Journal articles: 'Music librarian'

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Lubrano, John. "The Antiquarian Music Dealer and the Music Librarian." Notes 47, no. 1 (September 1990): 21. http://dx.doi.org/10.2307/940532.

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Archer-Capuzzo, Sonia. "Fieldwork and the Music Librarian: How Music Librarians Can Help Researchers Conduct High-Quality Fieldwork." Music Reference Services Quarterly 16, no. 1 (January 2013): 1–17. http://dx.doi.org/10.1080/10588167.2013.755865.

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Shank, William. "A Memoir of a Music Librarian." Notes 63, no. 1 (2006): 9–12. http://dx.doi.org/10.1353/not.2006.0117.

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Wald, Jean. "Music Reference for the General Reference Librarian." Music Reference Services Quarterly 9, no. 1 (April 17, 2006): 13–28. http://dx.doi.org/10.1300/j116v09n01_02.

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Smith, Kevin L. "The Music Librarian as a Copyright Coach." Music Reference Services Quarterly 24, no. 1-2 (April 3, 2021): 3–8. http://dx.doi.org/10.1080/10588167.2020.1822065.

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McTyre, Ruthann. "Change: How a “Veteran” Music Librarian Keeps Up." Music Reference Services Quarterly 10, no. 3-4 (September 30, 2008): 33–41. http://dx.doi.org/10.1080/10588160802111006.

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Bradley, Carol June. "William Lichtenwanger, Reference Librarian." Notes 62, no. 2 (2005): 299–321. http://dx.doi.org/10.1353/not.2005.0125.

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Rothstein, Joseph, and Unisyn Patch. "Librarian Software for Windows." Computer Music Journal 20, no. 3 (1996): 98. http://dx.doi.org/10.2307/3680836.

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Stone, Scott, and Jessica Sternfeld. "Music Librarian and Faculty Collaboration: How an Historiography Assignment Improved a Music History Class." Music Reference Services Quarterly 17, no. 1 (January 2, 2014): 21–32. http://dx.doi.org/10.1080/10588167.2014.873265.

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Anderson, Gillian B. "Putting the Experience of the World at the Nation's Command: Music at the Library of Congress, 1800-1917." Journal of the American Musicological Society 42, no. 1 (1989): 108–49. http://dx.doi.org/10.2307/831419.

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Between 1800 and 1917 the music section at the Library of Congress grew from a few items in The Gentleman's Magazine to almost a million items. The history of this development provides a unique view of the infant discipline of musicology and the central role that libraries played in its growth in the United States. Between 1800 and 1870 only 500 items were acquired by the music section at the Library of Congress. In 1870 approximately 36,000 copyright deposits (which had been accumulating at several copyright depositories since 1789) enlarged the music section by more than seventy fold. After 1870 the copyright process brought an avalanche of music items into the Library of Congress. In 1901 Herbert Putnam, Librarian of Congress, hired American-born, German-educated Oscar Sonneck to be the second Chief of the Music Division. Together Putnam and Sonneck produced an ambitious acquisitions program, a far-sighted classification, cataloging, and shelving scheme, and an extensive series of publications. They were part of Putnam's strategy to transform the Library of Congress from a legislative into a national library. Sonneck wanted to make American students of music independent of European libraries and to establish the discipline of musicology in the United States. Through easy access to comprehensive and diverse collections Putnam and Sonneck succeeded in making the Library of Congress and its music section a symbol of the free society that it served.

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Fournet, Adele. "Bit Rosie: A Case Study in Transforming Web-Based Multimedia Research into Digital Archives." American Archivist 84, no. 1 (March 1, 2021): 119–38. http://dx.doi.org/10.17723/0360-9081-84.1.119.

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ABSTRACT This article is a case study in transforming web-based multimedia research initiatives into digital institutional archives to safeguard against the unstable nature of the Internet as a long-term historical medium. The study examines the Bit Rosie digital archives at the New York University Fales Library, which was created as a collaboration between a doctoral researcher in ethnomusicology and the head music librarian at the Avery Fisher Center for Music and Media. The article analyzes how the Bit Rosie archives implements elements of both feminist and activist archival practice in a born-digital context to integrate overlooked women music producers into the archives of the recorded music industry. The case study illustrates how collaboration between cultural creators, researchers, and archivists can give legitimacy and longevity to projects and voices of cultural resistance in the internet era. To conclude, the article suggests that more researchers and university libraries can use this case study as a model in setting up institutional archival homes for the increasing number of multimedia initiatives and projects blossoming throughout the humanities and social sciences.

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Nichter, Caren. "Adventures of an Accidental Music Librarian: Nurturing a New Library." Music Reference Services Quarterly 23, no. 3-4 (October 1, 2020): 113–18. http://dx.doi.org/10.1080/10588167.2020.1814528.

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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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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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Conway, Ashlie Keylon. "The Music Librarian as Development Officer: Raising Funds for Special Collections." Music Reference Services Quarterly 11, no. 3-4 (December 2008): 203–28. http://dx.doi.org/10.1080/10588160802570367.

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Cox, Elizabeth J., Roger Cross, and John Ballestro. "Music score approval plans in research libraries: A survey of librarian satisfaction with and without approval plans." Library Collections, Acquisitions, and Technical Services 33, no. 2-3 (January 2009): 80–94. http://dx.doi.org/10.1016/j.lcats.2009.08.011.

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Cox, Elizabeth J., Roger Cross, and John Ballestro. "Music score approval plans in research libraries: A survey of librarian satisfaction with and without approval plans." Library Collections, Acquisitions, & Technical Services 33, no. 2-3 (April 1, 2009): 80–94. http://dx.doi.org/10.1080/14649055.2009.10766236.

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Lo, Patrick. "A Conversation with Matthew Naughtin, Music Librarian at the San Francisco Ballet." Music Reference Services Quarterly 17, no. 3 (July 3, 2014): 142–68. http://dx.doi.org/10.1080/10588167.2014.932677.

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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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Rothstein, Joseph. "Pixel Publishing Super Librarian for IBM PCs." Computer Music Journal 14, no. 4 (1990): 87. http://dx.doi.org/10.2307/3680803.

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Kemp, Ian, Alexander Goehr, Oliver Neighbour, Karl Miller, Hugh Wood, David Matthews, Robin Maconie, and Anthony Payne. "DAVID DREW: TRIBUTES & MEMORIES (I)." Tempo 64, no. 252 (April 2010): 14–20. http://dx.doi.org/10.1017/s0040298210000136.

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In 1953 or thereabouts a London concert was announced containing the British première of Pierrot Lunaire, an epoch-making work as appeared to be the case from every book on music history I had been able to lay my hands on. So I got the score from the Pendlebury Library in the Cambridge Music School and duly became fascinated and perplexed. I then had a visit from David Drew, an undergraduate one year ahead of me. He had also wanted to see the score and had asked Charles Cudworth, the Pendelbury Librarian, how he could get in touch with the person who had taken it out. This was how I got to know David.

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Pierce, Pamela. "Livin’ Like Jagger: The Hardcore Life of a Digitizing Librarian." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 17, no. 1 (March 1, 2016): 47–49. http://dx.doi.org/10.5860/rbm.17.1.458.

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I watched a little too much VH1 as a kid during summers in “It’s a dry heat” Tucson, Arizona: countdowns of the 100 greatest rock songs known to man, tales of sordid behind-the-music history, and “best weeks ever” that read like a grocery store checkout magazine with better humor. Mick Jagger entered into the VH1 programming about every other day. To be clear, he’s not my role model. I’m the digital library coordinator and archivist for the Theodore Roosevelt Center at Dickinson State University. I love the academic world and I’m the ultimate bookworm. I have a personal archive of . . .

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Beasley, Gerald. "Curatorial Crossover: Building Library, Archives, and Museum Collections." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (March 1, 2007): 20–28. http://dx.doi.org/10.5860/rbm.8.1.272.

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I tend to associate the word “crossover” with popular music. I think of crossovers as being those artists whose music has successfully crossed over from a smaller market to a bigger one, like Mexican musicians making it big in the United States, or black musicians making it big with white audiences. And I frankly love the idea that I, as a librarian, might be able to make a curatorial crossover into a bigger market, much as Ricky Martin or Otis Redding made a musical crossover. Of course, I would have to address the two most common criticisms that are made . . .

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Damon, Steve. "From the Bookshelf: A Librarian with a Music Educator An Unstoppable Teaching Duo." General Music Today 16, no. 2 (April 2003): 6–9. http://dx.doi.org/10.1177/10483713030160020801.

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Ashe, Mary. "Art departments in United States Public Libraries: the Principal Means." Art Libraries Journal 12, no. 4 (1987): 4–9. http://dx.doi.org/10.1017/s0307472200005368.

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Only larger public libraries in the United States have distinct art departments; in a majority of these, visual art is combined with other arts subjects such as music and performing arts. Scope is broad, covering all aspects of art and reflecting the limitless interests of users and their need for both access to and the loan of material, and for information in answer to queries. Invariably, indexes and files are maintained to document local art. Responsibilities of the art librarian include encouraging users of the art department to be aware of complementary material in other departments, and ensuring that the art department serves the needs and abilities of a wide range of users. In recent years automation has contributed to the development of networking and cooperation; online searching is generally available within larger libraries but more usually through another department or section rather than as an integral element in the art department’s services. The automation of files of local art information has scarcely begun.

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Seibert, Donald C. "The Enchantress and Problems of Pacing in the Operas of Tchaikovsky: An Informal Interview with David Lloyd-Jones." Nineteenth-Century Music Review 4, no. 1 (June 2007): 103–17. http://dx.doi.org/10.1017/s1479409800000082.

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In June and July of 2004, Grange Park Opera gave the first professional stage performances in the United Kingdom of Tchaikovsky's The Enchantress (Charodeyka). David Lloyd-Jones conducted and was responsible for the performing version. The following article is based on an interview with him taped between the sixth and seventh performances.A retired Syracuse University music librarian, is the author of two published Tchaikovky studies: ‘The Tchaikovsky Fifth: a symphony without a programme’ (1991) and, in collaboration with Mark Elder, ‘The Dramaturgy of Tchaikovsky's Mazeppa’ (1988). He was for many years a contributor of record reviews and interviews to Fanfare magazine.

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Lo, Patrick. "Conversation with Karen Schnackenberg, Principal Librarian, Dallas Symphony Orchestra." Music Reference Services Quarterly 21, no. 2 (April 3, 2018): 88–97. http://dx.doi.org/10.1080/10588167.2018.1451235.

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Deborah L. Pierce. "Reaching Beyond Traditional Boundaries: The Librarian and Musicians' Health." Notes 67, no. 1 (2010): 50–67. http://dx.doi.org/10.1353/not.2010.0000.

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McCarthy, Muriel. "Public libraries in Ireland I. Archbishop Narcissus Marsh and the foundation of the first public library." Art Libraries Journal 25, no. 3 (2000): 37–40. http://dx.doi.org/10.1017/s0307472200011767.

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Founded 300 years ago, Marsh’s Library in Dublin – Ireland’s first public library – is described by its librarian as a ‘treasury of the European mind’. The outstanding collections, in their purpose-built 18th-century accommodation, are still accessible to the public. They include Irish books and manuscripts and books on subjects such as travel, botany, music and natural history. Recently the catalogue of printed books has been computerized and made available on the Internet.

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Wollenberg, Susan. "Introduction." Nineteenth-Century Music Review 4, no. 2 (November 2007): 3–6. http://dx.doi.org/10.1017/s1479409800000847.

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The eight articles published here represent the selected proceedings of the conference held at St Catherine's College, Oxford, 22–24 July 2005, under the auspices of the University of Oxford, Faculty of Music, to mark the bicentenary of the birth of Fanny Hensel (née Mendelssohn Bartholdy). As conference organizer I was deeply gratified by the list of speakers and papers we were able to assemble for the conference programme. The conference also featured two concerts given by Françoise Tillard (pianoforte) with Erika Klemperer (violin) and Robert Max (cello), performing piano and chamber works of Fanny Hensel; and April Fredrick (soprano), with Briony Williams accompanying, in lieder of Fanny Hensel and her circle. Peter Ward Jones (Music Librarian, Bodleian Library, Oxford) arranged and introduced an exhibition of materials from the Bodleian's Mendelssohn collection as part of the conference. The opportunity to achieve a close concentration of attention on Fanny Hensel provided by the event is now further developed in the proceedings published in this special issue of Nineteenth-Century Music Review.

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Rothstein, Joseph. "Sound Quest DX11/TX81Z Master Editor/Librarian for IBM PCs." Computer Music Journal 14, no. 1 (1990): 86. http://dx.doi.org/10.2307/3680125.

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Sara J. Beutter Manus. "Librarian in the Classroom: An Embedded Approach to Music Information Literacy for First-Year Undergraduates." Notes 66, no. 2 (2009): 249–61. http://dx.doi.org/10.1353/not.0.0259.

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Stevens, John. "Alphabetical check-list of Anglo-Norman songs c. 1150—c. 1350." Plainsong and Medieval Music 3, no. 1 (April 1994): 1–22. http://dx.doi.org/10.1017/s0961137100000607.

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It is a curiosity of British cultural history that the surviving Anglo-Norman (AN) songs of medieval England have attracted so little interest amongst musicologists English or French. Such knowledge as we have of them is mostly garnered from two pioneering facsimile volumes: Early English Harmony, edited in 1897 for the Plainsong and Mediaeval Music Society by Harry E. Wooldridge; and Early Bodleian Music (1901), an even finer collection, edited by Sir John Stainer, his son and his daughter, with exemplary studies of many of the manuscripts by Bodley's Librarian, Edward B. Nicholson. These two volumes contain about half of the songs listed here. Their French equivalent, Pierre Aubry's Les plus anciens monuments de la musique française (1905), contains two AN songs in facsimile. Others were published at around the same time (‘buried’ might be a better word) in isolated facsimile: El tens d'iver (Baker), Quaunt le russinol (Petersen). Yet others have only recently emerged, or re-emerged, into scholarly consciousness: Volez oyer le castoy (Wilkins), Si tost c'amis (Page, 1988)

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Liu, Qianxiu, Patrick Lo, and Dickson Chiu. "Do You Know Your Music Students’ Information Needs and Library Usage Behaviors? Interview with the Music Librarian of the Hong Kong Baptist University." Music Reference Services Quarterly 22, no. 3 (July 2, 2019): 150–63. http://dx.doi.org/10.1080/10588167.2019.1631699.

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Lo, Patrick. "Clinton F. Nieweg (Orchestra Repertoire Proofreader/Editor/Researcher) The Philadelphia Orchestra Principal Librarian (ret.)." Music Reference Services Quarterly 21, no. 4 (July 6, 2018): 209–17. http://dx.doi.org/10.1080/10588167.2018.1484681.

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Kuusi, Tuire, and Pertti Haukola. "Double Life: Music as Work and Serious Leisure." Journal of Arts and Humanities 6, no. 3 (March 12, 2017): 18. http://dx.doi.org/10.18533/journal.v6i3.1121.

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<p>Serious leisure (SL) is defined as an intensive, long-term free-time activity which has deep meaning for an individual and generates its own rewards without external incentives. SL has been studied intensively, yet studies on the mutual effects of an individual’s work and SL are scanty, especially when music is either the work or the SL. Our research addressed the connection between work and SL with both musicians and non-musicians. The data consisted of nine interviews. Four of the participants were professional musicians with various SLs (acting, woodwork, handicrafts, and urban culture). The other five (an architect, a librarian, two directors, and a project manager), conversely, had music as their SL. Qualitative content analysis of the data was conducted, and we analysed the data in relation to psychological recovery experiences (psychological detachment, relaxation, mastery and control), using the concepts of segmentation, spillover and compensation. The data were classified into three thematic clusters 1) Participants’ manner of talking about SL, 2) Aspects of SL, and 3) SL and work with further subdivisions into themes and categories. Our data did not show any difference between comments from the two participant groups. SL had positive effects on subjective well-being, notions of identity, and working abilities. It stimulated psychological recovery and gave meaning and content to the participants’ lives. We suggest that in today’s busy work life, employers should take advantage of SL and its positive effects.</p><p> </p>

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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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Rothstein, Joseph. "X-oR Editor/Librarian Software for IBM PCs, Apple Macintoshes, Atari STs, and Commodore Amigas." Computer Music Journal 16, no. 1 (1992): 96. http://dx.doi.org/10.2307/3680502.

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Soltz, Marisa. "Mastering Subject Specialties: Practical Advice from the Field. Ed. Karen Sobel. Santa Barbara, Calif.: Libraries Unlimited, 2016. 184p. Paper, $70.00 (ISBN 978-1-4408- 3964-1). LC 2015-043485." College & Research Libraries 78, no. 4 (May 4, 2017): 560. http://dx.doi.org/10.5860/crl.78.4.560.

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“Mastering Subject Specialties aims to share honest, thorough advice from subject specialistswith those who may be interested in entering similar fields or simply exploringthe range of possibilities,” writes Karen Sobel, the editor and associate professor andresearch and instruction librarian for art, architecture, music, and urban planning atthe University of Colorado Denver. This statement is a succinct summary of what onewill find in the book, and it is a beneficial read for both new and seasoned librarians.A timely work, Mastering Subject Specialties is a helpful guide for those who need moreinformation on how to become a subject specialist or how to move across and up thelibrary food chain. It is filled with advice and detailed guidance from those in the fieldand it serves as an exploration tool for anyone connected to librarianship.

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Rothstein, Joseph. "Sound Quest MIDI Quest Editor/Librarian Software for IBM PCs, Apple Macintoshes, Atari STs, and Commodore Amigas." Computer Music Journal 16, no. 1 (1992): 101. http://dx.doi.org/10.2307/3680504.

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Owens, Robert J. "Dr. T's X-oR Universal System Exclusive Orchestrator, Copyist Professional DTP, and Roland MT-32 Editor/Librarian for IBM PCs." Computer Music Journal 15, no. 4 (1991): 124. http://dx.doi.org/10.2307/3681094.

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Free, David. "News from the Field." College & Research Libraries News 80, no. 3 (March 4, 2019): 130. http://dx.doi.org/10.5860/crln.80.3.130.

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The March digital exhibit at University of OregonNevada State Library launches virtual reality cataloging projectIDEAL ’19: Advancing Inclusion, Diversity, Equity, and Accessibility in Libraries and ArchivesACRL information literacy programs, special collections security guidelines revisedFive librarians selected as 2019 IFLA/OCLC FellowsOASIS adds Project MUSE ebooksRecent Researches in Music OnlineEBSCO acquires StacksPALNI, WRLC, PALCI collaborate on IR solutionsProQuest One Academic debuts

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Hadi, Sumasno. "Bibliografi Musik di Kalimantan Selataan (1978-2017)." Pelataran Seni 2, no. 1 (March 17, 2017): 37. http://dx.doi.org/10.20527/jps.v2i1.9257.

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IntisariPenelitian ini bertujuan untuk memeroleh data bibliografis tentang kesenian musik di Kalimantan Selatan. Penelitian berjenis kualitatif-deskriptif ini menggunakan metode studi kepustakaan (literature research), dilakukan selama tiga bulan dari Maret hingga Mei 2017. Sumber data berupa bahan pustaka tentang musik di Kalimantan Selatan diperoleh dari berbagai perpustakaan di Kota Banjarmasin. Selain itu, dalam pengumpulan data, peneliti juga melakukan observasi, wawancara dan studi dokumen terkait subjek penelitian ini. Keabsahan data penelitian ini diperoleh melalui perpanjangan keikutsertaan peneliti, ketekunan pengamatan, triangulasi, diskusi sejawat/pakar, serta dengan kecukupan referensial. Hasil penelitian yang diperoleh adalah tersusunnya sebuah bibliografi kesenian musik di Kalimantan Selatan dengan beberapa catatan berikut. Dalam kurun waktu hampir 40 tahun (1978—2017), tercatat sebanyak 17 terbitan dengan subjek musik di Kalimantan Selatan. Dari 15 terbitan yang dapat ditelusuri, diketahui bahwa sebagian besar masih menggarap khazanah musik tradisional di Kalimantan Selatan, seperti musik Gamelan, Panting, Kintung, dan lain-lain. Terbitan-terbitan lain yang membahas musik modern-populer belum banyak dilakukan. Selain itu, jumlah 17 terbitan dalam kurun waktu empat dasawarsa dapat dikatakan masih belum mencerminkan kondisi yang ideal dalam perkembangan ilmu musik di daerah Kalimantan Selatan. Kata kunci: bibliografi musik, musik Kalimantan, musik Kalimantan Selatan AbstractThis study aims to obtain bibliographic data about music art in South Kalimantan. This descriptive qualitative research uses literature research method, conducted for three months from March to May 2017. Sources of data in the form of library materials about music in South Kalimantan obtained from various libraries in the city of Banjarmasin. In addition, in data collection, researchers also conducted observations, interviews and document studies related to this research subject. The validity of this research data is obtained through extension of researcher's participation, observational persistence, triangulation, peer/expert discussion, and with referential adequacy. The result of the research is the compilation of a bibliography of music art in South Kalimantan with the following notes. In the period of nearly 40 years (1978-2017), there were 17 publications with the subject of music in South Kalimantan. Of the 15 publications that can be traced, it is known that most are still working on the treasures of traditional music in South Kalimantan, such as Gamelan music, Panting, Kintung, and others. Other publications that discuss modern-popular music have not been widely practiced. In addition, the number of 17 publications within a period of four decades can be said still does not reflect the ideal conditions in the development of music science in the area of South Kalimantan.Keywords: music bibliography, Kalimantan music, South Kalimantan music

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Simmons, Sarah M., Jeff K. Caird, Alicia Ta, Franci Sterzer, and Brent E. Hagel. "Plight of the distracted pedestrian: a research synthesis and meta-analysis of mobile phone use on crossing behaviour." Injury Prevention 26, no. 2 (February 3, 2020): 170–76. http://dx.doi.org/10.1136/injuryprev-2019-043426.

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BackgroundPedestrians are commonly involved in vehicle collisions that result in injuries and fatalities. Pedestrian distraction has become an emerging safety issue as more pedestrians use their mobile phones while walking and crossing the street.ObjectivesThe purpose of this research synthesis and meta-analysis is to determine the extent to which cell phone conversation, text messaging or browsing, and listening to music affect a number of common pedestrian behavioural measures.MethodsA keyword search was developed with a subject librarian that used MeSH terms from selected databases including PsycINFO, SPORTDiscus, Medline and TRID. Supplemental searches were also conducted with Google Scholar and Mendeley.Effect size codingThirty-three studies met inclusion criteria and were subjected to data extraction. Statistical information (ie, M, SD, SE, 95% CI, OR, F, t) was extracted to generate standardised mean difference effect sizes (ie, Cohen’s d) and r effect sizes.ResultsFourteen experimental studies were ultimately included in an N-weighted meta-analysis (k=81 effect sizes), and eight observational studies were included in a qualitative overview. Both mobile phone conversation and text messaging increased rates of hits and close calls. Texting decreased rates of looking left and right prior to and/or during street crossing. As might be expected, text messaging was generally found to have the most detrimental effect on multiple behavioural measures.LimitationsA variety of study quality issues limit the interpretation and generalisation of the results, which are described, as are future study measurement and methods improvements.

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Yang, Z. Sylvia. "Outreach for Music Librarians." Music Reference Services Quarterly 22, no. 4 (September 17, 2019): 239–40. http://dx.doi.org/10.1080/10588167.2019.1668251.

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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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Koehler, William. "A Music Professor Views Music Libraries." Music Reference Services Quarterly 1, no. 2 (June 14, 1993): 41–49. http://dx.doi.org/10.1300/j116v01n02_03.

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Polak, Fiona, and Athol Leach. "DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS." Mousaion: South African Journal of Information Studies 32, no. 3 (September 30, 2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.

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Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polakâ€™s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The guiding theoretical framework is based on the Berne Convention (2014) and the World Intellectual Property Organization (WIPO) Copyright Treaty (1996) which provide the overarching international framework for guiding copyright. The literature review focuses on the international and national legislation; copyright in original recordings; duration of copyright; fair use, the public domain and information commons; copyright and fair dealing; and the South African Copyright Act (No. 98 of 1978). A survey conducted by e-mail identified problem areas experienced by the music librarians regarding the digital music copyright laws in South Africa. Two sets of guidelines for South African music librarians were formulated using their responses and the literature reviewed, and recommendations are made.

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Dougan, Kirstin. "“YouTube Has Changed Everything”? Music Faculty, Librarians, and Their Use and Perceptions of YouTube." College & Research Libraries 75, no. 4 (July 1, 2014): 575–89. http://dx.doi.org/10.5860/crl.75.4.575.

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YouTube’s accessibility, ease of use, and depth of content are strong lures for music students. But do music teaching faculty and librarians encourage this and do they use it in their own research, teaching, and work? This study surveyed over 9,000 music faculty and over 300 music librarians in the United States. It discovered that faculty rank is at times a factor in faculty use of YouTube for teaching and research—but not always in expected ways. It also found that faculty and librarians do not entirely share perspectives concerning the quality of YouTube’s content, metadata, or copyright concerns.

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Hu, Xiao, and Jin Ha Lee. "Towards global music digital libraries." Journal of Documentation 72, no. 5 (September 12, 2016): 858–77. http://dx.doi.org/10.1108/jd-01-2016-0005.

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Purpose The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL). Design/methodology/approach An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding. Findings Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent. Practical implications The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood. Originality/value It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.

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Journal articles on the topic 'Music librarian'

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