Journal articles: 'Music Library resources'

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Samuel, Harold E. "Rare Resources in the Yale Music Library." Library Quarterly 64, no. 1 (January 1994): 61–72. http://dx.doi.org/10.1086/602653.

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Crenshaw, Clayton. "Promoting Music Library Resources—With Mixed Results." Music Reference Services Quarterly 17, no. 4 (October 2, 2014): 226–36. http://dx.doi.org/10.1080/10588167.2014.965644.

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AmRhein, Richard. "Internet resources for music." College & Research Libraries News 56, no. 11 (December 1, 1995): 760–64. http://dx.doi.org/10.5860/crln.56.11.760.

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McCain, Claudia. "Music Business Information Resources." Music Reference Services Quarterly 8, no. 2 (December 2002): 1–13. http://dx.doi.org/10.1300/j116v08n02_01.

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Pulford, David. "The Library of the Barber Institute of Fine Arts at the University of Birmingham." Art Libraries Journal 35, no. 4 (2010): 24–28. http://dx.doi.org/10.1017/s0307472200016631.

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The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

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Bonjack, Stephanie. "Online Resources for Music Entrepreneurship." Music Reference Services Quarterly 19, no. 3-4 (October 2016): 236–38. http://dx.doi.org/10.1080/10588167.2016.1229998.

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Jiang, Mingyun. "A Personalized Recommendation Method for Ethnic Music Teaching Resources Based on Video Tags." Mathematical Problems in Engineering 2022 (September 5, 2022): 1–9. http://dx.doi.org/10.1155/2022/7793249.

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In order to improve the effect of ethnic music teaching and improve the recommendation accuracy of teaching resources, this paper proposes a personalized recommendation method for ethnic music teaching resources based on video tags. A national music teaching resource library is constructed as the resource source, and the K-nearest neighbor (KNN) algorithm is used to classify the teaching resources in the resource library. According to the results of resource classification, describe the characteristics of teaching resources, so as to recommend suitable teaching resources to corresponding students to meet individual needs. According to the main characteristics of tags, a tagging system is established, and at the same time, the decay of user interest over time is considered, and weights are assigned to user video interest tags in descending order of time, and the total user interest tag vector is calculated. In this paper, the obtained user total interest label vector is normalized. The vector space model is used to represent teaching resources and user interests, so as to realize personalized recommendation of teaching resources. The experimental results show that the accuracy rate of the proposed method is higher than 90%, the recall rate is more than 97%, and the F1 value is larger, and the convergence is better, reflecting the better recommendation effect of the method.

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Tewell, Eamon. "Resources for selecting popular music recordings." Collection Building 29, no. 1 (January 19, 2010): 27–30. http://dx.doi.org/10.1108/01604951011015277.

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Stock, Matt. "Non‐music books for the music library: a selective bibliography." Collection Building 26, no. 3 (July 10, 2007): 88–90. http://dx.doi.org/10.1108/01604950710761652.

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PurposeThe purpose of this paper is to provide a selective bibliography for librarians responsible for music collections and music students of resources outside of the field of music, which may be useful to musicians.Design/methodology/approachA range of works which are frequently recommended by music faculty are described to enable librarians and students to make selections appropriate for their needs. The works are divided into three sections: Sports and fitness, The body and Self help.FindingsInformation is provided about each book, including publisher, and how musicians may apply the information in each book to their situation.Originality/valueThe paper offers practical suggestions for librarians responsible for music collections.

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LaVine, Kevin. "Russian Visual Arts Resources in the Library of Congress's Music Division." Slavic & East European Information Resources 11, no. 2-3 (September 6, 2010): 136–41. http://dx.doi.org/10.1080/15228886.2010.489212.

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Richardson, Brittany. "A Survey of Music Faculty in the United States Reveals Mixed Perspectives on YouTube and Library Resources." Evidence Based Library and Information Practice 15, no. 4 (December 15, 2020): 185–87. http://dx.doi.org/10.18438/eblip29835.

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A Review of: Dougan, K. (2016). Music, YouTube, and academic libraries. Notes, 72(3), 491-508. https://doi.org/10.1353/not.2016.0009 Abstract Objective – To evaluate how music faculty members perceive and use video sharing sites like YouTube in teaching and research. Design – Survey Questionnaire. Setting – 197 music departments, colleges, schools, and conservatories in the United States. Subjects – 9,744 music faculty members. Methods – Schools were primarily selected based on National Association of Schools of Music (NASM) membership and the employment of a music librarian with a Music Library Association (MLA) membership. Out of faculty members contacted, 2,156 (22.5%) responded to the email survey. Participants were asked their rank and subspecialties. Closed-ended questions, ranked on scales of 1 to 5, evaluated perceptions of video sharing website use in classroom instruction and as assigned listening; permissibility as a cited source; quality, copyright, and metadata; use when items are commercially unavailable; use over library collections; comparative ease of use; and convenience. An open-ended question asked for additional thoughts or concerns on video sharing sites and music scholarship. The author partnered with the University of Illinois’ Applied Technology for Learning in the Arts and Sciences (ATLAS) survey office on the construction, distribution, and analysis of the survey data through SPSS. The open-ended question was coded for themes. Main Results – Key findings from closed-ended questions indicated faculty: used YouTube in the classroom (2.30 mean) more often than as assigned listening (2.08 mean); sometimes allowed YouTube as a cited source (2.35 mean); were concerned with the quality of YouTube recordings (3.58 mean) and accuracy of metadata (3.29 mean); and were more likely to use YouTube than library resources (2.62 mean), finding it easier to use (2.38 mean) and more convenient (1.83 mean). The author conducted further analysis of results for the nine most reported subdisciplines. Ethnomusicology and jazz faculty indicated a greater likelihood of using YouTube, while musicology and theory/composition faculty were more likely to use library resources than others. There was little significant difference among faculty responses based on performance subspecialities (e.g. voice, strings, etc.). Overall, open-ended faculty comments on streaming video sites were negative (19.3%), positive (19.3%), or a mixture of both (34.1%). Themes included: less use in faculty scholarship; a need to teach students how to effectively use YouTube for both finding and creating content; the value of YouTube as an audio vs. video source; concerns about quality, copyright, data, and reliability; and benefits like easy access and large amounts of content. Conclusion – Some faculty expressed concern that students did not use more library music resources or know how to locate quality resources. The study suggested librarians and faculty could collaborate on solutions to educate students. Librarians might offer instructional content on effective searching and evaluation of YouTube. Open-ended responses showed further exploration is needed to determine faculty expectations of library “discovery and delivery” (p. 505) and role as the purchaser of recordings. Conversations between librarians and faculty members may help clarify expectations and uncover ways to improve library resources and services to better meet evolving needs. Finally, the author recommended additional exploration is needed to evaluate YouTube’s impact on library collection development.

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Colvin, Jenny. "Using Widgets to Embed Library Resources and Services." Music Reference Services Quarterly 11, no. 3-4 (December 2008): 241–44. http://dx.doi.org/10.1080/10588160802552274.

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Davis, Susan A. "“Who Keeps Your Flame? Who Tells Your Story?” Teaching Orchestra through Primary Sources." Music Educators Journal 109, no. 2 (December 2022): 29–37. http://dx.doi.org/10.1177/00274321221138784.

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Music educators often look for ways to deepen students’ understanding and artistic interpretations of repertoire. One way to engage students in discovery and dialogue about the music they perform is through connecting to the historical, cultural, and societal implications of primary sources. This article delves into resources from the Library of Congress that enable us to tell richer stories about the people and circumstances behind familiar orchestral repertoire, including works by Chaminade, Copland, and Miranda. The recommended materials include primary and secondary sources from the Library of Congress digital archives, best practices for using these resources, inquiry-based strategies to engage students in critical thinking, and connections to the 2014 Music Standards.

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Cong, Lili. "Analysis on the Application of Internet Multimedia Technology in College Music Education." Advances in Multimedia 2022 (May 12, 2022): 1–11. http://dx.doi.org/10.1155/2022/5732384.

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In order to improve the effect of college music teaching, this paper combines Internet multimedia technology to construct a college music intelligent teaching system and uses the DASH multihypothesis framework to improve the transmission effect of Internet multimedia. Moreover, this paper manages the teaching resources generated in the process of music teaching and collects these resources into the library. The dynamic addition and editing of classifications are realized in the background, which is convenient for easy expansion and flexible adjustment of classifications. In addition, this paper combines the actual needs of music teaching in colleges and universities to construct the system function and get the system frame structure and work flow. Finally, this paper verifies the system of this paper in conjunction with experiments. The analysis shows that Internet multimedia technology has good effects in college music education, can effectively handle various resources of college music teaching, and can effectively improve the efficiency of college music education.

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Freeman, Graham, and Robert J. Glushko. "Organization, Not Inspiration: A Historical Perspective of Musical Information Architecture." KNOWLEDGE ORGANIZATION 46, no. 3 (2019): 161–70. http://dx.doi.org/10.5771/0943-7444-2019-3-161.

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The organization of musical resources in a piece of music is opaque for everyone but for those with the highest levels of musical education. For the average listener, the specific vocabulary of musical organization is usually replaced by metaphorical language relating to inspiration and musical affect, or by a social perspective that rids the music of its specific theoretical language and provides a more relatable perspective of the music as a historical and communal event. We examine the ways in which information architecture and organizational theory can surface the inner workings of music in a relatable and approachable way. We consider music as a series of design resources that composers draw upon and organize according to a series of constraints that create a sense of musical structure to which the listener can relate. After a general introduction to the literature relating to constraints and creativity, we use two historical anecdotes that provide accessible demonstrations of how musicians in the seventeenth and twentieth centuries organized their musical resources both for their own compositional needs and for the purposes of didactic communication.

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Chung, Ada Chi Wai. "Cost Issues in Digitalization and Preservation." International Journal of Library and Information Services 7, no. 2 (July 2018): 1–13. http://dx.doi.org/10.4018/ijlis.2018070101.

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For many projects, resources are always limited. Hence, there is often a need to allocate resources in a most cost-effective manner. There are some cost models developed as guidelines on how to estimate the costs of digitalization and preservation of information in a comparatively more accurate way. By knowing the factors which affecting those costs, it will be easier to find a cost-effective strategy for digital preservation. Among different migration strategies proposed by researchers, in this article the migration in the framework of Open Archival Information System (OAIS) will be studied. This is applied to the case of this small-scale music library, Melos Music Library in El Parnaso Centre in Uruguay.

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Fargo McKinnon, Laura, and Kris S. Helge. "Copyright, open access and library instruction." Library Hi Tech News 31, no. 10 (November 25, 2014): 13–16. http://dx.doi.org/10.1108/lhtn-07-2014-0064.

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Purpose – The purpose of this article is to provide a general review of the concepts of copyright and open access as they relate to library instruction. The authors provide instructional advice to librarians on these topics. Design/methodology/approach – The authors approach the topic from a descriptive and instructional stance. General research on the topics listed above was conducted and is presented as an overview. Findings – The authors discuss the basics of copyright law, Creative Commons licenses, open access resources and copyright considerations specific to using music in instruction. Originality/value – This article includes useful tips and resources for instructional librarians, such as where to find open access or Creative Commons content. It is of value to any librarian that utilizes other entities’ content in the course of instruction.

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Ding, Jun. "Application of Big Data Mining Technology in the Digital Construction of Vocal Music Teaching Resource Library." Wireless Communications and Mobile Computing 2022 (July 29, 2022): 1–9. http://dx.doi.org/10.1155/2022/3197118.

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In recent years, vocal music is becoming more and more important to daily life, which can cultivate emotion and adjust pressure, but at present, vocal music teaching is faced with an increasingly serious shortage of teacher resources. Therefore, it is particularly important to develop a vocal music teaching system using the computer-aided teaching function. First, the algorithm flow of the system is designed in detail according to the principle of computer neural network technology, the performance characteristics of vocal music are extracted by using Fourier transform and its improved function, and the key modules of the system are designed according to the system frame structure and data processing flow and gave the key design code. Finally, taking piano performance as an example, players with different steel bar grades were selected to test the accuracy of the system evaluation. The test results show that the system can reflect the real level of the performers, which is beneficial to vocal music teaching. The improvement of the vocal music teaching system is of great practical significance to adjust the traditional music teaching mode and make the education system more reasonable.

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Towers, Sha. "ELECTRONIC RESOURCES COLUMN." Music Reference Services Quarterly 9, no. 1 (April 17, 2006): 67–69. http://dx.doi.org/10.1300/j116v09n01_05.

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Towers, Sha. "ELECTRONIC RESOURCES COLUMN." Music Reference Services Quarterly 9, no. 2 (December 29, 2005): 61–64. http://dx.doi.org/10.1300/j116v09n02_05.

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Colvin, Jenny. "ELECTRONIC RESOURCES COLUMN." Music Reference Services Quarterly 10, no. 1 (October 22, 2006): 55–58. http://dx.doi.org/10.1300/j116v10n01_04.

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Colvin, Jenny. "Electronic Resources Reviews." Music Reference Services Quarterly 13, no. 3-4 (December 9, 2010): 122–24. http://dx.doi.org/10.1080/10588167.2010.528744.

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Gillie, Esther. "Online Hymn Resources." Notes 60, no. 2 (2003): 510–14. http://dx.doi.org/10.1353/not.2003.0151.

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Stinson, John. "Medieval Music on the Web: Musical Resources for the 21st Century." Australian Academic & Research Libraries 28, no. 1 (January 1997): 65–74. http://dx.doi.org/10.1080/00048623.1997.10754996.

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Brook, Barry S. "Composer Sources and Resources." Music Reference Services Quarterly 4, no. 1 (December 13, 1996): 1–42. http://dx.doi.org/10.1300/j116v04n01_01.

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Lai, Katie. "A roadshow of library resources: familiarize students with what you have." Reference Services Review 43, no. 2 (June 8, 2015): 280–91. http://dx.doi.org/10.1108/rsr-11-2014-0053.

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Purpose – The purpose of this paper is to describe how the popular culture of flash mob inspired the creation of the library roadshows and elaborate on the conducting of flash outreach events to market music databases to students with limited resources. Design/methodology/approach – By not requesting faculty for in-class teaching time, the promotion of library e-resources took place beyond the library building, in places where students live and hangout, and during the short window when students mingle before classes. Simple set-up with laptops and a movable large screen TV was used for brief database demonstration. Findings – The provision of quick demos and on-the-go consultations of e-resources through the library roadshows proved to encourage usage and obtain a higher return on investment without requiring much extra manpower and funding. Students also welcomed this new way of learning without having to go to a class. Social implications – Seeing students and offering services where students live and hangout help make the library more visible and blend librarians in students’ campus life. Originality/value – While information literacy workshops oftentimes happen inside the library or during a class hour, the library roadshows go beyond physical boundaries and take information literacy instruction to where the targeted audience is. Not only are these flash outreach events quick and easy to conduct, but this casual learning also fits the learning behavior of the millennial generation who wants everything succinct and straight to the point.

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Senici, Emanuele, Lorenzo Bianconi, Giorgio Pestelli, and Lydia G. Cochrane. "Opera Production and Its Resources." Notes 55, no. 3 (March 1999): 629. http://dx.doi.org/10.2307/900412.

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Bayakhunova, L. B. "Musical Digital Library: the New Insight into the Creative Works of Classical Composers." Bibliotekovedenie [Library and Information Science (Russia)], no. 4 (August 28, 2014): 30–35. http://dx.doi.org/10.25281/0869-608x-2014-0-4-30-35.

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The article summarizes the available electronic collections, dedicated to the works of great composers. The development of such projects gives the new sense to the concept of the modern music library. Mastering of these resources contributes to the broader view of the World Art and can serve as the basis for new scientific research.

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Knapp, David, and Ruthann Boles McTyre. "Library Resources for Singers, Coaches, and Accompanists: An Annotated Bibliography, 1970-1997." Notes 56, no. 2 (December 1999): 392. http://dx.doi.org/10.2307/900012.

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Roel, Eulalia. "The MOSC Project: Using the OAI-PMH to Bridge Metadata Cultural Differences across Museums, Archives, and Libraries." Information Technology and Libraries 24, no. 1 (March 1, 2005): 22. http://dx.doi.org/10.6017/ital.v24i1.3360.

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The MetaScholar Initiative of Emory UniversityLibraries, in collaboration with the Center for the Studyof Southern Culture, the Atlanta History Center, and theGeorgia Music Hall of Fame, received an Institute ofMuseum and Library Services grant to develop a newmodel for library-museum-archives collaboration. Thiscollaboration will broaden access to resources for learningcommunities through the use of the Open ArchivesInitiative Protocol for Metadata Harvesting (OAIPMH). The project, titled Music of Social Change(MOSC), will use OAI-PMH as a tool to bridge thewidely varying metadata standards and practices acrossmuseums, archives, and libraries. This paper will focusspecifically on the unique advantages of the use of OAIPMH to concurrently maximize the exposure of metadataemergent from varying metadata cultures.

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Long, Chris Evin, Stephanie Bonjack, and James Kalwara. "Making Beautiful Music Metadata Together." Library Resources & Technical Services 63, no. 3 (July 12, 2019): 191. http://dx.doi.org/10.5860/lrts.63n3.191.

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This paper discusses how the Howard B. Waltz Music Library and the University of Colorado Boulder’s Metadata Services Department cooperated to resurrect and complete a long-dormant retrospective conversion cataloging project involving musical scores and vinyl records. It addresses the resources that both groups brought to the relationship; the collaborative process by which decisions were made; the implementation plan and challenges; and how fostering a culture of customer service within the Metadata Services Department contributed to the project’s success. It also contrasts Colorado’s project with two other cooperative music cataloging projects and explains how its approach can serve as a model to other libraries who have significant cataloging backlogs or hidden collections but may feel hindered by the lack of specialized in-house cataloging expertise.

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Lo, Patrick, and Bradley Allard. "Supporting the Needs of Children through Arts and Culture: An Interview with Anabel Negrín (Librarian of El Parnaso, Uruguay Services for Children and Teenagers)." International Journal of Education and Literacy Studies 9, no. 3 (August 1, 2021): 200. http://dx.doi.org/10.7575/aiac.ijels.v.9n.3p.200.

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El Parnaso is an interesting cultural center in the small city of Young, which is located a bit north of Trinidad, Uruguay. This center is a non-profit organization dedicated to meeting the information needs of its population, and it contains a children’s library and a music library. El Parnaso hosts a wide variety of activities for children and young people, including music, origami, and even Greek language. Anabel Negrín is the librarian of El Parnaso, and she is responsible for managing the library’s resources and offers information services to users who visit. A native Youngenese, Negrín has returned to her birthplace after working in various academic libraries in Uruguay. In this interview, she introduces her library, gives an overview of various education issues in Uruguay, and provides interesting stories about her experience at El Parnaso.

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Knop, Keith. "Music Library Patron Material Preferences: Use and Discovery of Resources in Print and Digital Formats." Music Reference Services Quarterly 18, no. 2 (April 3, 2015): 79–99. http://dx.doi.org/10.1080/10588167.2015.1030946.

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Orlova, N. G., and M. N. Kolesnikova. "Personnel Potential of Libraries in Music and Art Schools: State and Prospects of Development." Bibliosphere, no. 1 (February 4, 2022): 56–67. http://dx.doi.org/10.20913/1815-3186-2022-1-56-67.

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The article reflects the results of a local study of the human resources of libraries in music and art schools of St. Petersburg, conducted in 2020, assesses the current state of their human resources and suggests possible ways of its development. Libraries in children’s music and art schools (CMS/CAS) are an important participant in the system of additional pre-professional education of children, that’s why the quality of the work of specialists is an important factor in ensuring the quality of the educational process. It was found that the information about these libraries on the websites of the CMS/CAS, is given extremely rare, and it is not structured. Regulatory documents contain very little or no information at all about the tasks of the library, the functional responsibilities of librarians, let along their salaries. The staff is exclusively women; three-quarters of employees are over 50 years old; their work experience in libraries ranges from a minimum to several decades; only the third of employees have a higher library education, more than a half – the pedagogical one, that result in the quality of library activity. Only half of the employees is able to work on computer. Qualification categories to librarians are not assigned. All respondents need advanced training in basic library processes. In the current situation, the main way to develop the activities of the libraries in the CMS/CAS of St. Petersburg is to transform them into information and library centers for the arts similar to those created in school libraries, and to unite them into a network to overcome the disunity of the professional group of librarians of the CMS/CAS.

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Fischer, Rachel K. "The Alert Collector: The Gothic Aesthetic: From the Ancient Germanic Tribes to the Contemporary Goth Subculture." Reference & User Services Quarterly 58, no. 3 (June 22, 2019): 143. http://dx.doi.org/10.5860/rusq.58.3.7040.

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Goths. How did we get from warlike Germanic tribes sacking Rome, to an aesthetic or subculture imbued with “the dark and melancholy, a hint of horror tinged with romance.” This column will show you how widely this aesthetic is represented in art, architecture, film, literature and more, and along the way you will undoubtedly find some great resources to add to your collections, from music CD, to academic journals, reference works and the usual popular and academic books. Rachel Fischer has ably put together an excellent resource for anyone wanting to build a collection from the ground-up, or add some new and interesting resources.—Editor

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Lu, Meilin, and Fangfang Deng. "Application of Collaborative Filtering and Data Mining Technology in Personalized National Music Recommendation and Teaching." Security and Communication Networks 2021 (November 5, 2021): 1–12. http://dx.doi.org/10.1155/2021/3140341.

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Personalized music recommendations can accurately push the music of interest from a massive song library based on user information when the user’s listening needs are blurred. To this end, this paper proposes a method of national music recommendation based on ontology modeling and context awareness to explore the use of music resources to portray user preferences better. First, the expectation-maximization algorithm is used to cluster users and ethnic music scores, and similar users and music are divided into clusters. The similarity of objects in the same cluster is higher, and the similarity of objects in different clusters is lower. Second, we designed a multilayer collaborative filtering ethnic music recommendation model based on ontology modeling and tensor decomposition. This model uses ontology to construct a user knowledge model and integrates similarity measures in multiple situations. The actual case test and user feedback analysis show that the designed personalized national music model has good application and promotion effects.

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Schulz-Widmar, Russell, and Arthur Wenk. "Musical Resources for the Revised Common Lectionary." Notes 53, no. 4 (June 1997): 1174. http://dx.doi.org/10.2307/899483.

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Adkins, Mary Rose. "Internet Resources in Piano and Piano Pedagogy." Music Reference Services Quarterly 8, no. 4 (April 6, 2005): 77–89. http://dx.doi.org/10.1300/j116v08n04_04.

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Neufeldt, Timothy. "Music Library Resources on the Front Line: A Three-Year Case Study of Integration and Adaptation." Music Reference Services Quarterly 14, no. 4 (October 2011): 239–51. http://dx.doi.org/10.1080/10588167.2011.621868.

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Rutledge, Sundi. "The Librarian's Guide to Basic Online Opera Resources." Music Reference Services Quarterly 8, no. 3 (March 22, 2004): 83–94. http://dx.doi.org/10.1300/j116v08n03_05.

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Cribbs, Elizabeth. "“Really Deep Thoughts”: Bibliographic Resources about Tori Amos." Music Reference Services Quarterly 17, no. 2 (April 3, 2014): 76–91. http://dx.doi.org/10.1080/10588167.2014.904702.

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Andrew Leach. "“One Day It’ll All Make Sense”: Hip-Hop and Rap Resources for Music Librarians." Notes 65, no. 1 (2008): 9–37. http://dx.doi.org/10.1353/not.0.0039.

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Whatley, Edward. "Book Review: Listen to New Wave Rock! Exploring a Musical Genre." Reference & User Services Quarterly 58, no. 4 (October 25, 2019): 265. http://dx.doi.org/10.5860/rusq.58.4.7165.

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Listen to New Wave Rock! is the first volume in the Exploring a Musical Genre series from Greenwood Press. According to the series forward, the series will consist of “scholarly volumes written for the enjoyment of virtually any music fan” (x). Rather than attempt to provide an exhaustive history of new wave music, this volume instead focuses on fifty musical works the author considers to be “Must-Hear Music” (xiv). This limited focus allows the author to devote more attention to the chosen pieces of music than is typical of most reference resources. The entries provide accounts of each band’s formation and early careers that one would expect in a volume such as this; however, what distinguishes Listen to New Wave Rock! is the rigorous critical analysis the author applies to each selected musical composition.

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Keren-Sagee, Alona. "JOSEPH SCHILLINGER – A DISCIPLE'S REMINISCENCES OF THE MAN AND HIS THEORIES: AN INTERVIEW WITH PROF. ZVI KEREN." Tempo 64, no. 251 (January 2010): 17–27. http://dx.doi.org/10.1017/s0040298210000033.

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Joseph Schillinger (1895–1943), the eminent Russian-American music theorist, teacher and composer, emigrated to the United States in 1928, after having served in high positions in some of the major music institutions in the Ukraine, Khar'kov, Moscow, and Leningrad. He settled in New York, where he taught music, mathematics, art history, and his theory of rhythmic design at the New School for Social Research, New York University, and the Teachers College of Columbia University. He formulated a philosophical and practical system of music theory based on mathematics, and became a celebrated teacher of prominent composers and radio musicians. Schillinger's writings include: Kaleidophone: New Resources of Melody and Harmony (New York: M. Witmark, 1940; New York: Charles Colin, 1976); Schillinger System of Musical Composition, 2 vols. (New York: Carl Fischer, 1946; New York: Da Capo Press, 1977); Mathematical Basis of the Arts (New York: Philosophical Library, 1948; New York: Da Capo Press, 1976); Encyclopedia of Rhythms (New York: Charles Colin, 1966; New York: Da Capo Press, 1976).

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Dysert, Anna, Sharon Rankin, and Darren N. Wagner. "Touch Tables for Special Collections Libraries: Curators Creating User Experiences." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 19, no. 1 (May 17, 2018): 41. http://dx.doi.org/10.5860/rbm.19.1.41.

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This article describes the implementation of touch table technology for McGill University Library’s special collections. The touch table was used by the Osler Library of the History of Medicine and the Marvin Duchow Music Library to create audiovisual exhibits to accompany traditional exhibition display cases. Each exhibition curator used a different software platform to create his or her touch table experience. This article explores the introduction of what is now a common technology in museums into the library setting and the attendant challenges, such as the need to create attractive and user-friendly experiences with limited resources and programmer time available. In particular, the article explores the library’s choices of software and hardware, providing lessons learned as well as some preliminary recommendations of best practices. It also analyzes the ways in which the touch table has proven to be an excellent addition to the library’s exhibition spaces, including its ability to unite disparate resources from multiple branch libraries, to act as a new point of librarian-faculty collaboration, and to display nontraditional items from library collections, such as recorded musical performances and archival video footage.

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Kostagiolas, Petros A., Charilaos Lavranos, Nikolaos Korfiatis, Joseph Papadatos, and Sozon Papavlasopoulos. "Music, musicians and information seeking behaviour." Journal of Documentation 71, no. 1 (January 12, 2015): 3–24. http://dx.doi.org/10.1108/jd-07-2013-0083.

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Purpose – The purpose of this paper is to examine information seeking behaviour targeted to music information seeking by amateur musicians, accompanied with empirical evidence from a survey on a community concert band. While several studies in the literature have examined information seeking in the context of hedonic motives (e.g. entertainment oriented), music information can also be used for utilitarian purposes by providing amateur musicians the necessary tools to improve their skill and become better in their practice. Design/methodology/approach – A review of the literature on music information seeking and an empirical study on members of an amateur concert band are presented. The theoretical construct of the survey is informed by Wilsons’ macro model of information seeking behaviour. This is employed in order to understand information motives and needs, as well as obstacles in information seeking of musicians. Findings – Musicians seek information not only for entertainment but for educational purposes as well as for the acquisition of certain music works. The use of the internet for information seeking as well as the gradual adoption of online social networks has provided access to new musical resources within the digital music networks. Originality/value – A person-centred approach for information seeking behaviour is studied and adapted for musicians. The survey provides new information behaviour results for designers of music information spaces which in turn are creating a new model of the relationship between music and society.

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G., M., and Craig Harris. "The Leonardo Almanac: International Resources in Art, Science, and Technology." Notes 51, no. 1 (September 1994): 224. http://dx.doi.org/10.2307/899254.

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John Druesedow. "Popular Songs of the Great War: Background and Audio Resources." Notes 65, no. 2 (2008): 364–78. http://dx.doi.org/10.1353/not.0.0085.

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Pierry, Michael. "The LCC Number of the Beast: A Guide to Metal Music and Resources for Librarians." Music Reference Services Quarterly 16, no. 3 (July 2013): 141–59. http://dx.doi.org/10.1080/10588167.2013.815052.

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Richardson, Allison, and Dean Giustini. "The information needs of music therapists: challenges of assessment in the clinical setting." Journal of the Canadian Health Libraries Association / Journal de l'Association des bibliothèques de la santé du Canada 25, no. 4 (December 1, 2004): 107. http://dx.doi.org/10.5596/c04-048.

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Objective This paper explores various methods that librarians can use to evaluate and meet the information needs of clinical music therapists (MTs). Methods A survey of the literature of music therapy (MT) found many empirical studies of MT but none describing how MTs commonly express and satisfy their information needs. As a means of assessing their information needs, we first examine the basic features of MT practice and then compare MTs' information needs with the well-documented needs of nurses. Results We believe that MTs and nurses exhibit similar basic information needs, such as access to (i) colleagues and experts; (ii) current information in print, electronic, and alternate formats; (iii) reference and ILL assistance from librarians; and (iv) library training to search databases and catalogues. Conclusions Librarians should collaborate with MTs to identify their specific information needs. To begin, library services can be built by allocating relatively few resources. To evaluate what is required in evidence-based MT, librarians and MT associations should administer a national needs-assessment survey or questionnaire.

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Journal articles on the topic 'Music Library resources'

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