroughly researched and full of useful detail. It provides a valuable store of information about the clarinet's core repertoire.

This article will examine online music librarianship instruction and its potential. Drawing on surveys of students, questionnaires and syllabi from professors, and personal experience teaching music librarianship online for the University of North Carolina at Greensboro (UNCG) and the University of Illinois at Urbana-Champaign (UIUC), I will examine the pros and cons of teaching music librarianship online and provide strategies for designing and teaching a successful course that can, perhaps, be as good as or better than one taught in a traditional classroom.

RDA is an important part of how our library catalogs work, but many people still don't understand what it is or what it has to do with their work. This essay outlines some of the issues librarians should think about and RDA's potential for improvements to our patrons' experiences of the library catalog.

The article addresses several ways in which music librarians and libraries can assist researchers conducting fieldwork. Using survey responses from field researchers and librarians, I investigate what resources and assistance researchers need to conduct high-quality fieldwork and what librarians have to offer, from electronic tutorials to contacts with experts in a variety of fields. I conclude that music librarians can better serve field researchers by creatively using skills and knowledge we already possess.

In 1962, only a dozen years after the term "ethnomusicology" first appeared in print in the writings of Jaap Kunst, Robert Garfias arrived at the University of Washington to found a program in ethnomusicology studies. Over the ensuing decades, the program at Washington influenced hundreds of students, musicians, and scholars, at the university and beyond. In this book, former students and colleagues of Garfias contribute essays on a variety of ethnomusicological topics in tribute to his influence on each of them and on the field as a whole.

If I had to describe my first MLA conference in one word, I would call it “diverse.” I was struck by the sheer variety of topics presented, from fair use to musical theater to RDA. I also enjoyed meeting a diverse group of people brought together by a common interest in music librarianship, and I was especially pleased by the numerous opportunities for social interaction among librarians at the conference.

For this issue of Breve Notes, my colleague, Jacey Kepich, has written about why one should join SEMLA. I would like to offer a variation on this theme and list some reasons why one should attend a SEMLA conference.

Most numerous among the recordings of Bernard Greenhouse are those he made with the Beaux Arts Trio, the legendary ensemble of which he was the founding cellist in 1955 with pianist Menahem Pressler and violinist Daniel Guilet (later followed by violinist Isidore Cohen). With the Beaux Arts Trio, Greenhouse performed and recorded the entire standard piano trio repertoire before retiring from the group in 1987. However, Greenhouse’s career on the international chamber music stage represents only one dimension of his richly varied musical life. He was also a virtuoso cello soloist, a tireless musical collaborator, and the long-time cellist of New York’s Bach Aria Group. In order to demonstrate the breadth and depth of his recorded legacy, we have organized this discography in three sections: (1) Greenhouse As Soloist and Collaborator; (2) Recordings with the Bach Aria Group; and (3) Recordings with the Beaux Arts Trio.

Common Ground: Shibolet Basade, performed by Arab-Jewish Youth Orchestra

Common Ground: Cohen, Collective Memory, performed by Shesh Besh

Common Ground: Chopin, Piano Prelude Op. 28, performed by Arab-Jewish Youth Orchestra

Common Ground: Abdul Wahab, Khatwet Habibi, performed by Shesh Besh

Common Ground: Shelem, Shibolet Ba'sade, performed by Shesh Besh

“No pain, no gain.” Most of us have heard this phrase in relation to playing clarinet or to playing music in general. However, pain can be a symptom of a performance related injury and can prevent or slow technical and musical progress. How we practice, how often and how long we practice, and how we use and misuse our bodies while playing profoundly affects our ability to play efficiently and without pain.

Most Israeli Arabs and Jews live lives apart. They live in different neighborhoods, attend different schools, and often work in different locations. It is not surprising, then, that there is a lack of basic communication between Jews and Arabs in Israel, which leads to misunderstandings and hostility. Many organizations and groups are trying to bring Israeli Arabs and Jews together to encourage communication and trust. This dissertation explores the role two musical ensembles--Shesh Besh/The Arab-Jewish Ensemble and The Arab-Jewish Youth Orchestra--can play to provide common ground, promote communication, and foster trust between Arab and Jewish musicians and audiences. Shesh Besh and The Arab-Jewish Youth Orchestra both contain Israeli Arab and Jewish members and are both based in Tel Aviv, Israel. They perform for Jews and Arabs throughout Israel and play abroad, primarily in Europe and the United States. They perform a mixture of Western classical, Arab art and folk, Jewish folk, and original compositions that combine these styles to emphasize the Arab-Jewish makeup of the ensembles. Through interviews, travel, and research, I examine the ensembles, their missions, the musicians, the audience, and the music performed. The musical examples discussed in Chapter Three are in the online multimedia portion of this dissertation. In this dissertation, I ask whether Shesh Besh and The Arab-Jewish Youth Orchestra succeed in attaining their shared goal of promoting communication and trust between Israeli Arabs and Jews.