Careers in Music Librarianship III : Reality and Reinvention 9780895797872

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00_Cleveland_Covers.539 3/13/14 12:14 PM Page 1

M u s i c L i b ra r y A s s o c i a t i o n Te c h n i c a l R e p o r t s S e r i e s , Vo l u m e 3 3

Careers in Music Librarianship III: Reality and Reinvention

M u s i c L i b ra r y A s s o c i a t i o n Te c h n i c a l R e p o r t s S e r i e s , Vo l u m e 3 3 TR 33

Music librarianship—a profession that brings joy and satisfaction to many—is subject to constant change that requires, in turn, continual adaptation from its practitioners so that they become comfortable with new technologies and formats, changing standards, and fresh approaches. Relevant and solid training and education are crucial to success in this field, but they alone are insufficient to leaving graduates from programs in librarianship sometimes unemployed and with little feedback about the quality of their experience and education while their employed counterparts likewise have little knowledge of their skills’ relevance to the current job market. Knowledge of training, education, and current employer expectations for music librarians can help ease such concerns and pave the way for a successful career or career change. As with the two previous editions of Careers in Music Librarianship, this volume provides career resources and guidance for current and future librarians, as well as insights for mentors and educators working with these populations. With this volume, the contributors provide a selection of readings that can help people in and considering this profession to make realistic, informed, and strategic decisions about how to succeed in it. As the profession changes, so must the professionals within it, and everyone involved with music librarianship will benefit from the guidance offered in this exciting, new book.

About the Authors Susannah Cleveland is the Head Librarian at the Music Library and Sound Recordings Archives at Bowling Green State University where she is a frequent member of search committees. She has served as the Music Library Association’s Placement Officer and participated in MLA’s Résumé and Cover Letter Review Service. Joe C. Clark is currently Head of the Performing Arts Library at Kent State University. His research interests include librarian training and employment trends, collection management/resource sharing, library administration/management, and American vernacular music. He holds an MA in Ethnomusicology from Arizona State University, an MA in Information Resources and Library Science from the University of Arizona, and a BA in Music from the University of Utah.

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Careers in Music Librarianship III: Reality and Reinvention Cleveland & Clark

guarantee placement or promotion. Recent economic shifts have created additional instability,

Careers in Music Librarianship III: Reality and Reinvention Susannah Cleveland & Joe C. Clark

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CAREERS IN MUSIC LIBRARIANSHIP III: REALITY AND REINVENTION

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Music Library Association Technical Reports Series Mark McKnight, Series Editor 1. SLACC: The Partial Use of the Shelf List as a Classed Catalog, by Donald Siebert (1973) 2. Directory of Music Library Automation Projects, by Garrett Bowles (1979) 3. Proceedings of the Institute on Library of Congress Music Cataloging Policies and Procedures, ed. by David Sommerfield (1975) 4. The Classification and Cataloging of Sound Recordings: An Annotated Bibliography, by Barbara Knisely Gaeddert (1977) 2nd Edition (1981) 5. Recordings of Non-Western Music, Subject and Added Entry Access, by Judith Kaufman (1977) 6. Index to Audio Equipment Reviews, 1978, by Arne Jon Arneson and Stuart Milligan (1979) 7. Shelving Capacity in the Music Library, by R. Michael Fling (1981) 8. Index to Audio Equipment Reviews, 1979, by Arne Jon Arneson and Stuart Milligan (1980) 9. Shelflisting Music: Guidelines for Use with the Library of Congress Classification, M, by Richard P. Smiraglia (1981) 10. Index to Audio Equipment Reviews, 1980, by Arne Jon Arneson and Stuart Milligan (1981) 11. The Acquisition and Cataloging of Music and Sound Recordings: A Glossary, by Suzanne Thorin and Carole Franklin Vidali (1984) 12. Index to Audio Equipment Reviews, 1981, by Arne Jon Arneson and Stuart Milligan (1982) 13. The MARC Music Format: From Inception to Publication, by Donald Seibert (1982) 14. Library of Congress Subject Headings for Recordings of Western Non-Classical Music, by Judith Kaufman (1983) 15. Sheet Music Cataloging and Processing, by Sarah Jean Shaw and Lauralee Shiere (1984) 16. Authority Control in Music Libraries: Proceedings of the Music Library Association Preconference, March 5, 1985, ed. by Ruth Tucker (1989) 17. Planning and Caring for Library Audio Facilities, by James P. Cassaro (1989)

18. Careers in Music Librarianship: Perspectives from the Field, ed. by Carol Tatian (1991) 19. In Celebration of Revised 780: Music in the Dewey Decimal Classification, by Richard Bruce Wursten (1990) 20. Space Utilization in Music Libraries, ed. by James P. Cassaro (1992) 21. Archival Information Processing for Sound Recordings, by David H. Thomas (1992) 22. Collection Assessment in Music Libraries, by Jane Gottlieb (1994) 23. Knowing the Score: Preserving Collections of Music, ed. by Mark Roosa and Jane Gottlieb (1994) 24. World Music in Music Libraries, by Carl Rahkonen (1994) 25. Cataloging Musical Moving Image Material, by Lowell E. Ashley (1996) 26. Guide to Writing Collection Development Policies for Music, by Amanda Maple and Jean Morrow (2001) 27. Music Librarianship at the Turn of the Century, ed. by Richard Griscom and Amanda Maple (2000) 28. Cataloging Sheet Music: Guidelines for Use with AACR2 and the MARC Format, ed. by Lois Schultz (2003) 29. Careers in Music Librarianship II: Traditions and Transitions, ed. by Paula Elliot and Linda Blair (2004) 30. Shelflisting Music: Guidelines for Use with the Library of Congress Classification, M, 2nd Edition, by Richard P. Smiraglia (2008) 31. Uniform Titles for Music, by Michelle S. Koth (2008) 32. Directions in Music Cataloging, ed. by Peter H. Lisius and Richard Griscom (2012) 33. Careers in Music Librarianship III: Reality and Reinvention, ed. by Susannah Cleveland and Joe C. Clark (2014)

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CAREERS IN MUSIC LIBRARIANSHIP III REALITY AND REINVENTION

Edited by

Susannah Cleveland and Joe C. Clark

Co-published by Music Library Association and

Í A-R Editions, Inc. Middleton, Wisconsin

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ISBN 978-0-89579-787-2 A-R Editions, Inc., Middleton, Wisconsin 53562 © 2014 All rights reserved. Printed in the United States of America 1 3 5 7 9 8 6 4 2

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Table of Contents

Foreword Paula Elliot

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Preface Susannah Cleveland

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1

Music Library Environments and Positions Types Misti Shaw

1

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Training and Education in Music Librarianship John Wagstaff

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How to Make Friends, Influence People, and Maybe Even Get a Job in a Music Library: Perspectives from Recent Graduates and New Professionals Lindy Smith

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Breaking into the Field in a Tough Job Market Joe C. Clark

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Success Is a Science: Tips for Applying and Interviewing for Music Library Jobs Susannah Cleveland

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Faculty Status and the Music Librarian Jennifer Ottervik

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Career Flexibility: Moving between Position and Institution Types Amy Pawlowski

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Upwardly Mobile: Music Librarians Leave the Nest Ned Quist

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Staying Current: Keeping Skills and Knowledge Relevant in a Dynamic Professional Landscape Holling Smith-Borne and Mark A. Puente

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10 Professional Associations and Societies for Music Librarians Ruthann Boles McTyre

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11 Selected Resources Lisa Shiota

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About the Contributors

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Index

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FOREWORD

In the decade since the appearance of Careers in Music Librarianship II: Traditions and Transitions, the practice of music librarianship has continued to evolve, developing with increasing speed. During the intervening years, the “emerging technologies” of former concern have fully emerged, and lightning-speed research results are the norm. Onetime professional practices have been outmoded and updated, and so have employers’ expectations. Nevertheless, some cherished aspects of music librarianship are refreshingly constant—notably, the love of music that guides and binds the librarians who choose the specialization. A sobering fact of our times, however, is that libraries in our current society can no longer be romanticized or taken for granted. Those who choose the library field must confront that profound cultural shift. The contributors to the present volume, leaders in the field of music librarianship, address these present realities without illusions. Its chapters contain practical, detailed information about education for forward-looking professional practice, the current job market, job-search strategies, midcareer considerations, and professional support. The volume also updates earlier studies on the condition of the profession. Absent from this edition of Careers is speculation on the professional environments and practices of the future. This omission seems to indicate a current awareness that the future is really an ever-surprising, constantly new Now. While late-twentieth-century librarianship was characterized by technological revolution, I suggest that the early twenty-first brings a revolution in the nature of one’s expectations for work in the field. The aptly subtitled Careers in Music Librarianship III: Reality and Reinvention demystifies for our times the process of becoming and being a music librarian. Our shared present is characterized by uncertainty. This is an edition of Careers in Music Librarianship that embraces the present, offering concrete advice and encouragement for job seekers and practicing professionals, who may face their careers with more than a little anxiety. In the midst of professional changes, though, a life in music and an ethic of service continue to draw people to music librarianship. Music librarians love what they do. They love to connect music lovers with music and related material. They love the challenge of thorny technical matters and thought-provoking intellectual content. And they are fiercely loyal to each other, sharing an understanding of the practice as an important one that provides an unusual and highly specialized service. The professional bond that develops among music librarians is a strong and enduring one: a career in music librarianship implies not only an enjoyable job, but a supportive community of peers.

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It is clear that each new edition of this book will naturally supersede its predecessor, and it is time to retire Careers II, whose production occupied a chunk of my own career. Today’s music librarians tell it like it is, and tomorrow’s librarians are listening. To participate in the conversation is a privilege—not to mention a delight. Paula Elliot Summer 2013

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PREFACE

Since 1990, volumes of MLA’s Careers in Music Librarianship have provided invaluable tools for current and future music librarians to evaluate professional choices and plan their careers. In the first volume, Carol Tatian and the contributors provided an overview of the profession and the many options for the professional within it. In the second volume, Paula Elliot and Linda Blair edited a collection of essays that not only provided updates to the first but also pointed to the passions of music librarians, demonstrating why and how this profession appeals so strongly to its members. Ten years after the completion of the second volume, this new volume is geared toward providing specific advice and guidance—a self-help of music librarianship, if you will. Beginning work on this project in the midst of the largest economic downturn since the Great Depression, we saw students struggling with the decision to pursue music librarianship (the profession, at large, has admittedly had some bad press in the economic news),1 recent graduates despairing over the possibility of finding any employment at all (much less relevant employment), and experienced librarians worrying about making any career changes that would disrupt a stable situation. With all of these fears in mind, we encouraged our contributors to be honest about the issues they were addressing. While we certainly did not want them to hold back from expressing enthusiasm and excitement about their work, we also wanted to be sure that the results would paint a realistic picture of music librarianship now to help guide our readers in the future. The results of their work are, thankfully, not grim. Our contributors show us a field that is still vibrant and that is poised to continue to be so. The prevailing themes of much of the book are flexibility, adaptability, and patience, suggesting that we are in the midst of some great changes in librarianship in general and music librarianship in particular, but not ones that point to the obsolescence of the field or its practitioners, as many fear. Success lies in the ability to reinvent—oneself, one’s career path, one’s goals—when necessary, and our contributors have outlined many of the ways this is possible. We see here many views from the field, and while they might illuminate a different potential future for each reader, they all help us imagine and achieve a relevant and exciting career. Another theme we see time and again throughout these chapters is the importance of the Music Library Association (MLA) in the career trajectory of the music librarian. It is clear that it plays a robust role in the careers of our contributors. From involvement during the student years in the Music Library Student Group, to receipt of timely feedback from the Résumé and

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Cover Letter Review Service, to the perfect job found on MLA’s Job Placement Service, to the network of like-minded colleagues who provide support and feedback throughout one’s career, MLA matters to its members, as evidenced by its frequent mention in this volume. The music librarians who make up the membership of MLA have collectively aided and guided many a professional through difficult stages on the career path. Coeditor Joe Clark and I would like to thank all of our contributors for their generosity for taking on this task and willingness to share their deep knowledge of and perspectives on music librarianship. Their work has been a joy to collect and edit, and we’re terribly grateful for all of their hard work: Paula Elliot, Ruthann McTyre, Jennifer Ottervik, Amy Pawlowski, Mark Puente, Ned Quist, Misti Shaw, Lisa Shiota, Lindy Smith, Holling Smith-Borne, and John Wagstaff. In addition, there were legions of folks who were willing to speak with our contributors about their experiences in music libraries and as music librarians. These people have helped provide depth and perspective on the topic, something we truly appreciate. Look for their names throughout this volume. Our editors—Mark McKnight, James L. Zychowicz, and Richard Griscom—have been patient, supportive, and informative throughout this process, something that has made this project much easier than anticipated. Joe Clark wishes to thank his wife Susan Clark for her never-ending patience and understanding during this project (not to mention her remarkable editing skills!). He is also grateful to University Libraries at Kent State University for their support, Rosemary Heredos for her work proofreading selected chapters, and to the following colleagues who offered their personal insights: Anne Shelley, David King, Andy Leach, Elizabeth Cribbs, Lisa Lazar, and Mandy Richards. I would like to thank the music librarians who introduced me to this profession and helped me down this path with their encouragement, knowledge, wisdom, and humor: Ruthann McTyre, Beth Farwell, Sha Towers, Morris Martin, Mark McKnight, Donna Arnold, Jean Harden, and Ralph Hartsock. Without these folks, I would probably be doing something much less fun with my life. My coworkers have helped take up the slack during the process of finishing this work and have saved my bacon in many ways (they do that daily, no matter what I’m working on): Liz Tousey, Patty Falk, Susan Goldstein, and Bill Schurk. My family—Lyn and Elizabeth Cleveland—has been a marvelous support throughout the project, and I thank them for their willingness to hear me talk through topics that hold, let’s face it, very little interest for them. And, finally, to you, our readers, thank you for giving us a reason to undertake this exciting and informative project. We hope you find these reflections and thoughts useful and that they help you to direct your career in a meaningful and satisfying way. Susannah Cleveland August 2013

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NOTES 1 A recent online article on the Forbes website cites low median midcareer pay and low projected employment increases as reasons for declaring library science the worst master’s degree for jobs. While this data is not new—librarians have long chosen their career based on reasons beyond financial gain—it does contribute to a negative public perception of the profession. Jacquelyn Smith, “The Best and Worst Master’s Degrees for Jobs,” Forbes, June 6, 2012, accessed August 25, 2013, http://www.forbes.com/sites/jacquelynsmith/2012/06/08 /the-best-and-worst-masters-degrees-for-jobs-2.

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he choice of a career working with music in a library is one that can be deeply fulfilling. It has the capacity to combine multiple passions, ranging from the music itself in its many manifestations to preservation of history and cultural objects, public service, creating order out of chaos, and so much more. Considering a career in this arena can be overwhelming, thanks to the plethora of choices, so it behooves the individual seeking a career in music librarianship to explore the types of music libraries and the variety of music library work to discover what areas one finds most interesting. Misti Shaw introduces us to this range of position types and tasks. Not only does she give an overview of the opportunities with firsthand accounts from practitioners, but she also identifies aptitudes and personal traits that can help a person succeed in a given area. If you are considering music librarianship as a profession, are already beginning your career in music librarianship, or even considering a change within the field, this chapter can help you find your path to the type of work that will be the best fit for you.

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1 Music Library Environments and Positions Types MISTI SHAW Within academic institutions, public libraries, and archives, music librarians tackle a diverse range of responsibilities. For anyone planning to pursue a career in music librarianship, it can be difficult to determine what personal attributes and traits best correspond with a particular facet of music librarianship. Often students enrolled in library degree programs are urged to decide what their area of specialty will be, a decision that can be especially intimidating in the early stages of a library training program when there is still much to be learned. Understanding the variety of work responsibilities and contributions of music librarians, coupled with recommendations from music librarians about the personal attributes that flourish in each field of librarianship, can help those new to the profession make choices about education and employment that will result in a situation that will resonate with them personally. WHERE MUSIC LIBRARIANS WORK Music librarians work in a variety of library settings. Many public libraries—especially those in populous cities—contain collections of music in various formats. The music collections of public libraries vary widely and depend on a variety of factors, most often the unique needs of the surrounding community. But what all public music libraries have in common is that their patron base is diverse, composed of people who come from a variety of cultural, educational, and socioeconomic backgrounds. Academic music libraries may be found in colleges, universities, and conservatories. Most music librarians work in academic institutions of higher education;1 from 2002 to 2010, 82 percent of advertised music librarian vacancies on the Music Library Association’s Placement Service were for positions in academic institutions, and in 2011–12, that percentage jumped to 88.2 In university settings, some music collections are integrated within a larger collection of a main campus library. In these environments, music collections might be housed in disparate locations; music books might be shelved along with the other books in the library, the sound recordings and DVDs might be housed in a general media collection, and the scores might be shelved in their own area. Some academic libraries place all performing arts resources—including those for music, dance, and theater—in one area. Often, a music and performing arts librarian oversees these materials and provides reference services for them. Some universities have a branch music library, often in the same building where music teaching takes place, but still falling under the auspices of a campus library system. In branch libraries, all music collections are housed in one area. Yet even when there is a branch music

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library, some support services may be shared between libraries. For example, interlibrary loan might be centralized in the main library, but branch music library personnel assist in fulfillment of music requests. Or the music librarian who catalogs music items might also catalog media items for the main library, or the music reference librarian might provide reference services for performing arts collections located elsewhere. The music libraries of some campuses and conservatories exist as their own building, and often the personnel fulfills all aspects of their library services, including acquisitions, mending and preservation, cataloging, and more. All academic music library collections and services are administered by personnel who share the common goal of supporting the education and training of students studying music. Though many libraries in higher education institutions contain archives and special collections in music, some stand-alone archives are devoted to collections containing recordings, scores, documents, and more. Some of these serve the general public, while others are maintained by professional societies or other private entities. These collections often include rare or fragile items, such as first-edition scores or reel-to-reel tapes that require specialists to oversee their continued care and optimal storage and preservation. Radio libraries mostly house sound recordings and are located at radio stations or on university campuses that operate radio stations. The collections of radio libraries depend on the station’s programming; popular or indie music radio stations will contain jazz, rock, folk, or other popular music recordings, while other stations might have substantial classical recording collections. Some radio libraries employ personnel who conduct research or compile program notes used for radio programming or themed shows. Competencies for radio librarians vary; those who are interested in working in a radio library should contact individual radio stations to inquire about position openings, internships and training opportunities, and their desired qualifications. Performance and ensemble libraries include the music collections of orchestras, wind symphonies, opera companies, and military bands. Because the number of full-time performing symphonies and other ensembles is dwindling—there are fewer than twenty full-time orchestras in the United States in 2012—positions in music ensemble libraries are becoming difficult to attain and almost always require experience through apprenticeships or internships.3 Ensemble librarians work in performance environments, and the majority of their duties involve acquiring and preparing music for performance while maintaining and organizing performance collections. Some ensemble librarians oversee a small reference collection, and a few research and write program notes. Because the work of an ensemble librarian is so specialized, it will not be described in this chapter. Instead, those interested in pursuing ensemble librarianship will find McGill University ensemble librarian Erika Kirsch’s article helpful, as well as Russ Girsberger’s manual on performance libraries.4 The website of the Major Orchestra Librarians’ Association is also useful; the page “The Orchestra Librarian: A Career Introduction,” featuring descriptions of work responsibilities that apply to nearly any ensemble music librarian, is particularly informative.5

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PUBLIC SERVICES Public services involve a librarian’s direct interaction with patrons. These services often include circulation assistance, reference assistance, instructing users and providing user guides, and maintaining a web presence. Public services can also include aspects of marketing, including the creation of displays and special programs, and communicating with patrons about news, events, and updated services. Outreach activities with the community also fall under public ser vices. A social media presence has become increasingly important for libraries to maintain, and it is often the librarians in public services who update Facebook, Twitter, Flickr, and other social media platforms to promote library offerings. Though many librarians will have some responsibilities in public services, some music libraries employ librarians whose very job title is “public services librarian.” Ray Heigemeir is the public services librarian at the Stanford University Music Library & Archive of Recorded Sound. His philosophy of public services centers on awareness and access: make patrons aware of what we have, then get those things easily into their hands.6 Advertising collections and services is one of Ray’s biggest priorities. He notes that in university settings, students continue to have an easier time studying and working without leaving their dorm rooms. Collections and services that benefit students are of no use if they do not know about them, so the onus is on librarians to engage with off-site patrons and advertise how the library can help. Public services librarians often view themselves as advocates for both the collection and the patron; they are passionate about connecting people to useful collections and needed information. Public services librarians often oversee circulation (lending of materials), manage circulation personnel, and think of innovative ways to meet the needs of patrons. In university settings, this can also include delivery of course reserves in print and online. According to Ray, a circulation department should always strive to simplify and be unobtrusive. If a patron walks away from the library thinking, “That was easy,” then circulation has done its job. A library that can make checking out and renewing items as convenient as possible increases patron satisfaction, and innovative services help ensure that patrons will continue to visit for years to come. A convenient experience at the circulation desk is ideal, but what about the patrons who have trouble finding the materials and information they need? Ray believes that while circulation services should be provided seamlessly without drawing attention, reference and research ser vices and materials should be easily noticeable so that patrons are aware that they are available. Public services librarians assist patrons by creating guides and finding aids to make it easier to identify and locate needed information. A good research or subject guide provides the most important information without overwhelming the patron. A talented public services librarian excels at breaking down a complex issue, identifying the most important components, and simplifying presentation and delivery of tools and information. For example, when Ray created a library guide to jazz resources, he began by evaluating the best tools for jazz research. But then,

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ever committed to the patron’s ease of use, Ray took a step back and asked himself, “Is this too much? Am I giving patrons a foothold? Is there a big red arrow on the guide telling patrons ‘start here’?” He goes on to say, “You have to meet patrons at their level, on their playing field. They come from a variety of places. You must recognize and appreciate that they have varying experiences and backgrounds with using libraries.” Caring about patrons is a given within any facet of librarianship, and those who seem keenly aware of their surroundings might have a leg up in a public services environment. Being extroverted helps a public services librarian engage with patrons to receive feedback, but anyone who has ever sat in a bustling coffee shop and watched the customers and staff knows that you can learn a lot by actively observing any service point. Ray points out that paying attention to his patrons and their struggles can inform where there are services needing innovation or improvement. He also suggests that as consumers, public services librarians can observe customer service while grocery shopping, visiting the bank, or buying coffee. He asks himself, “What’s good about this service? What isn’t good? Do the signs help me or are they confusing? How did I feel after my interaction?” and adds, “Sometimes librarians think that our service is unique, but really, our patrons don’t necessarily differentiate our service from what they get at Starbucks. Service is service.” Though Ray works in an academic library, what he recommends for aspiring public ser vices librarians also applies to those who will work in the public library setting. Steve Landstreet is head of the Music Department at the Free Library of Philadelphia, and has public services responsibilities including circulation, reference, and outreach. Steve agrees that it helps to be extroverted and outgoing in a public services environment, but adds that in a public library, you must be especially adept at communicating with a variety of patrons. Because he serves the community, his patrons are diverse, coming from different socioeconomic, educational, and cultural backgrounds. Steve suggests that when working in a public library, it is essential to remain sensitive to those who struggle socioeconomically and to treat all patrons with respect and dignity. REFERENCE

Music reference librarians work in most libraries that contain music collections—branches, conservatories, central libraries with music departments, public libraries with music collections, music archives, and more. Some music libraries employ full-time reference librarians, while others employ part-time reference librarians or full-time librarians who devote some portion of their time to reference duties. Working with patrons directly can help librarians identify the ways in which library services and access to information can be improved. Thus, in some music libraries, all music librarians are responsible for at least one reference shift per week—even those who work in technical services. Donna Arnold has been serving the patrons at the University of North Texas as a music reference librarian for many years. Donna’s approach to reference work is practical: “The reference librarian is supposed to help you find what you want.” She fields a

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wide array of questions from patrons of all types—the sixth-grader with a school project about music, the amateur bluegrass performer seeking songs to perform, the undergraduate who procrastinated on a paper, the doctoral student seeking copyright permissions for music examples in her dissertation, the faculty scholar seeking rare scores from distant research libraries. Donna can recall several instances when patrons phoned her and proceeded to sing songs and ask for help in identifying them. Good reference librarians are committed to being approachable, because they know patrons can be nervous about asking questions or become intimidated by library personnel. It is also important to remain neutral and nonjudgmental when working with a patron. At her library, Donna says, “We try to treat everyone the same—namely, very well. You can see people visibly relax sometimes when they know we’re going to help them and it’s going to be fine.” The reference-librarian mentality can be compared to that of a salesperson. A successful salesperson is welcoming, friendly, engaging, and likes people. How many customers want to seek services from someone who seems annoyed by a request for assistance? Donna adds, “If you’re not a happy person, you don’t need to be a reference librarian.” Laura Moody echoes much of Donna’s sentiment about treating patrons well. Laura is the public services librarian at the Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland. In addition to her other responsibilities, she works reference shifts most afternoons. Situated on a community college campus, the library serves the public—researchers, rock enthusiasts, and everyone in between. Laura’s approach to serving her diverse clientele is to treat each patron with kindness and respect, no matter what their informational need might be. She adds that a reference librarian must possess a “goes the extra mile” personality when it comes helping patrons. Such service helps her accomplish her goal in reference work: “I don’t want to help them just once. I want people to keep coming back.” People well suited to music reference work will have a broad knowledge of music, which is why earning a graduate degree in music may be an asset for the librarian and her patrons. Assisting researchers will demand advanced research skills, and reference librarians must be willing to tackle in-depth questions with tenacity. Reference librarians need to feel comfortable working with both print and electronic resources, which together provide the best arsenal for doing music reference work well. Librarianship tends to attract those who want a career in service and to help people. Reference work attracts those who enjoy helping by directly interacting with the public—which is not for everyone. If you find it difficult to overcome extreme shyness, if you find it challenging to relate to people, or if you prefer working alone in predictable environments, reference work might not be the best fit as a primary area of responsibility. There are many other fields of library work that do not take place exclusively in public settings—including cataloging, digital projects, archives, special collections, and preservation—that a service-oriented person might find fulfilling.

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OUTREACH

Librarians use outreach activities to advertise and promote library services and collections to patrons who might not be aware of them, and to educate them on how to access and use those services. Some outreach activities include identifying and assisting underserved patrons for whom obstacles prevent visiting or using the library. Music librarians in academic settings might organize library orientation sessions for incoming music students and faculty, work a reference shift in an off-campus dorm lobby or coffee shop, or use the library’s Twitter account to advertise a popular sound recording collection to nonmusic majors. They might give a presentation to nonmusic librarians on how to provide basic music reference services, or teach them optimal methods to preserve aging scores and sound recordings. Music librarians in public libraries might maintain contact with community music ensembles and educators who might need reference or collection services. They might visit nursing homes to provide sound recordings or sheet music, or visit community centers to teach patrons how to access online collections and streaming sound. INSTRUCTION

Despite advances in technology and increased access to online resources, searching for music materials and conducting music research continue to be daunting. Music instruction librarians try to help patrons by teaching them how to locate and evaluate information and resources. They also help students prepare for and write their papers by teaching them research strategies. Most music instruction librarians are employed at academic libraries, and they often teach in the classroom setting. Bibliographic instruction programs vary from library to library, but all instruction librarians aim to tailor their sessions to the needs of their professors and students. A professor’s request to schedule a library instructional session can be triggered by a variety of needs. She might want her conducting students to learn how to use thematic catalogs and find scores within collected editions. Or she has given an assignment that will require students to find primary sources of music criticism. Perhaps she has noticed that her students’ papers are not as good as she had hoped, and she wants them to find more relevant research materials. Sometimes a professor might want to collaborate with an instruction librarian to add an appropriate library research component to an assignment or to make sure that the assignment does not demand library skills so advanced that students are doomed to struggle. Whatever the need, instruction librarians are usually glad to assist. In some settings, music library instruction is course integrated, involving much collaboration with the faculty. At DePauw University, I have the opportunity to make sure that students in the School of Music receive a sequence of library instructional sessions. Starting their freshman year, students learn basic skills in finding and using library resources. In subsequent years, students continue to build upon those skills while completing library assignments that align

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with the goals of their professors. By the time students reach their senior year, they are better equipped to conduct research for their papers, theses, and capstone projects. There are some music librarians for whom instruction is a major responsibility, yet music librarians responsible for public services, including reference work, are often expected to conduct instructional sessions as needed—even if they do not have a background in teaching or pedagogy. Not everyone is well suited to stand in front of a classroom, hold the attention of students, and teach them about material that can be complex (and sometimes dry, if we are being honest). Like other music librarians who work in public services, instruction librarians are often extroverted and can connect with people fairly easily. They can summon the confidence to feel comfortable commanding a classroom’s attention. Scott Stone is the performing arts librarian at Chapman University, where he often conducts music instructional sessions in a classroom setting. Through collaboration with faculty, Scott has increased the amount of music library instruction offered and has developed a bibliographic instruction program. Scott agrees that instruction librarians must feel confident in front of the classroom and be able to engage students, and says “a monotonous speaking voice, nervousness at talking in front of a class, or the inability to answer a question succinctly without using confusing technical jargon will make the teaching that much more difficult.” He also believes that when students have a positive experience with a librarian in an instruction session, they are more likely to seek the librarian’s help outside of class, but adds that this is less often the case if the student perceives the librarian to be awkward. Of course, most instruction librarians do get nervous the first few times they get in front of the classroom, but for most extroverts, feelings of nervousness eventually fade, and the teaching experience becomes energizing. ARCHIVES AND SPECIAL COLLECTIONS Archivists and special collections librarians often find themselves with a role in both the public view and behind the scenes. You will sometimes hear a special collections librarian say, “I do a little bit of everything.” Emma Dederick is the curator of special collections for the Latin American Music Center (LAMC) at Indiana University. She is involved in several facets of librarianship, starting with collection development. When a large gift arrives, she might be faced with several boxes of mixed formats—letters, photographs, sheet music, books—with no accompanying inventory list. If time were not an issue and Emma had a large staff, she could spend limitless hours with a donation, carefully inventorying each item in each box as soon as they are received. Of course, special collections librarians must manage time effectively, and a gift might need initial inventorying as quickly as possible. Emma spends time looking at a few items, then tries to describe the overall contents of the collection as best as she can while abiding by descriptive standards. The next step is arranging the newly acquired collection. After a box and its items are physically organized, Emma creates a finding aid so that anyone looking for a particular item in

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the collection knows where to find it, or at least the best places to look. Archivists use a special set of standards when creating finding aids—called Encoded Archival Description (EAD)—and Emma uses these to describe the unique physical nature of materials in archives and special collections. As time permits, she can revisit individual collections to document individual items more thoroughly. In libraries, archives, and special collections with larger personnel, there are archivists, catalogers, acquisition librarians, or digitization librarians who might get to spend more of their time patiently preparing inventories of items and creating detailed finding aids. No matter how large or small the personnel, all archives and special collections librarians must possess excellent time-management and project-management skills, especially when it comes to processing large gifts or other acquisitions. Emma plans what she calls tiers of processing and creates a timetable that she sticks to, adding “I’m going to devote this amount of time to this aspect, and the rest of the items I’ll have to box up and describe in general.” Librarians who supervise personnel must be able to develop good processing techniques, train their staff well, and then oversee their progress while encouraging them to meet their benchmarks and deadlines. Archivists and special collections librarians become experts on their holdings, so it makes sense that many of these librarians also assist researchers, visitors, and other patrons who want to use or study portions of the collections. Emma conducts tours for visitors and researchers and acts as an ambassador for its collections. When a scholar arranges to visit the LAMC, Emma begins by identifying the highlights of the collection that might satisfy the scholar’s interest and saves the scholar time by preparing materials to be used. Some archives require patrons to schedule appointments ahead of time, but others will serve walk-in patrons, too. At the Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland, archivists do their best to juggle walk-in visits from patrons interested in seeing items in their collection, including handwritten letters from musicians, business records of music executives, rare recordings from the 1970s, or other items within the rock and roll archives. The specialized and varied activities of archivists and special collections librarians dispel the notion of a librarian quietly sitting in a dusty vault, studying manuscripts all day with a magnifying glass. On the contrary, most librarians in these settings are multitaskers and must be able to shift priorities quickly as projects demand. Adriana Cuervo, now the associate director at the Institute of Jazz Studies at Rutgers University, is the former assistant archivist for music and fine arts at the Sousa Archives and Center for American Music at the University of Illinois at Urbana-Champaign. At the Sousa Archives, she and her staff were responsible for acquisitions, appraisals of donations, reference, preservation, and public programming. Like many archivists, Adriana says she does “a little bit of everything,” and urges those pursuing archival positions be willing to tackle a variety of tasks each day—sometimes in a variety of environments. At times, an archivist might have to visit basements or attics to help evaluate and move donated materials. Adriana recalls a donation of reel-to-reel tapes that were very dusty from fifty years of not being used, and reflects, “In archival work, you can’t be afraid to roll up your sleeves and get dirty sometimes.”

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In addition to being passionate about their collections, those who aspire to work in archives and special collections should be curious and inquisitive. A letter from a musician might seem insignificant to some, but special collections librarians know that the letter might have potential value for a researcher or other patron. Adriana recalls when a scholar who was studying the correspondence of Benjamin Britten contacted the Sousa Archives because a letter indicated Britten had once visited Champaign, Illinois, for a band concert. Her staff was able to locate archival materials that corroborated Britten’s visit, and those items were set aside for the scholar to study in person. Archives and special collections librarians are service oriented and want their collections to serve a purpose. Adriana suggests that archives librarians have patience, especially with donors who might be emotionally attached to a collection and feel hesitant about letting go of it. Archivists also need to be willing to listen to and interact with donors and scholars who want to discuss their collections and work. Emma adds, “It’s a service profession, and in special collections, you are helping people find useful items. If you want to ‘just do your job,’ then it’s probably not the job for you.” Thus, those energetic individuals who enjoy discovering the treasures of a collection and sharing their findings with friends and scholars might find rewarding work in archives and special collections. COLLECTION DEVELOPMENT The goals of collection development are to build a first-rate collection that supports the needs of its users and to care for that collection to ensure continued value and ease of use. In music libraries, such a collection includes books, scores, videos, sound recordings, journals, and online databases, indexes, and other electronic resources. There are some music librarians for whom collection development is a primary focus, and many music librarians who work in public services and reference positions have some responsibilities related to developing and maintaining a physical or digital collection. The selection and purchasing of materials may be spurred by needs both large and small. As the budgets for collections shrink and pressure increases to justify purchases, much of today’s collection development reflects a mentality of “they need this now,” rather than “they might need this one day.” A chamber ensemble professor might ask if you can purchase higher-quality editions of Haydn string quartets for his students to use. A patron preparing to attend an upcoming recital might ask you to help recommend a recording of a work (which you discover your library does not own). More involved collection development might stem from a professor’s new course offering. For example, if a music history professor wishes to teach a course on songs of the Civil War, you would evaluate the current books, scores, recordings, and databases in your collection and possibly expand collections to support the course more fully. Or, perhaps while working around the circulation desk, you start to notice that your popular music theater scores are looking frightfully tattered. You might need to create a plan to address that portion of the collection by weeding and replacing well-worn items—and perhaps using the opportunity to make sure there are no gaps in important music theater titles.

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After you expand and improve collections in Civil War songs and music theater scores, you must find a home for those items by creating space on a shelf or adding descriptions and links to your library’s web presence and online guides. Collection maintenance may not sound as exciting as buying items for a library, but it is an important aspect of collection development. After all, what good are all those items if they cannot be easily found, if they sit on overly crowded shelves, or if they deteriorate within a few years of purchase? As online collections grow and libraries place more emphasis on access rather than ownership, existing physical spaces will become harder to justify, requiring careful consideration for handling space. Space-planning, weeding, and shifting projects are important for maximizing space and finding homes for newly expanded collections. In fact, those with project management experience bring much to the table in these situations—especially those who can calmly handle the challenges and setbacks that plague large space-planning projects. In order to keep collections in good condition, music librarians identify items in need of new binding, mending, or other preservation repair. These activities can take place as part of a planned weeding project or when the need is observed during day-to-day work. Some libraries have binding and preservation departments; nevertheless, many music librarians do their own mending in house when possible. Collection development librarians tend to be good at problem solving. For example, a patron might request a documentary, unaware that it is not available for purchase yet. A collection development librarian might need to consult many sources to see when the documentary will be available and where it could be purchased. The librarian may ask the patron what information need would be satisfied by the documentary so he can try to identify a similar item in the collection—or for purchase—that would be a suitable substitute. Collaborative skills are essential for successful collection development. Jenny Colvin is the assistant director for outreach services and former music librarian at Furman University, where she was responsible for collection development of music materials. In order to improve their collection of performance scores, Jenny worked closely with her applied music faculty to become familiar with the repertoire they assign, the editions they prefer, and the vendors who specialize in particular instruments or genres. Jenny aimed to make sure that each work that a faculty assigned to a student in the studio was included in the music library collection. “After all,” she says, “it’s not my collection. It’s their collection—the students and faculty. The collection supports what they need.” Some music librarians use approval plans with vendors. To set up an approval plan, librarians create a profile and set parameters that vendors can use to identify items that might be suitable for a collection. For example, a music librarian might create a plan to receive all scores that are part of the Recent Researches in Classical Music series, or recordings featuring music by women composers. Approval plans assist a librarian and his staff by ensuring that important titles will not escape purchase during a hectic semester or by freeing time that may be spent working on more complex collection development projects. Some librarians establish relationships

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with preferred vendors or distributors to assist with locating obscure or out-of-print music. Jenny adds that sometimes distributors have amassed collections that include works one cannot find anywhere else. Long-range planning skills are also useful for collection development work. For example, a researcher might ask if the library can subscribe to a new database that could be of general use to his field of study. There might not be room in the budget when he asks, but the librarian can make a note of the request so that later—when a canceled subscription creates wiggle room in the budget—the new database might be added. Collection development librarians often know the “wish lists” of several of their faculty and patrons and can try to build requests into budgets throughout months or years of careful planning. Such planning is familiar to anyone who has budgeted to purchase a car, large appliances, or other costly items for the home. Proficiency in a foreign language—particularly German, Italian, or French—is a big asset in collection development. As Jenny points out, the music repertoire represents many nationalities, and much of it is known by a different title in each language, or it must be purchased from foreign publishers and vendors. Someone with an eye for detail (Is this a full score or a vocal score? Is that an MP3 recording, or am I purchasing the compact disc?) will also succeed. Ultimately, anyone with a love of music will find some aspect of collection development fulfilling. Those who possess many of the attributes described here will find fulfillment as well as success. TECHNICAL SERVICES Technical services is the umbrella term for tasks relating to acquiring materials for physical and online collections, organizing and maintaining the collections, or facilitating access to collections so that patrons can find what they need. Technical services librarians are doing cataloging, metadata, or working on digitization projects, and they are employed in all types of music libraries. Some devote all their time to one area while others might do work from several areas, such as acquisitions, cataloging and metadata, or digital projects. Without the foundational and background work provided by technical services librarians, those in public services would have a much more difficult time doing their jobs. There would be no online catalog a patron could use to find a recording of a symphony featuring a specific conductor. It would be impossible to find quickly a photograph of a specific jazz musician within a digital archive. Even though technical services librarians are not usually interacting directly with the public, all of their work is aimed at maximizing a patron’s ability to find what she needs. Some might say that the music librarians in technical services lay the important groundwork for a library’s potential to satisfy the needs of its patrons. CATALOGING AND METADATA

When an item, such as a book, score, or sound recording, is to be added to a collection, a music cataloger’s work will enable a patron to search for, locate, and access it. For a physical

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item, a music cataloger assigns an appropriate call number so that it can be successfully retrieved from the shelf. Libraries have online catalogs or discovery layers that enable patrons to search for an item using keywords and other search terms. A music cataloger contributes to the online catalog by entering all of an item’s bibliographic information into a record and uploading it to the catalog, all with an eye toward the patron’s needs. When preparing bibliographic records, catalogers use rules and controlled vocabularies in order to provide consistent access to items across all library collections. For example, a music library might own five different score editions of Dvorak’s Symphony no. 9, “From the New World.” The title page of each score might have a different version of the title, such as “Symphony 9,” “Symphony from the New World,” or even “Symphony 5” if it is a very old edition. The work of music catalogers ensures that the patron will be linked to all five editions in the collection, no matter what a score’s title page reads or which title the patron chose for the search. Music catalog librarians will add other information to the bibliographic record, including additional versions of titles, subject headings, and names associated with an item, if he thinks it might help a patron discover it more easily. For example, he might make sure that the bibliographic record for a recording of Stravinsky’s Le sacre du printemps also includes the English version of its title—The Rite of Spring—because the patron might search for the recording using its English title. James Procell is the director of technical services at the University of Louisville’s Dwight Anderson Music Library, where he spends at least half of his time cataloging and supervising technical services staff. James and his staff catalog items for the music collection, but they also perform maintenance on bibliographic records and perform retrospective work on collections that might need new attention. As an introvert, James flourishes in a work environment outside of the public realm, and does not mind that his technical services work rarely involves interaction with patrons. Those considering the field of cataloging, though, need not worry that they’ll starve for personal interaction. Since music catalogers share a passion for music and connecting patrons with materials, they frequently network and communicate with one another. In large technical services departments, catalogers work in a team environment and often collaborate on projects. James believes that those interested in music cataloging should be detail-oriented. He states, “You can’t just sit down and catalog the way you want to, ignoring the rules. That thwarts the patron’s attempts to find materials. Cataloging requires attention, accuracy, and care.” He adds that catalogers must feel comfortable with technology and be willing to adapt to changing rules. What James finds most important in cataloging work is a love of music materials. “Books, scores, DVDs, recordings, and also special collections—photographs, scrapbooks, and other archival materials. You have to enjoy working with a wide variety of materials because you want to provide access to them.” James acknowledges that some cataloging work can seem tedious, but when he spends time adding subject headings and other access points, he has directly con-

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tributed to the patron’s search experience. In fact, increasing the likelihood that a patron will find what she wants is what many catalogers find most rewarding. The increased need for metadata librarians arose when libraries began adding digital content and creating digital collections. Digital items often demand varying rules and practices for describing, displaying, and indexing metadata—that is, data that describes the item, whether it be an image, an audio clip, a scanned page from a score, or other information objects. Libraries are beginning to add discovery layers, enabling their patrons to search for items across all collections—the online catalog, stand-alone digital collections and archives, streaming sound databases, and more—regardless of the underlying metadata structures of individual collections. Like catalogers, metadata librarians apply a set of standards and practices in order to facilitate access to resources in all formats. They must be familiar with a variety of descriptive methods and ways to structure, index, and display data and be able to adapt within an environment of rapidly changing collections. Thus, the work of music metadata librarians can be considered as a reframing or evolution of the skill set of catalogers. Casey Mullin is head of the Data Control Unit at Stanford University Libraries. Like many libraries, Stanford has rebranded their cataloging department as a metadata department because of the variety of metadata that librarians work with today. He points out that ten years ago, metadata work was seen as parallel to the work of catalogers, whereas today, “Metadata is a different term for work that catalogers have been doing all along.” Casey’s unit performs bibliographic maintenance, which includes improving records that already exist and locating errors by running reports. Casey emphasizes that in the field of metadata, librarians must regularly step back and view their work from a broad perspective. Metadata librarians are experts on rules and processes, but they are also “big picture” thinkers and understand the philosophy behind those rules and processes. Understanding the philosophy of their work enables them to have an easier time responding to changing needs. Metadata librarians regularly ask themselves, “How does this work best help patrons?” A broad approach to metadata work also helps the librarian adapt and adjust to problems rather than be guided and limited by them. Like catalogers, metadata librarians work outside of the public realm, so they must feel comfortable working without frequent praise and feedback. Nevertheless, most metadata librarians take pride in their work and recognize that they often help patrons on a macro level. Casey notes, “You can do a stellar job maintaining a database, but no one is ever going to say, ‘Wow, that search I just did was great!’ ” Yet, there is fulfillment in numbers, and it is rewarding to know that metadata work can benefit hundreds of patrons each day. He adds, “Metadata librarianship might be good for the person who wants to help patrons in a broader manner than can be accomplished in one reference transaction.” Talented metadata librarians are able to thrive in an environment of moving targets. Casey explains, “You can spend time making a record perfect, but eventually it’ll be out of date. What is correct today might need changing tomorrow, so being flexible is a valuable skill.” Rigid people who tend to resist change and find themselves insisting that they want do their work the

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same way it has always been done might struggle in metadata work. Fortunately, a willingness to be flexible and to adapt to patron needs ensures that a metadata librarian’s work will always be relevant. Casey assures those who worry about job security that “encoding schemes and rules are, at the end of the day, ancillary to the core task: applying expert knowledge to provide structured access to items in collections—work that will always be needed in libraries.” DIGITAL PROJECTS

Music librarians in both public and technical services have been creating digital collections for a number of years. Some music libraries, such as the William and Gayle Cook Music Library at Indiana University, digitize sound recordings so that patrons can listen to streaming sound online rather than check out a CD. At the University of Louisville, James Procell scans music scores in the public domain and uploads them to the IMSLP/Petrucci Music Library web collection (http://imslp.org) so they can be accessed globally. Many music libraries have special collections of unique or rare materials—some that are even too fragile to circulate. Digitizing such materials can provide access to patrons outside the immediate library community without further damage, wear or tear. As more and more libraries try to facilitate online access to special collections, they are creating or reassigning existing positions for librarians whose main responsibilities lie in digital projects. Sandy Rodriguez is the special collections metadata librarian at the University of Missouri–Kansas City. Sandy occupies a leadership role in her work at UMKC. Part of her job is to survey and think broadly about potential projects, determine how to schedule them, and try to identify ways that she can group projects together. Then she can begin to develop the processing plans and workflows or perhaps apply for grants that could be used to hire staff who can input metadata for the items in those collections. For a given collection, Sandy determines what data will be collected, displayed, and indexed, enabling a patron to search for items using a variety of terms. She also determines a project’s workflow and timetable and spends quite a bit of time carefully training her staff to do their part. A librarian who will lead metadata or digitization projects doesn’t need to be an extrovert, but she does need to feel comfortable overseeing a project and managing staff while coordinating efforts in a team setting. The librarian must be a good manager of data and people. Sandy devotes substantial time to planning a project, adapting metadata schemes appropriately, determining workflows, and training staff on work processes. After the groundwork is laid, it becomes time for her to let the staff do their work. She must oversee their progress, make sure their work runs smoothly, and encourage them to keep pace with deadlines. It helps for these librarians to be production oriented and to understand how various aspects of work fit together within larger context. While overseeing her staff ’s work on a project, Sandy must coordinate with others who might have a role in the project—for example, the digitizers who scan the posters or convert the reel-to-reel tapes, the archivists who can solve the mystery of the name of

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the local jazz band in the photograph, the preservationist who can advise on best methods to clean a lacquer disc, or the programmer who will enable a track to stream online. Musicians who have prepared recitals know that self-motivation, self-management, and time-management skills are critical to succeed in a project-oriented environment, especially one in which a boss will not be hovering over the shoulder. Sandy suggests that people who need external motivation in the form of praise and frequent feedback and people who feel energized by frequent human interaction might perform better in a different line of library work, such as public services. It is frequently the case in metadata and digital projects environments that feedback is triggered when something goes wrong rather than when something goes right. Therefore, it helps in this field of library work to find fulfillment in the knowledge that though you might not hear it very often, your contributions hold great value and benefit many. HYBRID POSITIONS While some music librarians have primary responsibilities in one area, they might have work in other areas, too, such as the music cataloger who has a weekly reference shift, or the special collections librarian who occasionally gives instructional sessions in the classroom setting. On the other hand, there are some music librarians who divide their time fairly equally over two or more similar areas of library work, such as music reference and instruction librarians, or music metadata and digital projects librarians. In some music libraries, however, you will find librarians who seem to have hybrid positions, whose major responsibilities are split between distinct areas—possibly even between both public and technical services. Andrew Justice is the associate head music librarian at the University of North Texas in Denton. His job responsibilities are evenly divided between managing the sound recording collection and directing music digitization projects. The physical sound recording collection consists of CDs, LPs, 78s, reel-to-reel tapes, and cylinders. Much of the collection circulates, and Andrew supervises the students who staff the audio circulation desk. The care and preservation of fragile formats like tapes and wax cylinders is specialized work. Part of a sound recording librarian’s job is to monitor the condition of fragile recordings, recommend optimal storage solutions, and assist in cleaning and repairing damaged or deteriorated recordings when possible. He also manages online sound collections, which include streaming audio reserves for the UNT College of Music. In order to manage a sound recording collection effectively, Andrew must be an expert on playback equipment that can be rare or outdated, such as disc and cylinder phonographs. There is a public services aspect to this work too, since he often gives presentations in group or classroom settings about sound recording and playback technology. Presentations include demonstrations of phonographs, in which he shows students how sound is produced from records and cylinders. One of his goals is to educate his audiences about sound quality, so that they can learn to hear the differences in quality when listening to various sound formats. He also enjoys

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helping students learn about the cultural and historical context surrounding sound recording technology. In addition to being knowledgeable about playback equipment, sound recording librarians must feel comfortable with technology. Sound recording formats and playback change— sometimes rapidly. These changes often necessitate new planning and solutions for the preservation and maintenance of recordings, with technology playing an increasingly important role. The way that sound is delivered to patrons also changes, and librarians committed to a patron’s listening satisfaction will pay attention to the technologies that influence patron preferences. Many sound recording librarians, archivists, and preservationists share Andrew’s passion for the distinct role that sound occupies in the study and enjoyment of music. Though not all sound recording librarians will spend as much time as Andrew does with the public, the work of these librarians helps to ensure that the public can continue listening to the riches of music’s history rather than simply reading about them. Andrew’s digitization responsibilities are mostly focused on the College of Music’s performance recordings, the items in the Edna Mae Sandborn Music Rare Book Room, and other special collections of the library. Scores and manuscripts, including first editions of Lully operas, are scanned and made available for public view in the Digital Collection. Like Sandy Rodriguez, Andrew assists in determining what metadata will be collected, how it will be displayed, and other decisions that relate to how a patron will access the collection. He supervises a graduate student position, but he also coordinates with the digital projects team of the university’s main library to make sure that the patron experience is consistent from collection to collection. It is common in most academic music libraries that digitization efforts are coordinated with the main library’s digital projects staff, so the ability to work in a team environment and adhere to established standards is essential for librarians involved with digitization projects both large and small. RECOMMENDATIONS FROM THE FIELD If you ask music librarians, “What should I bring to the table?” you will hear certain responses repeated by many, no matter what field of librarianship they work in. The majority of librarians cite the patrons’ needs as the driving force behind all work, and librarians of all environments can link their various tasks back to the patron. You will also hear music librarians warn that a comfort and familiarity with technology will increasingly be essential. Flexibility and a willingness to adapt are also crucial in the rapidly changing environments of libraries everywhere. Many music librarians believe that continuing to practice the craft of music performance—playing in ensembles, performing in recitals—keeps a music librarian connected to their patrons in a meaningful way. Andrew Justice adds, “Library work might inform what you perform, and performing, in turn, can influence your work.” Yet nearly all music librarians will state that the most important thing to bring to the music library profession is a passion for music. Emma Dederick

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insists, “You have to love music because you’re around it all the time. You have to care about the collection you’re working with.” NOTES Susannah Cleveland and Mark Puente, “Survey of Music-Library Personnel Characteristics, 2009,” Notes 67, no. 4 (2011): 689. 2 Joe Clark, “What Types of Jobs Are Available, Who’s Hiring, and How to Land One of Today’s Jobs,” in his portion of the session sponsored by the Career Development and Services Committee at the Annual Meeting of the Music Library Association in San Jose, CA, March 2, 2013. 3 Catherine Wichterman, “The Orchestra Forum: A Discussion of Symphony Orchestras in the US,” 1998 Annual Report, Andrew W. Mellon Foundation, accessed September 16, 2013, http://www.mellon .org/news_publications/annual-reports-essays/presidents-essays/the-orchestra-forum-the-orchestraforum-a-discussion-of-symphony-orchestras-in-the-us. 4 Erika Kirsch, “What is Ensemble Librarianship?” Canadian Association of Music Libraries Newsletter 38, no. 3 (2010): 22–24; and Russ Girsberger, A Manual for the Performance Library (Lanham, MD: Scarecrow, 2006). 5 Major Orchestra Librarians’ Association, “The Orchestra Librarian: A Career Introduction,” accessed September 16, 2013, http://mola-inc.org/page/Career. 6 Throughout this chapter, quotations and allusions to remarks by practicing music librarians are derived from personal e-mail and telephone correspondence with the author in spring 2013, printed with their knowledge and understanding of the chapter’s goals and intended audiences. Heartfelt thanks go to these music librarian colleagues for generously and honestly sharing their thoughts: Ray Heigemeir, Steve Landstreet, Donna Arnold, Laura Moody, Scott Stone, Emma Dederick, Adriana Cuervo, Jenny Colvin, James Procell, Casey Mullin, Sandy Rodiguez, and Andrew Justice. 1

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horough training and a comprehensive education provide new music librarians with the necessary credentials not only to get a job but also to thrive in their profession. Programs that cater specifically to music librarianship are limited and decreasing in number, so understanding graduate school and practicum options are more important than ever. In his chapter, John Wagstaff examines the history of education and training in the field as well as recent developments. Statements of qualifications, core competencies, and relevant literature are all explored, providing readers with a sense of how the profession has developed its attitudes and values regarding the schooling and preparation of tomorrow’s music librarians. He also surveys joint master’s degree programs and—perhaps most important—addresses mentoring and music library practicums, which together provide well-rounded training and education for the music librarians of tomorrow. He offers valuable insights for those considering music librarianship and reminds current music librarians of their roles in this crucial process.

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2 Training and Education in Music Librarianship JOHN WAGSTAFF At least some readers of this book will be picking it up because they are at that exciting, if daunting, stage of life where they are considering their career options. They may be seeking affirmation, or reassurance, that a career in music librarianship is really for them. If so, I hope they will find that reassurance in this chapter, along with some practical advice on how to get the necessary training to prepare them for such a career. For, looking back over my almost thirty years of working in music libraries, I am happy to be able to say that from my perspective, today is an amazing time to be a music librarian. It is also an amazing time to be a student in library school studying music library and information work. Since the publication of the first edition of Careers in Music Librarianship (hereafter CIML) back in 1990, our field has expanded and changed more than anyone could have imagined. I suspect that those of us who have been fortunate enough to work in libraries both before and since the arrival of the internet will feel that this expansion and transformation have been particularly energizing and exciting. We are living at a time of split-second access to amounts of information that even the adjective “vast” seems wholly inadequate to describe, and as music librarians we are paid to explore, interact with, and use all this stuff. As professional librarians and information workers we are more closely connected with each other than ever before, with almost instantaneous access to sources of advice and best practice—informally via e-mail and social media, more formally through MLA-L.1 We can video conference (a term that already sounds rather quaint) in various ways with each other and with our patrons, we have instant messaging, 24/7 reference services, and so on. Moreover, there is nothing to suggest that the pace of change in libraries is going to slow over the coming years. So, to any current students out there who are wondering whether library and information work is a good career choice, I would say, Yes: you have made a great choice. What about the choice of music librarianship in particular, when so many different LIS careers are available? I have noticed, during my several years of teaching the course in music librarianship and bibliography for the Graduate School of Library and Information Science at the University of Illinois, that my students tend to fall into one of two types, which we might call the “dedicated” and the “curious.” My feeling (though at this time I have no official figures to back this up) is that the first group tend to be in the minority. These are students who have already decided that they want a career working in a music library, so my course is one step along the way to achieving their goal. Other steps along that road may include a practicum or internship in a music library; getting involved in professional bodies such as the Music Library Association (MLA), the Major Orchestra Librarians Association (MOLA), the International 23

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Association of Music Libraries, Archives, and Documentation Centres (IAML), or the Association for Recorded Sound Collections (ARSC); and finding a music library mentor. (As will become clear later in the chapter, this tripartite education of (1) a library school course, (2) a practicum/internship, and (3) professional mentoring remains something of a gold standard in music librarianship education.) The second group, “the curious,” may be unsure about music librarianship as a career or may already have decided that they do not wish to work full time with music. Their motivation for taking my module is to find out what is involved in a specialism such as music librarianship, in particular to discover what makes it “special” and “different.” The opportunity to find out about different specialisms is a characteristic of any good library school, whether the specialism is business, legal, medical, children’s, rare books, or music; thus it goes without saying that library school students should look for a school that offers a breadth of courses in special librarianship, along—of course—with the opportunity to study technological, legal/ethical, managerial, and more “philosophical,” or speculative, aspects. Library school is a place to expand your library horizons and to work out what being a “librarian” really means. So while of course I am happy to meet members of my “dedicated” group, I always encourage them to broaden their perspective, enjoy what is on offer to them in school, and not necessarily assume that, just because they want to be a music librarian right now, they will always, and exclusively, want to be one. Indeed, it has occasionally been the case that students will note in their evaluation that my class has helped them decide that music librarianship is not in their future. Such students, along with those in the “curious” category, have at least taken the time to explore and are more knowledgeable and aware for having done so. Furthermore, while they themselves may not become music librarians, at some point in their career they may well become managers and leaders of a library service and will have a music librarian (or someone with a similar, often broader, job title) working for them. Having taken a class in music librarianship, they will have some comprehension of what is involved in our work, and this has to be a good thing. That is why I always advise students to explore other special areas of librarianship along with music. Educationally, the needs of the “dedicated” and “curious” groups are different: the “dedicated” ones tend to want a lot of specific and quite detailed information about things like music reference work and cataloging/classification of music, and may be quite disappointed to find that music librarianship is only one course within their LIS degree; while the “curious” may simply want to know more about the generalities and about how the music library “specialism” relates to principles that are common to all library work. My two categories are generalizations, of course, and every student has his or her own reasons for signing up for any LIS module, musical or not. In spite of the numerous changes that have affected all areas of librarianship over the past few decades, ideas about what the chief elements of a music librarianship course at library school should look like do not seem to have shifted that much, although at the moment it is refreshing to see new ideas about music librarianship syllabuses coming from younger library school educa-

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tors. In the second edition of CIML (2004), Jean Morrow summarized that “the ideal library school program for music librarianship offers the opportunity to learn about all aspects of administering a music library, develops skills in using music reference materials, and teaches the elements of bibliographic control of music.”2 Today’s course syllabuses for music librarianship continue to reflect this educational philosophy. Morrow also referred to MLA’s “Core Competencies of Music Librarians” statement, issued in 2002 and, at the time of writing, still MLA’s latest statement on the topic.3 Included in that statement are reference and research skills; collection development and organization; library management; information and audio technology and systems; and “teaching,” i.e., patron education and faculty liaison, reflecting a continuing bias in music librarianship education towards the academic library. So how did the “Core Competencies” come about? And what preceded them? SOME HISTORY It seems almost obligatory in chapters of this sort to set off, at some point, on a short historical digression, setting out the milestones on the path previously trodden by others and leading up to the present day when things are—hopefully—better. That point has arrived. Little in this section will help someone reading this chapter to make up their mind about becoming, or not becoming, a music librarian, or how to choose a library school course, so those without an interest in professional history can safely skip it; but on the other hand, since we are a profession it is important to understand how we got to where we are now and to know something of the professionals who preceded us.4 Two things that might surprise the young professional are that (1) for the first eighty-or-so years between the establishment of a music collection at the Boston Public Library in the mid-1850s and the arrival of music library education and training courses in mid-1930s New York, there appears to have been virtually no formal music library training at all; and (2) the education and training of music librarians hardly figured among the founding aims of MLA.5 The first statement on music librarianship education—or, at least, the first to appear in print, and therefore given great respect by historians—was created by Otto Kinkeldey, MLA’s first president, and dates from 1937. Kinkeldey’s statement can easily be found elsewhere, so will not be reproduced in full here; but in essence, he felt that a good music librarian should (1) above all be a good librarian; (2) have a deep interest in music; (3) have at least a basic knowledge of French, German, and Italian; and (4) have special training in bibliography and in formats such as phonorecords. Perhaps the most interesting part of his article, however, is to be found in his statements that “I do not believe the time has come to set up a complete and detailed curriculum for the exclusive training of a music librarian” and that “it is not very likely that special schools for training music librarians will spring into being at once.”6 Kinkeldey’s prescription for a good music librarian continued to be discussed in MLA circles, and a “Resolution to the Board of Education for Librarianship of the American Library

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Association,” published in Notes in May 1940, included a list of topics that MLA considered at that time to be appropriate for an elective course in music librarianship. The topics were: • the materials of a music library • classification of books on music, music, and phonograph records • cataloging of music and phonograph records • music bibliography • reference work in music • music binding • equipment for music libraries 7 A vaguer but equally important statement, aimed this time at the public library, appeared in 1949 in Otto Luening’s report on Music Materials and the Public Library, a document that is full of factual detail and advice. Among Luening’s remarks is his statement that “The ideal music librarian has had both library and musical training, is community-minded, and is able to work effectively with community music leaders, musicians, and music-lovers.” He goes on to lament that “a person with all of these qualifications is hard to find,” and that “because the salaries paid to music librarians are so low, many qualified persons do not enter this field, or if they do, often leave it before they are fully trained.”8 Crossing the Atlantic to Europe, we find Belgian musicologist Suzanne Clercx-Lejeune noting, in 1956, a change from earlier times when scholars, rather than trained music librarians, were put in charge of music libraries. She suggests that this model is no longer sustainable because of the heavier teaching loads given to academics, and the proportionately smaller amount of time they can spend on music library duties. This, in her opinion, was why music librarianship was becoming increasingly established as a profession by the mid-1950s, and we may infer from what she says that she considered professional education for music librarians to be important. Since she was librarian at the Belgian Royal Conservatory in Brussels from 1940 to 1949, she presumably also considered that she had the necessary authority to express an opinion on this issue.9 Kinkeldey does not seem to have felt—or, if he did, he did not express it in 1937—that the music librarian’s training should include learning principles of good public service. This was left to one of the four sections of the statement Qualifications of a Music Librarian: A Report from the Committee on Professional Education of the Music Library Association, developed at an MLA meeting in Bloomington, Indiana, in 1973 and widely disseminated in print in 1974 and 1975. Nowadays this document is usually referred to as the “Qualifications Statement.” Its four sections were: (1) Knowledge of the materials of the music library; (2) Abilities to perform the most important kinds of music library work; (3) General background; and (4) Conclusion: the education of a music librarian (“Service to readers” fell under section 2). Some of these educational principles derive from Kinkeldey—for example, the requirement for a strong musical background, and an ability in German, Italian, French, and Latin—while others were more con-

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temporary, such as a preference for a master’s degree in library science, participation in MLA, and the performance of some in-service training such as an internship in a music library.10 It seems fair to state that the “Qualifications Statement” was among the most important steps on the path to today’s ideas about training music librarians. As regards the history of real courses in music librarianship, the first such course was offered at the New York College of Music in 1935 by Dorothy Lawton and continued for some years.11 Richard Angell of Columbia University offered his course in music library administration for the first time in 1938, and it was still being offered through the 1940s, although Heyer noted in 1951 that it had not been taught since 1948/49. Finally there was a course on “Classification, cataloguing and treatment of music in libraries, with its relation to general library practice,” offered at Hunter College by Herbert Inch. This course is reported to have been offered only a few times. In 1951, the North Texas State College (now the University of North Texas) was offering a course in music bibliography, which was being taught—in an ironic twist of fate, perhaps—by Otto Kinkeldey, who had joined the faculty that same year. Simmons College was also offering a course at this time, along with Florida State College at Tallahassee.12 Heyer lastly mentions a joint master’s course in music and librarianship (see also the section on “joint master’s” courses below) at the University of Chicago that took three years to complete. This comprised nine courses in librarianship, eleven in music, and seven electives, plus a ten-hour-a-week practicum. About five students were enrolled in the class in 1951.13 Also worthy of mention in this section is the course in music librarianship at the University of Michigan, which particularly during the 1960s graduated many students who went on to be important figures in music libraries. William Weichlein took over this course in the mid-1950s, and during the 1960s was also executive secretary of MLA, so was well placed both to know about vacancies and to keep music librarianship education on the association’s radar. Clearly there must have been some education for music librarians before Dorothy Lawton began teaching her course in New York, but it most likely consisted of on-the-job training. A fascinating report issued by the US Bureau of Education in 1922 and providing the results of a survey of the “condition and resources of the music sections of public and school libraries, containing 5,000 volumes or over, throughout the United States,” several times mentions trained staff in some music library or other.14 Thus the library of the New England Conservatory in Boston claimed to have one librarian, “trained as a music librarian,” and in total the report lists 28.5 full-time music “librarians,” “assistants,” or “attendants.” The Library of Congress had nine “attendants” in its music section, and the Chicago Public Library had one (a female). And so on. How, and from whom, did the librarian at the New England Conservatory receive training? We shall probably never know.15 The first important book on music librarianship published in the United States, Ruth Wallace’s Care and Treatment of Music in a Library, was not to be published until 1928 (in Chicago by the American Library Association, given that MLA did not formally come into existence until 1931). MLA’s first complete Manual of Music Librarianship,

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edited by Carol June Bradley, appeared only in 1966. Those early music librarians thus had only a few isolated pieces of published professional literature to help them, such as the “Symposium on Music Libraries,” a special issue of Library Journal from 1915.16 CHANGES SINCE 2004 A number of initiatives have taken place since the publication of the 2004 edition of CIML that have had the effect of improving offerings in music librarianship education and training. One of the most significant has been the development, by MLA’s Education and Outreach Program Subcommittee, of its Educational Outreach Program (EOP). This initiative, launched at the association’s national meeting in Newport, Rhode Island, in 2008, is intended to take music librarianship training outside the standard library school course into nontraditional learning forums.17 Three half- or full-day workshops were offered at the start, in acquisitions and collection development, music reference, and sound recordings cataloging. They have since been presented under a variety of names and occasionally extended to cover aspects such as videorecordings cataloging. The three modules are not, of course, intended to substitute for a semester-long education in music librarianship; rather, they are meant to train staff new to a music library or to help extend the skill set of those who have some responsibility for music within a broader job description. The EOP seems especially to have been designed with staff in public libraries in mind, something that may again reflect the fact that music librarianship courses nowadays seem to cater primarily to academic libraries. The courses are likely to be even more useful if those taking them can also be persuaded to attend an MLA national or chapter meeting and through that contact to find an informal or formal mentor. EOP workshops (sometimes more than one at the same event) were offered at two MLA preconferences in 2012, at just one event in 2011, eleven venues in 2010, fourteen in 2009, and eight in 2008, suggesting that there was pent-up demand for them in the early years that has now largely been satisfied. A glance through MLA’s Directory of Library School Offerings in Music Librarianship, first issued as a print publication in 1985 and now in its tenth, online edition, reveals that there are currently around ten courses in music librarianship on offer in US library schools.18 Not all of them are given annually. It follows that there are some schools that either formerly offered a course in music librarianship but no longer do so (such as Case Western Reserve University or Columbia University, which no longer offer library science courses) or have never offered such a course. There is potential for the WISE (Web-Based Information Science Education) Consortium to help here. Established around 2004, this consortium of library schools operates a system of reciprocal credits—meaning that if students at one WISE partner school wish to take a class at another WISE school, they can do so as a distance-learning student and receive credit from their home school. As I write this, the Music Librarianship and Bibliography course (LIS530ALE) at the University of Illinois can be taken in this way, and hopefully others may follow. Although distance learning can have disadvantages, if it permits library school students to take a class in music librarianship, it has to be a good thing.19 Furthermore, there are benefits,

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too, such as the fact that it is possible to invite outside speakers to contribute to the class using the distance-learning course software. This not only relieves the course leader of the burden of having to look like an expert in every aspect of music librarianship, but also lets students hear different views and voices, and increase their professional contacts by meeting, even if only virtually, some of today’s leading music library practitioners. Students taking my course from outside the University of Illinois over the past few years have come from the University of Pittsburgh; Long Island University; the University of Texas at Austin; Rutgers University; the University of California, Riverside; Western Illinois University; the University of Wisconsin– Madison; and—with the only international student to register so far—the University of Canterbury in New Zealand. Each outside participant has brought a unique contribution to the class, broadening the experience of our “home” students and providing a useful networking opportunity as well. From the institutional point of view, having these students also keeps class numbers at a sufficiently high level as to keep the class viable on an annual basis. WISE is a great program. Today’s music librarians also have several publications to help them develop their professional skills. Actually established in 2002 but still definitely worth mentioning in this chapter is MLA’s Basic Manual series, which began with Mark McKnight’s manual on music classification and has since covered other areas, such as music acquisitions, the performance library, music reference work, and fundraising. These highly readable manuals provide the student and professional with an up-to-date set of books that cover many aspects of contemporary practice. As for journal articles, the peer-reviewed Music Reference Services Quarterly carries many high-quality articles on current aspects of music library practice.20 Finally in this list of newer initiatives comes MLA’s Music Librarianship Educators’ Round Table, established in 2012. This started life as an informal group of MLA members who either were themselves teaching courses in music librarianship or had an interest in the issues involved in this type of work. The first, very casual meeting of the group took place at MLA’s annual meeting in Chicago in 2009, followed by a rather more formal gathering at the 2010 annual meeting in San Diego. Initially sponsored by the association’s Education Committee, the group offered sessions of papers on music librarianship education at MLA annual meetings in Philadelphia in 2011, Dallas in 2012, and San Jose in 2013.21 The fact that its sessions have consistently been well attended, with the formal papers being followed by lively discussion, has led the group to conclude that many in MLA—not just first-time attendees or students—take an interest in these matters. This has to be good for the future of music librarianship education. SYLLABUSES AND ASSIGNMENTS One of the most useful things to have come out of the formation of the Music Librarianship Educators’ Round Table has been an increase in the sharing of experience and good practice between music librarianship educators. Information on syllabuses and assignments has been exchanged, and there is a sense of a common purpose within the group, which currently has a

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mailing list of over thirty members. Based upon shared information on syllabuses, it appears that there is a high level of agreement between educators about what to teach, in spite of the fact that neither MLA, nor international IAML for that matter, has issued any specific guidelines regarding how music librarianship courses are to be structured.22 This is a wise move, for even if there is agreement over course outcomes—which for MLA presumably means that courses need to equip graduates with the necessary skills to meet the requirements of the 2002 “Core Competencies” and the 1974 “Qualifications Statement”—being overly specific could risk stifling the creativity of individual music librarianship educators. Furthermore, it is important for syllabuses to be flexible enough to be adaptable to the needs and requirements of the individual student within a particular class. Course assignments, and assigned readings (see the appendix to this chapter), can also help students develop their own focus and interests within the core syllabus—something that in turn helps them find out what kind of “librarian” they want to be, what they do and do not care about within the profession, and so on. As will be seen later, educators use a good deal of imagination in the course assignments they set, trying all the time to keep the assignments relevant to what students will actually need to know about in the real world. Therefore, when choosing a course, it is important for students to find out not only about the core syllabus, but also about the likely assignments. If they look intriguing and relevant, that course is worth considering. The 2004 edition of CIML did not set out to define what should be in a music librarianship course syllabus, perhaps assuming that the 2002 “Core Competencies” document would be used as a template. But in a wide-ranging article from 2004, Jennifer Oates did set down what she called a “topical outline for directed independent study in music librarianship” that probably summed up well the thinking about a core syllabus at that time.23 Her outline covered: • scopes, types, and functions of music libraries • history of music librarianship • types of materials • collection development • selection and acquisitions • cataloging and classification • conservation and preservation • copyright • music publishing • circulation and reserves • organization (physical and intellectual) and administration • policies, procedures, management, automation • technology in libraries • digital music libraries • archives and special collections

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• music librarianship as a profession • career paths in music librarianship • future of music librarianship Many elements on this list are reminiscent of the topics published in Notes back in 1940 and still appear on many of today’s music librarianship syllabuses. By way of illustration, I am inserting at this point my own course syllabus from the University of Illinois for spring 2012, as a fairly typical example:24

Outline of course LIS530ALE in Music Librarianship and Bibliography University of Illinois at Urbana-Champaign 2012 Course aims General: To provide the thorough training in the theoretical and practical aspects of music librarianship that is needed by current and future music library practitioners if they are to contribute positively to the organizations in which they work or intend to work. Specific: To provide instruction in music library acquisitions and collection development work; in cataloging and bibliographic description; in reference and bibliographic instruction activities; in conservation; in music library management; and in legal and ethical aspects of music library work. As far as possible the course will take the Music Library Association’s statement of “Core Competencies” as its frame of reference. The information below attempts to map the course content and assignments onto these Core Competencies. We will have “guest speakers” in a few of our sessions. On successful completion of the course, participants will be able to: 1. Analyze and evaluate the services offered by music libraries (MLA Core Competencies 1.1–1.4, 5.1) 2. Identify and articulate issues in the professional literature of music librarianship 3. Assess the effectiveness of music library collection development policies and acquisitions procedures (Core Competencies 4.1–4.6) 4. Catalog printed music and sound/video recordings using current cataloging standards (Core Competencies 5.2–5.5) 5. Evaluate reference sources in music (Core Competencies 3.1–3.6) Scheme of study The course will consist of fourteen two-hour sessions, based around the following: 1. Introduction to music libraries/music library organizations/journals. The role of music librarians. Types of music library user. How to “get involved” with professional music library organizations. (Core Competencies 1.1, 1.2. 1.6, 6.7) 2. Music library buildings and equipment. Some notes on the history and development of music libraries. (Core Competencies 5.1, 6.8, 7.2) 3. The education and training of music librarians, including MLA’s “Core Competencies”. Education and training of music library users. (Core Competencies 1.2, 1.3, 1.5, 2.1–2.6, 8.1, 8.2, 8.4)

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4. Acquisitions work in the music library (1). Collection development statements. Collection assessment. Approval plans. Electronic services: licensing versus acquisition of content. (Core Competencies 4.1– 4.6) 5. Acquisitions work in the music library (2). The antiquarian music market. Role of special collections. Some historical information on the printing and publishing of music. (Core Competencies 4.1–4.6) 6. Music classification schemes. How to organize music in a library. (Core Competencies 5.1, 5.4, 5.6) 7. Cataloging of printed music and sound recordings (1) (Core Competencies 5.2, 5.3, 5.5, 5.6) 8. Cataloging of printed music and sound recordings (2) (Core Competencies 5.2, 5.3, 5.5, 5.6) 9. Cataloging of printed music and recordings (3), including class reports on cataloging projects. (Core Competencies 5.2, 5.3, 5.5, 5.6) 10. Music reference work (1). Introduction to principal reference sources, mostly printed. (Core Competencies 3.1–3.6, 5.1, 5.4) 11. (i) Conservation/preservation issues in the music library. Promoting your music library and its collections. (Core Competencies 4.4, 4.6, 4.7, 5.1, 5.4, 6.2, 8.1) (ii) Legal and ethical aspects of music library work. Understanding the law, especially on copyright. (Core Competencies 8.1, 8.4) 12. Music reference work (2). New reference sources, including electronic reference tools. (Core Competencies 3.1–3.6, 5.1, 5.4) 13. Management of the music library. Human and nonhuman resources. What is library management? (Core Competencies 6.1–6.8) 14. Future trends in music librarianship. New developments. (Core Competencies 1.4, 4.1, 4.2, 4.7, 6.2, 7.1, 7.3, 8.1, 8.3) Coursework 1. (general): participants will regularly be assigned articles to read. By the end of the course they will be expected to have submitted brief reports on ten of the readings. The reports should be both descriptive and evaluative in nature—that is, while the reports should show evidence that you have read and understood what you have read, you should also be able to identify the strong and weak points of each article, and perhaps ask some research questions of your own concerning the material in it. Each of the readings is worth 4%, so the ten article reports in total are worth 40%. 2. Assignment 1 (following session 2): visit a music library of your choice and assess its layout and effectiveness as a music library “space” (tests Core Competencies 1.4, 5.1, 6.2, 6.8, 7.2). This assignment is worth 20% of your course grade. Length of assignment: 800–1,200 words. You can write more if you wish, but please don’t write less. It’s fine to include photos with your presentation, but please limit yourself to no more than ten. 3. Assignment 2 (following session 4): evaluate the collection development statement of an existing music library in comparison with the models given in Amanda Maple and Jean Morrow, Guide to Writing Collection Development Policies for Music (MLA, 2001). (Core Competencies 4.1, 4.6). This assignment is also worth 20%. Again, length should be 800–1,200 words. Write more if you like; don’t write less, please. 4. Assignment 3 (following session 9): submit a catalog record for a musical score or recording (Core Competencies 5.3). This is a difficult assignment, and because you will all have different levels of cataloging expertise and experience, it is worth just 10%.

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5. Assignment 4 (following session 11): write a review of a music reference source (Core Competencies 3.1, 3.4). A nice assignment to end our course with, this one is also worth 10%. Length: between 800 and 1,200 words, please. You can write longer if you wish, but please don’t write shorter. The assignments listed above are for the two-hour credit option. Those wishing to obtain four credit hours will additionally be expected to write an extended essay (around 3,000 words, plus footnotes and bibliography) on an aspect of music librarianship chosen in consultation with the course tutor. Required reading One of the assignments makes reference to Maple and Morrow’s Guide to Writing Collection Development Policies for Music. Participants should try to get access to a copy of this work. Other recommended (but not required) texts are those of MLA’s “Basic Manual” series.

Note the attempt to tie in the course sessions and assignments with the 2002 “Core Competencies” statement, which is also a feature of course INLS746, a three-credit course in music librarianship at the University of North Carolina at Chapel Hill.25 Specifically, the UNC course documentation states: Guided by the Core Competencies of Music Librarians, we will address key issues in music librarianship, topics including public services, collection development, music cataloging, and the use of technology in music libraries. Participants will also become familiar with some of the basic materials and reference sources generally found in music libraries.

Here are a couple of examples from other recent syllabuses: Introduction to the management and administration of music collections, including those in public, academic, conservatory, and research libraries, as well as those in performance spaces and archival settings. Examines the practices of collecting, providing access to, and preserving music and dance materials, including published and unpublished music and dance scores, and recordings in a variety of media. Special emphasis on the issues and developments in performing arts librarianship. (Catholic University of America, course LSC833)26 [This course covers] scope, types, and functions of music libraries—their physical and intellectual organization and administration. Included are principles and techniques of selection, acquisition, classification, cataloging, binding, storage, and dissemination of music materials; principles, techniques, and materials of music reference and research; music publishing and recording, including listening facilities; and philosophy and functions of the music librarian. (Simmons College, course LIS435)27 Course description: History, objectives, functions and administration of music libraries serving music schools, universities, public libraries and research institutions. Library resources for music research. Acquisitions, cataloging and classification of music scores and sound recordings. (Dominican University, course LIS776)28 Course objectives: Students will (1) acquire a general overview, in some breadth and depth, of the entire field of music librarianship. (2) Prepare to direct a music library. (3) Develop a sense

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of professional responsibility, judgment, and ethics. (Indiana University, Seminar in Music Librarianship, S655)29 Course description: This course will introduce you to the unique issues facing music research, music librarianship, and music information retrieval in the digital age, covering performers’ reference libraries, public library audio-visual branches, academic music research collections, and digital music collections. We will cover the diverse formats of music acquisitions and collections, the various sources of information about music germane to users’ needs, the specialized use of libraries in the study of music, and the unique issues in cataloging, classification, and management of a music collection, including digital music materials. (San Jose State University, factsheet for music librarianship course, fall 2013)30 Course description: Acquisition of and special cataloging requirements for printed music, recordings, and multimedia, collection management, administration of music libraries, preservation/conservation of special materials. (University of South Carolina, course SLIS744)31

As for assignments, clearly these need to take account of changing requirements in the music library job market. The “collection development policy assessment” assignment at Illinois now looks rather out of date, for example, although reporting on library visits, assessing reference tools, and doing cataloging assignments still often remain popular. Sonia Archer-Capuzzo, who taught the course at Illinois in spring 2013, tried two new assignments (see below for further information). Here are some other examples of assignments currently offered: • Prepare promotional materials for a local music performance (University of North Carolina, Chapel Hill, course INLS746). • Students in Indiana University’s Seminar in Music Librarianship are expected to present the results of a semester-long project, which counts for 50% of the final grade. • Students of music cataloging in Buffalo’s course LIS589 in 2012 were required to make a 20–25 minute presentation as if they were being interviewed for a job, using a script, slides, etc., on the subject of “Discoverability.” • Assignments at the University of Washington, Seattle, in fall 2013 for course LIS 500 (Library school independent study. Topic: music librarianship) will include practice in writing an NEH-style grant proposal for a music preservation/digitization project. • Students at the University of Iowa were given an assignment to spend $1,500 on library resources for music. • Assignments at Simmons College include interviewing a music librarian (clearly a good “networking” opportunity); writing a collection development policy; an annotated bibliography on a topic of the student’s choice; and a final project that is given in the manner of a conference presentation, providing the students with “real world” exposure to this kind of presentation. • Imagine a situation where you as a music librarian might be called upon to teach. It might be an undergraduate class on using the library to conduct research, a graduate course on using a specific database, a public library workshop on finding recordings, or

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any number of other scenarios. In your paper, explain the situation, who the students are, and what you need to teach them. Then, create a lesson plan. This can be supplied as prose, an outline, a PowerPoint, or an online module of some sort. Whatever method of dissemination of information you choose, be thorough. Include citations and a bibliography for those materials you use to help design your lesson plan. There is no length that this assignment must be since each may take a different form, depending on the student’s preference. (University of Illinois, 2013) • Your music library has been given a donation of composition sketches, scores, recordings, personal papers, and other items owned by a famous composer with ties to the library. Since you took this class, you know that a donation does not mean that materials are actually completely “free.” What costs might your library need to incur to process, preserve, promote, or otherwise deal with these materials? What kinds of things can you, as the music librarian, do to help pay for these expenses now and in the future? Be specific and creative. (University of Illinois, 2013) THE “JOINT MASTER’S” I already mentioned a further option that has proved popular with some students—that of the “joint master’s” in both music (often, but not exclusively, in musicology) and library science. Back in 2004, Jean Morrow mentioned that six schools offered this joint program; today the number is probably smaller, with the course at Indiana University possibly the most active. Catholic University of America also allows students to take a dual master’s course, although they report that hardly any students have signed up in recent years.32 The joint master’s course offered by Dominican University in Chicago is unique in that it has been offered partly through Dominican (for the library science component) and Northwestern University (the music component). Unfortunately, this program has recently been discontinued.33 Like just about everything else in librarianship, the joint master’s program has both pros and cons, and in addition, the workload can vary between different institutions depending on the number of credits that students are “excused” because they are taking a course of this type; some schools have no reduction at all in course credit requirements. Indiana has a threecredit-hour prerequisite course in computer-based information tools, followed by a further eighteen credit hours from other general ILS modules as a foundation. A further fifteen credit hours are taken up with more library-specific classes such as a three-credit music bibliography class, plus two music library internships. Students also take Indiana’s Seminar in Music Librarianship (course S655), and the university’s School of Music then has its own course requirements.34 The dual master’s program of the University of Buffalo demands thirty-six credit hours for the MLS degree, and thirty-two credit hours for the MA in music history or music theory. However, unlike the course at Indiana, the two master’s programs there are taken as separate degrees. Two music librarianship courses are offered at Buffalo: LIS588, which is a

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general overview course, and LIS589, dealing with music cataloging and metadata.35 Catholic University of America requires thirty credit hours in LIS and twenty-one in music.36 Evidence gathered for this chapter from course instructors suggests that joint master’s courses can save a student both time and money, so they are definitely worth looking at. But the small number of students who actually sign up and complete these courses is evidence that they can be problematic too. Coordination between two departments or schools (that of LIS, and that of music) is identified as being difficult to arrange, if it exists at all (and it seems that, in many cases, it does not). So prospective students should think carefully about whether taking the two master’s courses separately will work equally well for them. They should inquire about the reduction in credits required for a dual master’s and should ask about coordination between the two schools. Unfortunately, because such a small number of schools even offer the joint master’s option nowadays, it may be necessary for students to settle for slightly less than an ideal situation if they really are committed to this route. GETTING THE BALANCE RIGHT Up to this point I have mainly talked about classes in music librarianship taught in US library schools. But there are at least two other complementary elements—mentoring and the music library practicum—that deserve attention in a chapter on education and training. Mentoring, in which a new music library practitioner learns from a more experienced one, is rather like an apprentice system; the mentor passes on knowledge, tips, and “tricks of the trade” to the mentee in a one-to-one training environment that the library school course cannot hope to emulate.37 Mentoring can be useful in any type of music library work, but the apprentice-style mentoring relationship is perhaps most noticeable in the field of performance librarianship.38 Education and hiring opportunities for performance librarians have been fostered by the Major Orchestra Librarians Association (MOLA), which also offers mentoring opportunities for new professionals.39 I suggested earlier that many music librarianship courses focus on the librarian in an academic setting, such as a university or conservatory, but I have found, in fact, that students often sign up for my own course because they have a specific interest in performance librarianship—so much so that one of my students produced a final project paper on core competencies for orchestra librarians some years ago. The Music Librarianship Educators’ Round Table session at MLA’s annual meeting in San Jose in March 2013 featured two speakers with an interest in this area, at least one of whom pointed out the lack of literature on performance librarianship and the fact that it is rarely taught in library degree programs. Since performance librarian jobs are still advertised quite often, music librarianship educators perhaps need to take greater account of the field and at least provide some basic background.40 INTERNSHIPS AND PRACTICUMS Like mentoring, internships and practicums are an important complement to music librarianship courses. They are also one of the best features of the American educational landscape,

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with internships in particular being the exception rather than the rule in Europe, for example. Mentoring is a way for new professionals to learn from experienced practitioners and, as already noted, is an essential part of the education and training experience of performance librarians. An internship likewise enables useful interchanges to occur between new and more established professionals, but in addition, the intern is exposed to the day-to-day rhythms of how a music library actually runs. After all, like most jobs, life in a library of any sort is a mixture of “teachable moments,” lessons in professional behaviors and practices, and routine. It is only by seeing this daily routine in action that new librarians can gain insights into what it is really like to work there. An internship will teach valuable lessons, such as the fact that a lot of library work is reactive; it’s important, naturally, to strategize, and to start one’s daily work with some sort of plan, but any experienced professional knows that things just “come up”—patrons arrive with unexpectedly complex and time-consuming questions, library equipment is not working the way it should, the circulation system goes down, and so forth, and soon you find that your plan to do tasks A, B, and C has been superseded by the more urgent tasks X, Y, and Z. Interns see how their more experienced colleagues deal with these issues, avoid meltdowns, and just get things done while maintaining a professional demeanor and a trace of good humor (hopefully). You cannot learn that in a library school course, though of course you can learn some principles of library management that will come in useful. Unfortunately, principles, while good, always have to be honed by experience of the everyday world—just as there is a world of difference between understanding how a library catalog works and how patrons actually want to use it. In a perfect world, every student taking a class in music librarianship would be able to have an internship or practicum, but in practice this unfortunately is not possible. Happily, many more institutions offer music library internships or practicums than offer formal classes in music librarianship— again, the Directory of Library School Offerings in Music Librarianship should be consulted for more information. Another benefit of a library internship or a shorter-term practicum, of course, is that the intern or practicum student can be given tasks and projects that can be turned into real work outcomes. Being able to point to projects successfully completed looks good on an intern’s résumé, and may, ultimately, give them an edge over another candidate who has not had the same experience. A rather more nebulous—but equally valuable—outcome of an internship is that it may help interns answer the question, what type of librarian do I want to be? This question is important—librarianship is a profession to which we all bring our own unique contribution based on our experience, our professional likes and dislikes. Gaining exposure to the many aspects of work in a music library helps interns decide what they want to pursue and what to leave alone. Perhaps conservation work is your passion? Or music cataloging? Are you a person who loves reference work? Or a potential archives/special collections librarian? Both mentoring and internships can, moreover, help the new library professional see, through practical examples, that hardly anything in library work has a “yes” or “no” answer, and that apparently there are at least three sides to any question. While some might find this

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frustrating and indicative of a profession based on rather woolly principles, I would argue to the contrary that, in fact, it is a professional strength even if occasionally it looks to those outside the library world like dithering. If demonstrated in the right way, this multifaceted aspect of library work can actually be very stimulating for the new practitioner, but it has to be done gradually. Introducing interns to problem-solving, and ultimately to issues of music library management, helps them think about difficult questions without having to take final responsibility for resolving them. My own starting point when a new colleague comes to me with a library “problem” is first of all to ask them their own opinion on how to fix it. On the first few occasions they are likely to be reluctant to put forward a point of view or may have trouble even finding one. But as time passes and they grow in experience, and realize that they are allowed to express an opinion as part of a debate between professional colleagues about different solutions, they tend to grow in confidence. Treating interns as far as possible as equals also gives them a glimpse of what it is like to sit in the manager’s chair and helps them to imagine that, one day, they may well be there for real. Encouragement is an important part of both internships and mentoring, and listening to a new colleague is one of the best gifts you can give them. A final point to consider about internships and practicums is that they actively involve a potential employer in the education and training process. Those in our profession—and, I suspect, in many other professions, too—have had a broad spectrum of viewpoints on this matter, and probably still do. Some may think that a library school should confine itself to teaching broad professional principles and leave actual training—in library procedures, and in cataloging codes, for example—to employers. Others may be of the opinion that professional practitioners need to come out of library school with a clear, firm, and realistic idea of what music library work involves and be ready to fit right into a library administrative structure from day one. It will be obvious to anyone reading this chapter that there is likely to be more than one answer to this question. Perhaps the most important point here is that, while US library schools are accredited by the American Library Association and thus can be audited by the ALA, such professional bodies have no official role (besides a purely advisory one) when it comes to training offered in the workplace. Library school educators of course want to imagine that their students are interested in broad educational and philosophical principles of what they are being taught, but in practice most of them want to find a job first, and to worry about principles at a later time, once they are comfortable in their jobs and have some financial security. Conversely, I’d claim that it is important for professionals to understand that being a “professional” means more than learning a set of workaday procedures. There is a balance to be struck between education and on-the-job training. WHAT’S NEXT? In his presentation “What’s Missing? A Personal View,” given at MLA’s 2013 annual meeting in San Jose, Ned Quist of Brown University shared his ideas for bringing the content of music librarianship courses up to date, asking specifically, “Are we teaching to yesterday’s

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test?”41 Ned particularly mentioned (1) scholarly communications; (2) institutional repositories; (3) digital skills, particularly the management of digital projects; (4) evidence-based decisionmaking; and (5) grants/fundraising as areas that needed better coverage.42 In my opinion, it is difficult to argue with Ned’s points. It may be that students are learning the principles of some of these five elements in more general courses within their LIS studies, but based on many of the course syllabuses given earlier in this chapter, they certainly do not seem to be learning most of them in a music library context. Intriguingly, though, not all of the five areas are currently listed among the knowledge, skills, and abilities required of today’s entry-level music librarians, according to Joe C. Clark in his recent “What Employers Want” article.43 “Digital Repositories” knowledge was listed as “required” by just 1 percent of Joe’s sample, and as “preferred” by a further 8 percent. To me, this confirms a long-held suspicion that writers of library job descriptions tend to copy from each other, and, if music librarianship courses are somewhat behind the curve, job ads are even more so. How else can we explain that 25 percent of entry-level announcements in Clark’s survey still required, and 19 percent preferred, skill in a foreign language? Employers have never really explained what they mean by this, although a recent posting by Alexander Street Press probably sums up very well what is actually required in the way of language skills from most music librarians.44 SOME CONCLUSIONS The time has come to try to bring some of the threads of this chapter together and to attempt to arrive at some foundational principles for the education and training of tomorrow’s music librarians. In no particular order, I’d suggest: • Courses need to be flexible both in their content and delivery. Syllabuses of the courses currently on offer seem to be in agreement about a common core, but it would be a pity if there were not room in them for creativity outside this core on the part of those delivering the course. We do not want to reach a situation where all library schools offer essentially the same course and train all new professionals in exactly the same way. Required readings and course assignments can help differentiate one course from another and allow students to develop in the directions they wish to follow. Online courses have the advantage of being able to introduce students to expert guest speakers from outside the institution offering the course, but they are not a perfect solution. • Courses need to take more account of the variety of jobs available to music librarians, particularly since MLA’s own leaflet “Music Librarianship: Is It for You?” explains very well the variety of careers available.45 Thanks to recent publications such as MLA’s Manual for the Performance Library and Girsberger and Lake’s Insights and Essays, we now know much more about how performance librarians do their work. But maybe course instructors could pay more attention to, say, public library work, even if that is limited to a field trip to a public library or two. • On a related point, courses need to take account of, and give credit to, those who know less about the Western classical canon but may have considerable expertise in other areas

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of music. This will enrich course content and may help nontraditional music library candidates (however we may wish to define them) see that music librarianship is an option worth considering and a realistic possibility for them. Again, to quote Joe C. Clark’s recent survey, he found that an undergraduate music degree or related experience was required for only 61 percent of entry-level positions, which will comfort those students who sign up for a music librarianship class but are concerned that such a degree is practically compulsory.46 In her chapter “A Profile of MLIS Music Graduates, UC Berkeley” in CIML1 (1990), Mary Kay Duggan wrote: The trained music specialist of our demographic sketch . . . was generally trained in an environment that has a bias toward classical Western music, toward traditional nonelectronic works, and toward the sound rather than the visual component of film and video . . . While library schools are clearly providing for the future of music information in academic libraries, formal training is often less accessible for the popular music culture, so essential in the undergraduate and public libraries.47

Perhaps public libraries might feel encouraged to take a closer look at hiring music library specialists if more of today’s training was geared towards their requirements? • Courses must continue to satisfy MLA’s “Core Competencies” and subsequent competency statements. • There needs to be an appropriate feedback mechanism whereby students are enabled to reflect more deeply on the content of the course they have taken than simply using endof-semester instructor evaluations. Ideally, too, their opinions would subsequently then be sought at intervals—say, two or five years—after graduation, when at least some of them will have found library employment. There is also a role for MLA (of course) in periodically reviewing course content. • Where possible, the three-part system of (1) library school class in music librarianship as part of a general curriculum, (2) library practicum, and (3) professional mentoring should be encouraged. It’s important to remember that library school training and internships are just the start of professional training. Continuing one’s professional development by participating in MLA meetings and its working groups and committees is important. A mentoring relationship is another long-term investment in your career, and it may be that in time you will become a mentor yourself. Professional reading, of journals such as Notes, Fontes artis musicae, and Music Reference Services Quarterly, is another way to stay current and to see your own work into print. The opportunities are out there!

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APPENDIX: COURSE READINGS FOR LIS530ALE Assigned readings are an important part of many courses. For the spring 2012 offering of LIS530ALE (Music Librarianship and Bibliography) at the University of Illinois at UrbanaChampaign, students were required to select ten articles from the following list to read and report on. The idea of these readings is to introduce students to some of the most important writers in the field and to allow them to select readings of personal interest to them. The list is offered here as an example, not because it necessarily reflects “best practice.” THE FIELD OF MUSIC LIBRARIANSHIP: ORGANIZATIONS AND HISTORY

(1) Carol June Bradley, “The Music Library Association: The Founding Generation and Its Work,” Notes 37, no. 4 (June 1981): 763–822. (2a and 2b) BOTH: John Wagstaff, “The International Association of Music Libraries (IAML): Past, Present, and Future,” Advances in Librarianship 24 (2000): 189–207; AND Harald Heckmann, “Half a Century,” Fontes artis musicae 48, no. 1 (2001): 19–24. (3) Mark A. Puente and Susannah Cleveland, “Variation on a Traditional Theme: The Question of Racial and Ethnic Diversity in MLA,” Notes 68, no. 1 (September 2011): 48–59. (4) Susannah Cleveland and Mark A. Puente, “Survey of Music-Library Personnel Characteristics, 2009,” Notes 67, no. 4 (June 2011): 686–715. MUSIC LIBRARY HISTORY/BUILDINGS

(5) Gillian Anderson, “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 (1989): 108–49. (6) David Sandor, “Planning and Organizing the Move to your New Library,” Music Reference Services Quarterly 13, nos. 1–2 (2010): 22–34. MUSIC LIBRARY EDUCATION

(7) Judy Marley, “Education for Music Librarianship within the United States: Needs and Opinions of Recent Graduate/Practitioners,” Fontes artis musicae 49 (2002): 139–72. (8) Sara J. Buetter Manus, “Librarian in the Classroom: An Embedded Approach to Music Information Literacy for First-Year Undergraduates,” Notes 66, no. 2 (December 2009): 249–61. ACQUISITIONS WORK (1)

(9) Dan Zager, “Essential Partners in Collection Development: Vendors and Music Librarians,” Notes 63, no. 3 (March 2007): 565–75. (10) Andrew Leach, “One Day It’ll All Make Sense: Hip Hop and Rap Resources for Music Librarians,” Notes 65, no. 1 (September 2008): 9–37. (11) Kristin Heath and Terra Merkey, “Gifts 101: A Systematic Approach for Gifts of Music,” Music Reference Services Quarterly 14, no. 4 (October 2011): 183–202.

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ACQUISITIONS WORK (2)

(12) R. Michael Fling, “Tips on Acquiring Music,” Notes 63 no. 2 (December 2006): 279–88. (13) Kirstin Dougan, “Music to Our Eyes: Google Books, Google Scholar, and the Open Content Alliance,” Portal: Libraries and the Academy 10, no. 1 (2010): 75–93. CATALOGING AND CLASSIFICATION (1)

(14) Carol June Bradley, “Classifying and Cataloging Music in American Libraries: A Historical Overview,” Cataloging and Classification Quarterly 35, nos. 3–4 (2003): 467–81. CATALOGING AND CLASSIFICATION (2)

(15) Mac Nelson, “The Cello Music Cataloger as Program Builder,” Cataloging & Classification Quarterly 48, nos. 6–7 (2010): 634–44. (16) Deborah E. Kulczak and Lora Lennertz Jetton, “Lexicon of Love: Genre Description of Popular Music is Not as Simple as ABC,” Music Reference Services Quarterly 14 no. 4 (October 2011): 210–38. MUSIC REFERENCE WORK (1)

(17) Gerald Szymanski and Mary Alice Fields, “Virtual Reference in the Music Library,” Notes 61, no. 3 (March 2005): 634–58. (18) Jane Gottlieb, “Reference Service for Performing Musicians: Understanding and Meeting Their Needs,” Reference Librarian 22 (1994): 47–59. MUSIC REFERENCE WORK (2)

(19) Beth Christensen, Mary DuMont, and Alan Green, “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries: A Progress Report,” Notes 58, no. 1 (September 2001): 39–54. (20) David Hursh, “Calling All Academic Music Library Reference Desks,” Music Reference Services Quarterly 8, no. 3 (2004): 63–81. (21) Nara L. Newcomer and David Hursh, “Calling All Academic Music Library Reference Desks: A Follow-up Study,” Music Reference Services Quarterly 11, no. 2 (2008): 101–129. LEGAL ASPECTS OF MUSIC LIBRARY WORK (1)

(22) Jerry McBride, “The Effect of Orphan Works on Music Libraries: The 2005 U.S. Copyright Office Roundtables,” Notes 63, no. 1 (September 2006): 67–78.

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LEGAL ASPECTS OF MUSIC LIBRARY WORK (2); PROMOTING THE MUSIC LIBRARY

(23) Tim Brooks, “Copyright and Historical Sound Recordings: Recent Efforts to Change U.S. Law,” Notes 65, no. 3 (March 2009): 464–74. (24) Marian Ritter, “The Friends of the Music Library at Western Washington University,” Music Reference Services Quarterly, 9, no. 2 (2005): 55–60. (25) Ashlie Keylon Conway, “The Music Librarian as Development Officer: Raising Funds for Special Collections,” Music Reference Services Quarterly 11 nos. 3–4 (2008): 203–28. MUSIC LIBRARY MANAGEMENT; AND THE FUTURE

(26) Scott Phinney, “ ‘Can’t I Just Listen to That Online?’: Evaluating Electronic Access to Audio for Music Libraries,” Music Reference Services Quarterly 9, no. 2 (2005): 1–33. (27) Jenn Riley and Michelle Dalmau, “The IN Harmony Project: Developing a Flexible Metadata Model for the Description and Discovery of Sheet Music,” Electronic Library 25 (2007): 132–47. (28a and b) BOTH D. J. Hoek, “The Download Dilemma: The Demise of the Compact Disc Signals an Uncertain Fate for Library Sound Recording Collections,” American Libraries 40, nos. 8–9 (August–September 2009): 54–57; AND D. J. Hoek, “Licenses and Acquisitions: The Case of Digital Downloads,” College and Research Libraries News 72, no. 3 (March 2011): 155–57. (29) Patricia Puckett Sasser, “Sounds of Silence: Investigating Institutional Knowledge of the Use and Users of Online Music Collections,” Music Reference Services Quarterly 12, nos. 3–4 (2009): 93–108.

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NOTES 1 See Richard Griscom, “MLA-L at Twenty,” Notes 65, no. 3 (March 2009): 433–63, for more on the significant impact of the MLA-L e-mail distribution list. 2 Jean Morrow, “Preparing to Be a Music Librarian,” in Careers in Music Librarianship II: Traditions and Transitions, ed. Paula Elliot and Linda Blair, MLA Technical Reports, no. 29 (Lanham, MD: Scarecrow Press / Music Library Association, 2004), 30. 3 MLA’s Career Development and Services Committee is currently (fall 2013) working on updating the “Core Competencies” (information from Ana Dubnjakovic, September 2013). 4 In Judith L. Marley’s valuable and highly readable article “Education for Music Librarianship within the United States: Needs and Opinions of Recent Graduate/Practitioners,” Fontes artis musicae 49, no. 3 (July/September 2002): 139–72, the history of music librarianship came—disappointingly, in my opinion—at the bottom of the list of competencies that the recent graduate/practitioners thought were useful. This does tend to reflect a general lack of interest, both here and in the UK, in this aspect, however. 5 The association’s original aims were (1) to create aids for dating musical editions, (2) cooperative acquisitions, (3) indexes to current periodicals, (4) analysis of Denkmäler [M2] editions, (5) standardization of music cataloging, and (6) music bibliography for librarians. This last aim is still reflected in the titles of some music librarianship courses, such as course LIS530ALE, “Music Librarianship and Bibliography,” at the University of Illinois, and course LSC831, “Music Bibliography,” at Catholic University of America. 6 Otto Kinkeldey, “Training for Music Librarianship: Aims and Opportunities,” Bulletin of the American Library Association 31, no. 8 (August 1937): 459–63; reprinted in Carol June Bradley, Reader in Music Librarianship (Washington: Microcard Edition Books, 1973): 299–302. Toward the end of his article, Kinkeldey does note the course at Columbia University referred to later in the present chapter. 7 “Resolution to the Board of Education for Librarianship of the American Library Association,” Notes, 1st series, no. 7 (May 1940): 18. 8 Luening’s report was published in New York by the Social Sciences Research Council in 1949. The matter of the poor salaries paid to music librarians at the end of the 1940s is also reported on in Notes: Supplement for Members for 1948, where Catherine Keyes Miller of Columbia University suggested (in Supplement no. 5, p. 18) that “The question of salary levels for music librarians strikes me as being far more acute than that of training.” 9 Suzanne Clercx-Lejeune, “Le bibliothécaire musical: Sa formation professionelle,” Fontes artis musicae 3 (1956): 51–56. English translation as “The Music Librarian: His Professional Training,” in Reader in Music Librarianship, 306–9. For biographical information, see the article “Clercx-Lejeune, Suzanne,” by Godelieve Spiessens, in Grove Music Online (accessed August 2013). 10 In this connection, see D. W. Krummel, “Kinkeldey Revisited: American Music Library Education in 1937 and 1982,” Fontes artis musicae 30, no. 1–2 (January–June 1983): 56–60. 11 Useful information on early music librarianship course offerings is to be found in Gladys Chamberlain, “Courses in Music Librarianship,” Notes 1, no. 3 (June 1944): 49–50; and in Anna Harriet Heyer, “Where to Train in Music Librarianship,” Library Journal 76 (November 1, 1951): 1786–88. Chamberlain was head of the music department of the Los Angeles Public Library; Heyer was music librarian at North Texas State College in Denton. By 1944, Dorothy Lawton’s course comprised thirty onehour lectures. Chamberlain begins her article by noting that, in answer to the question of how to train in music librarianship, “until a few years ago the only answer was to learn by doing” (p. 49). For more on

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the energetic Dorothy Lawton, see Carol June Bradley, “Notes of Some Pioneers: America’s First Music Librarians,” Notes 43, no. 2 (December 1986): 272–91. A highly readable and informative account of the early days of music library work is Ruth Watanabe, “Some Personal Observations on the Training of Music Librarians (by Way of Reminiscences),” in Libraries, History, Diplomacy, and the Performing Arts: Essays in Honor of Carleton Sprague Smith, ed. Israel J. Katz (Stuyvesant, NY: Pendragon Press / New York Public Library, 1991), 101–12. 12 Heyer writes that there were two students at the start of the course at Tallahassee and that the college did not anticipate more than six students a year. Simmons College had had three students in music librarianship in 1950/51. 13 A few extra details about the Chicago course are in Notes: Supplement for Members, no. 4 (June 1948): 18–19; and in Katharine Holum, “Problems in Training and Recruitment,” in Notes: Supplement for Members, no. 25 (December 1957): 9–13. 14 Committee of the Music Teachers’ National Association, Music Departments of Libraries, Department of the Interior, Bureau of Education, Bulletin, no. 33 (Washington: Government Printing Office, 1922). 15 It is possible to identify the names of some of the librarians mentioned in the Bulletin, thanks to Carol June Bradley’s “Notes of Some Pioneers,” already cited. Donald Krummel has identified the New England Conservatory librarian as Richard Appel; I am grateful to Professor Krummel and many others for their contributions to this chapter. 16 Library Journal 40, no. 8 (August 1915). 17 Further information on the current state of the program, with a list of past courses and venues, can be found at the MLA website at http://www.musiclibraryassoc.org/?page=Workshops (accessed January 31, 2014). 18 Lisa Shiota, comp., “Directory of Library School Offerings in Music Librarianship,” 10th ed. (November 2013), http://www.musiclibraryassoc.org/?page=LibSchoolDirectoryI. 19 For more on the distance-learning class in music librarianship at the University of Illinois, see my “Spreading the Message: Using Distance-Learning Software to Deliver Courses in Music Librarianship at the University of Illinois,” Fontes artis musicae 58, no. 2 (April–June 2011): 165–76. 20 Examples include David W. Hursh and Christine B. Avenarius, “What Do Patrons Really Do in Music Libraries? An Ethnographic Approach to Improving Library Services,” Music Reference Services Quarterly 16, no. 2 (2013): 84–108; and Veronica A. Wells, “Hunting for QR Codes: Linking Students to the Music Collection,” Music Reference Services Quarterly 15, no. 3 (2012): 137–48. 21 The 2011 session in Philadelphia, entitled “Educating Music Librarians in the Digital Age,” was moderated by Nancy Nuzzo. In 2012, the group ran a session called “Generation What? Keeping Music Librarianship Education Relevant in an Age of Change,” moderated by Phil Vandermeer. In 2013 the session took as its topic “What’s Missing in Music Librarianship Education?” 22 At this time, only the German branch of IAML seems to have any guidelines (they call them “recommendations”—“Empfehlungen der AIBM für die Studieninhalte einer musikbibliothekarischen Ausbildung”) concerning the content of a course in music librarianship, both at the bachelor’s and master’s level. See http://www.aibm.info/wp-content/uploads/2008/08/curriculum_vorschlaege.pdf (accessed September 2013). As well as music librarianship, the recommendations include requirements relating to musicological knowledge, such as the basics of music history, knowledge of musical forms and

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genres, and of musical instruments. In the US context, such knowledge is usually gained separately (for example through a master’s degree in musicology), or through one of the small number of “joint master’s” courses that will be described further below. 23 Jennifer Oates, “Music Librarianship Education: Problems and Solutions,” Music Reference Services Quarterly 8, no. 3 (2004): 1–24. 24 The course was taught in spring 2013 by Sonia Archer-Capuzzo, who introduced some new assignments that are noted later in this chapter. 25 “Syllabus: Music Librarianship,” University of North Carolina at Chapel Hill, accessed August 2013, http://musiclibrarianship.web.unc.edu/syllabus. 26 “Course Catalog—Library & Information Science,” Catholic University of America, accessed September 2013, http://lis.cua.edu/courses/courses.cfm; and “The Catholic University of America— LSC833White Fall 2011,” accessed September 2013, http://lis.cua.edu/res/docs /LSC833WhiteFall2011.pdf. 27 “Current Course Descriptions,” Simmons College Graduate School of Library and Information Science, accessed September 2013, http://simmons.edu/gslis/for/current/courses/descriptions/all.php. 28 “Syllabus and Calendar,” Dominican University Graduate School of Library and Information Science, accessed August 2013, http://domin.dom.edu/depts/GSLIS/myDU/201011_40Summer /syllabi/776_50_1011_40Summer.pdf. 29 “S655 Syllabus 2013,” Indiana University William and Gayle Cook Music Library, accessed August 16, 2013, http://ils.indiana.edu/syllabi/spring_2013/S655_Cochran.pdf. 30 “Course syllabus,” San Jose State University School of Library and Information Science, accessed August 16, 2013, http://slisapps.sjsu.edu/gss/ajax/showSheet.php?id=5452. 31 “Columbia Campus—Acalog ACMS,” University of South Carolina, August 2013, http:// bulletin.sc.edu. 32 Information from Maurice Saylor and Thad Garrett of Catholic University of America, summer 2013. 33 Information from Greg MacAyeal at Dominican University, summer 2013. 34 See “Musicology or Music Theory (Master of Arts or Master of Music) and Master of Library Science,” Indiana University School of Informatics and Computing, accessed September 16, 2013, http://ils.indiana.edu/degrees/joint/mamusic.html; and Keith Cochran, “The Music Librarianship Programs at Indiana University,” Fontes artis musicae 60, no. 3 (July–September 2013): 217–21. 35 Information on Buffalo’s course is taken from “Directory of Library School Offerings in Music Librarianship,” accessed October 16, 2013, https://musiclibraryassociation.site-ym.com/?page=LibSchool DirectoryI; “LIS 588 Music Librarianship I,” accessed August 2013, http://gse.buffalo.edu/node /9475; and “LIS 589 Music Librarianship II,” accessed August 2013, http://gse.buffalo.edu/node/9476. 36 “Joint Degree Program in Music Librarianship,” Catholic University of America, accessed September 16, 2013, http://music.cua.edu/graduate/joint-ma-mls.cfm. 37 A variation on this mentoring model is operated at its annual meetings by MLA (and more recently by IAML): in this context the new attendee is helped by the mentor to make new contacts within the profession and may receive recommendations regarding which meeting sessions to attend. The careers advice on offer at MLA annual meetings also deserves to be mentioned here. It is quite possible that some very successful mentor/mentee relationships started at MLA meetings.

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More on this topic can be found in Elena Lence Talley, “The Librarian as Mentor: Hand to Hand,” in Insights and Essays on the Music Performance Library, ed. Russ Girsberger and Laurie Lake (Galesville, MD: Meredith Music Publications, 2012), 69–71; and in Paul Gunther, “Teach Our Own,” pp. 65–68 of the same volume. 39 MOLA specifically lists as its aim “to facilitate communication between professional performance librarians, educate and assist them in providing service to their organizations, provide support and resources to the performing arts, and work with publishers to achieve the highest standards in music performance materials for the professional musician.” From the Major Orchestra Librarians’ Association website, accessed September 13, 2013, http://mola-inc.org. 40 Regarding job advertisements for positions in performance librarianship, Joe C. Clark, in his “Job Trends in Music Librarianship: A Nine-Year Analysis of the Music Library Association’s Job List,” Notes 69, no. 1 (September 2012): 44–58, writes “of the ninety-eight announcements for the MLA Job Openings Web page since its inception in 2002 to 2010, 62 percent did not appear on the MLA Job List. Thirty-eight percent appeared on both Web sites, while nineteen positions were listed on the Job List that did not appear on the MOLA Job Openings web site” (p. 54). All the more reason, then, for music librarianship educators to make students aware of the varied forms of communication and information available to performance librarians. These are summed up on pp. 2–3 of Russ Girsberger’s Manual for the Performance Library, MLA Basic Manual Series, no. 6. (Lanham, MD: Scarecrow Press / Music Library Association, 2006). 41 See also Ned Quist, “Tomorrow’s Music Librarians,” in Careers in Music Librarianship II, 99– 110. Quist’s chapter offers additional insights on this matter. 42 Fundraising at least is now covered by Peter Munstedt, Money for the Asking: Fundraising in Music Libraries, MLA Basic Manual Series, no. 7 (Middleton, WI: A-R Editions / Music Library Association, 2012). 43 Joe C. Clark, “What Employers Want: Entry-Level Qualifications for Music Librarians,” Notes 69, no. 3 (March 2013): 472–93. 44 In an August 2013 posting on MLA’s jobs list for a “Music Cataloger Contractor,” Alexander Street Press described “familiarity with European languages” in the following terms: “[Cataloger’s familiarity with European languages] means a practical cataloging familiarity, not a full reading or speaking knowledge: ability to recognize the different languages, recognizing words representing articles (A, An, The, equivalents) and numbers, recognition of acceptable diacritics for the language, etc” (Job Placement Service, Music Library Association website, accessed September 10, 2013; as of October 17, 2103, no longer available). If we were to try to come up with a similar definition of “familiarity” for music reference librarians, we might decide they needed enough linguistic ability to interpret a German thematic catalog entry, or an entry in a foreign-language encyclopedia, maybe. Music librarians in general, and in my experience, rarely have real spoken fluency in a language outside their own, although of course there are always exceptions. 45 “Careers Brochure,” Music Library Association, accessed September 10, 2013, http://www .musiclibraryassoc.org/resource/resmgr/docs/careersbrochure.pdf. 46 Clark, “What Employers Want.” It is intriguing, and maybe slightly ironic, to see that the most-required qualification, according to Clark’s results, is written and oral interpersonal skills, something that most course instructors would probably say cannot really be taught. 38

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Mary Kay Duggan, “A Profile of MLIS Music Graduates, UC Berkeley,” in Careers in Music Librarianship, ed. Carol Tatian, MLA Technical Reports, no. 18 (Canton, MA: Music Library Association, 1990), 40. 47

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T

he current economic recession—beginning in 2008 and continuing, in some measure, in 2013—has created one of the most difficult job markets in recent years. These times have been challenging for everyone, but especially so for new graduates. Some libraries have had layoffs, while positions made vacant by retirements or other transitions remain frozen or are eliminated altogether, often diminishing the number of available positions while we still have a steady stream of recent graduates. These newcomers find themselves in competition for jobs—even entry-level ones—with seasoned librarians, who often gain an edge with more experience, extensive professional connections, and a proven track record. As the time since their degrees were granted increases, these job seekers have often found themselves at a disadvantage, with no professional work history yet no longer possessing the cachet of a freshly minted MLIS degree with its implications of greater technical prowess. While this difficult situation once seemed in danger of creating a whole generation of graduates who were unable to gain a foothold in their chosen profession, the talents, savvy, and ingenuity of these recent graduates have led to a slower, but no less promising start to their careers. In her chapter, Lindy Smith describes this conundrum from the trenches. As a graduate during this tumultuous time, Smith experienced the heightened need for flexibility and patience in the job search. She presents her own experiences and those of her peers to demonstrate how creativity and adaptability can lead not just to survival but prosperity in this painful job market. Those new to the profession or struggling to get started in it will find her statistics helpful and her advice empowering.

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3 How to Make Friends, Influence People, and Maybe Even Get a Job in a Music Library: Perspectives from Recent Graduates and New Professionals LINDY SMITH What do you want to be when you grow up? There are many popular answers to this question, but I suspect few children respond with a heartfelt “music librarian!” Not because it is not a great job and not because some of those children who answer with “firefighter!” or “movie star!” will not end up finding professional fulfillment as music librarians, but because they do not yet know it is a possibility. But at some point many people discover the profession and decide it is how they do want to spend a large part of their grown-up lives. If you are one of these people— especially if you have only recently become one of these people—this chapter is for you. The survey at the core of this discussion was developed to collect information about the educational backgrounds, job searches, and early career trajectories of aspiring music librarians to capture their perspectives and experiences in light of the current economy and job market. Out of this information, I will create an account from their perspective in order to shed light on this path for those who will shortly start down it. In addition, it should speak to those further along in their careers so they can be more effective in mentoring their new colleagues and keep these issues in mind as they sit on the other side of the interview table. You will find interspersed throughout this chapter case studies of a variety of recent graduates and new professionals followed by reflections on the lessons that can be taken from them. These are fictional creations. They are the product of my own imagination, but they are inspired by the experiences of myself and various friends, colleagues, and acquaintances. They are also informed by the experiences of the fifty-three recent graduates and new professionals who participated in the survey that forms the backbone of this discussion. By bringing a narrative approach to these distinct paths, I hope to breathe life into some of the issues faced by recent graduates and new professionals as a complement to the survey data. CASE STUDY 1: MS. A

Ms. A discovered the wild and wonderful world of music librarianship when she got a job working in the music library at her midsized midwestern university as an undergraduate music major. Upon graduation, she went off to a larger midwestern university to pursue degrees

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in library science and musicology. She worked in the music library and the archives as a student and developed interests in both. When it came time to start searching for jobs, she looked mostly at positions in music librarianship, but there were only a few open jobs and many of them required too much experience. She took advantage of her other interest in archives and started applying for jobs in archives as well. After a few interviews, she received an offer for a nonmusic archival position and accepted it. She enjoys her job, but hopes to return to music librarianship someday. Confession: I am Ms. A. I am in my first professional position, and though I still plan to pursue a career in music librarianship, I am not working in this area now. This is nothing new. Many current music librarians got their starts in nonmusic positions. Given the state of the job market, I was fortunate to be offered a great position, and I was glad to accept it. As you will see throughout this chapter, while many recent graduates are able to make the transition to new professionals relatively easily, not all are so lucky. But that is no reason not to try or to give up hope. There are other positions out there, and any experience will be helpful in trying to get back into music librarianship in the future. This chapter will help create realistic expectations among recent graduates and new professionals as well as provide advice for making the most of the opportunities and resources available to them at this pivotal point in their careers. METHODOLOGY I created a twenty-question survey (see appendix A for the full question set) to explore the experiences of recent graduates and new professionals interested in careers in music librarianship. “Recent graduates and new professionals” in the context of my survey are defined as those individuals who have completed a master’s degree in library and information science (MLIS) in the past five years (or will be completing one shortly) and are interested in pursuing a career in the field of music librarianship. The questions are focused on five areas: education and preprofessional experience, job application and interview experiences, job characteristics of new professionals working in music librarianship, experiences of recent graduates not working in music librarianship, and essay questions to allow for more personalized responses to general questions about respondents’ early career paths. The survey, which was open for eleven days in March 2013, was advertised on the Music Library Association e-mail list (MLA-L)1 and the Music Library Student Group (MLSG) e-mail list 2 and yielded fifty-three responses. The instrument was approved for research involving human subjects by the Behavioral and Social Sciences Institutional Review Board at the Ohio State University.

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EDUCATION AND EXPERIENCE In the first edition of Careers in Music Librarianship, Mary Kay Duggan explored issues of education, experience, and job placement in relation to the twenty-six MLIS-seeking students interested in music librarianship at the University of California, Berkeley, over a seven-year period in the 1980s.3 The size of her sample group was about half that of mine, and less diverse because all of her students were studying in the same program with similar available experiences. But by revisiting these issues over twenty years later, it is possible to observe the changes that have occurred in the intervening years. Duggan found that twelve (50 percent) of her students either had a non-MLIS master’s degree or PhD or had completed all requirements for a PhD except the dissertation. Seventyseven percent of the respondents to my survey had a graduate degree (MA/MM, PhD, or DMA) in addition to their MLIS (fig. 1). Forty percent of participants in my study cite the current job market as a factor in the decision to pursue an additional degree. In many cases, the additional degree was actually an MLIS, as the respondent reported already having an advanced degree in music before attending library school. Many respondents shared their initial belief that music librarianship was a better prospect for getting a job than other areas of music. Of the respondents, 92 percent reported having an MLIS4 with an additional 4 percent expecting to receive theirs in the near future. It is clear that individuals interested in music librarianship are operating under the correct assumption that an MLIS is a requirement for most jobs in music librarianship. According to Joe Clark’s recent study of the MLA Job List,5 63 percent of recent jobs posted were professional positions requiring an MLIS.6 But classes and degrees do not a complete education make. Duggan found that sixteen (62 percent) of her students had experience in libraries prior to pursuing a graduate degree in library science, and many had previously worked as full-time library assistants. My survey also collected information on the kinds of preprofessional work experience aspiring music librarians sought out to complement their coursework. Hourly work was the most frequently listed experience, with 61 percent of respondents having worked in that capacity. Graduate assistantships and practicum experiences came in next with 47 percent each. Thirty-six percent volunteered, 29 percent worked in a nonmusic library setting, 29 percent had unpaid internships, and 8 percent had paid internships (fig. 2). Of those who worked in conditions other than those listed, a number were already working in libraries full time before going back to school or changing their career paths to focus on music librarianship. All respondents cited at least one extracurricular hands-on work experience. The differences between my study and Duggan’s show how much more important both additional subject degrees and experience have become to successful job searches in the past two decades. In her profile, Duggan reported that all but one of her students found a job in music librarianship, though three later left their music library positions for other jobs in libraries, information science, or music.

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In the remaining sections, I will explore the realities of successfully getting a job in a music library today as reported by survey participants. CASE STUDY 2: MR. B

Mr. B worked as a graduate assistant in his midsized university’s music library while completing a DMA in performance. After graduation, he established a small studio and taught private lessons for a while, but after a few years of self-employment, he decided he wanted a bit more job security and benefits. He had enjoyed his past experiences in the music library, so he returned to school for his MLIS. He got a paraprofessional position in the music library where he had originally worked as a graduate assistant and enrolled as a part-time student in the library science program at another local school. He is still in the paraprofessional position but having now completed his MLIS is on the lookout for a full-time librarian position. Mr. B’s story is fairly common. Many people with advanced degrees in music find their way into music librarianship because it is a good alternative to teaching. Though postings for music librarian positions almost never require graduate degrees in music, Joe Clark, in his 2013 article “What Employers Want,” found that it was a preferred requirement in 39 percent of recent job descriptions.7 Paraprofessional positions can also be a good entry point to the field, as individuals working in those positions are gaining valuable library experience before and during their MLIS programs. A number of respondents noted that they wished they had found a library job prior to beginning their degree. SEVEN (WELL, SIX) QUESTIONS OF HIGHLY EFFECTIVE JOB SEARCHERS Regardless of the quality of education and experience an individual brings to the job search, they remain at the mercy of the job market and search committees. The set of survey questions directed at job searchers focuses on this aspect by tracking when job searches began, how long applicants spent on the job market, the number of applications submitted, and how many interviews—both phone/video and in-person—applicants participated in. The results show a gradual increase in participants beginning their job searches, with 4 percent before 2008, 10 percent in 2008, 12 percent in 2009 and 16 percent in 2010. There was a decline in 2011 to 10 percent and a large spike in 2012, when 30 percent of respondents

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began their job search. The remaining 18 percent began or were planning to begin their searches in the first few months of 2013. The majority of respondents (74 percent) spent less than a year on the job market, with 52 percent spending less than six months looking (fig. 3). This is encouraging news, though perhaps not for the 16 percent who spent more than a year looking or the 10 percent who are still looking. Most survey participants (74 percent) submitted fewer than twenty-five applications, and no one reported submitting more than one hundred (fig. 4). Thirty-six percent of respondents submitted fewer than a quarter of their applications to music library jobs, while 40 percent submitted more than three quarters of their applications to music librarian positions. This suggests two different strategies: either applying to almost solely music library jobs to focus the search on one specific area or applying to a wide variety of jobs, including those outside of music libraries, to increase the chances of receiving an offer. Not surprisingly, applicants who spent less time on the job market also submitted fewer applications. Everyone who spent less than three months on the job market submitted fewer than ten applications. This suggests either effective job-seeking strategies, a limited number of relevant openings during the job search, or some combination of both. The results become more varied for those who spent more time on the job market. Also not surprisingly, the respondents who reported submitting more than fifty applications were more likely to receive offers for interviews. The statistics on numbers of phone/video and in-person interviews follow a similar contour, though the line for in-person interviews is more dramatic (fig. 5). The numbers for inperson interviews are also higher than the phone/video interview numbers. As phone or video interviews are usually a preliminary step before narrowing down the number of applicants invited for in-person interviews, I would have predicted the number of phone/video interviews would be higher. Regardless, most applicants participated in five or fewer of each kind of interview during their job search. CASE STUDY 3: MR. C

Mr. C met his wife as an undergraduate music education major. They married immediately following graduation. He worked for a few years as a classroom music teacher and earned a master’s degree in music education while his wife completed her PhD in physics. After graduation, Mrs. C got a tenure-track position at a small school with few nearby opportunities for Mr. C, so they decided he would stay home with their two small children. As their children entered school, Mr. C enrolled in an online MLIS program to create more career opportunities for himself. In addition to his education, he is well qualified by having taken advantage of many internship, practicum, and volunteer experiences as well as being

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involved in professional associations on both the local and national levels, but Mr. C’s job search is hampered by his geographical limitations. He has interviewed for a number of positions but has been unable to pursue any positions at out-of-state institutions. 16 14 12 10 8 6 4 2 0 Less than 3 months

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Figure 3. Time spent on the job market.

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Figure 5. Number and type of interviews.

Having geographical limitations can make the application process considerably more difficult. There are fewer options, especially if you are not in a large city with a variety of libraries. That said, Mr. C made some good choices along the way. He still had the background in education, which makes him qualified for jobs in both schools and libraries. He also took advantage of a number of opportunities for experience that not only gave him more skills to list on his résumé, but also connected him to a number of local professionals who can act as mentors and references. Networking is important, especially if you’re geographically limited, as those connections probably know of job opportunities that you have not yet discovered. THE HAVES Thirty-five (65 percent) of the respondents self-identified as currently working in music libraries and answered at least some portion of the question set regarding their early career paths. Of this subgroup, 82 percent are working in an academic library setting, 12 percent in ensemble libraries, 6 percent in archives, and none in public libraries. This breakdown is similar to the entrylevel jobs Clark identified in his study, with 95 percent of positions in academic libraries and a few each in ensemble and public libraries,8 but the statistics have changed considerably since Duggan’s study. She found that, of her students who found work in libraries, only 67 percent of her students were in academic settings, with 14 percent in public libraries, and the remaining students working in special libraries, bibliography, and information systems.9 Susannah Cleveland and Mark Puente’s 2009 survey also found that the percentage of music librarians in public libraries has dropped significantly from 13 to 7 percent in the past twenty years.10 This is

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likely an indication of changes within public libraries as they move away from subject specialists, leaving academic libraries as the best option for music librarians. My survey found that 63 percent of those working in a music library did have to move a significant distance for their job. One respondent noted that, while she did not move, she did have a two-hour commute each way. This further emphasizes that if at all possible, being geographically flexible opens up many more possibilities for your job search. The next set of questions establishes the characteristics of the music library positions these respondents hold. Twenty-seven percent of respondents hold faculty positions, while 70 percent are staff and 3 percent are civil service. Duggan did not include any information on faculty status among her students, but Clark’s study found only 13 percent of the entry-level positions he examined were tenure track.11 The disparity in results may be explained by differing definitions of the terms “faculty” (which can be a tenure-track faculty position or faculty status with fewer requirements for scholarship and service) and “staff ” (which can mean professional, paraprofessional, or civil service positions) across studies and participants. It could also be that some of the survey respondents were successful in finding non-entry-level jobs. Eighty-five percent of respondents are employed full time, while 15 percent are employed part-time, and 77 percent are in permanent positions, while 23 percent are temporary. These are very encouraging numbers, as the majority of new professionals are in full-time permanent positions. Clark included part-time positions in his study as well but does not offer a breakdown of the percentages, so it is not possible to offer a comparison.12 Finances permitting, part-time positions and temporary appointments can be excellent ways to get early career experience. Finally, the duties of 76 percent of the respondents include reference, 67 percent include cataloging, and 42 percent each include work in circulation or processing. Additional duties listed include collection development, instruction, scheduling, supervision, human resources, research, audiovisual collection management, preservation, accessioning, outreach, publicity, technical support, web design, administration, and ensemble management. This is a wide variety of duties and reflects the range required of aspiring music librarians. CASE STUDY 4: MS. D

Ms. D earned a bachelor’s degree in piano performance, followed immediately by a master’s in musicology. She decided the life of a professor was not for her and chose not to pursue a PhD. In exploring other related career options, she discovered music librarianship. It seemed like a good fit for her skills, knowledge, and academic interests, so she headed off to library school. In library school, she worked in the music library, was active in a number of student and professional organizations, and

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took advantage of additional opportunities as a volunteer and intern to gain experience. She interviewed for a few jobs and accepted one as a music librarian, beginning a few months after graduation. Ms. D did everything right. She had an additional subject degree, got experience, networked, and took relevant classes. She had the expected outcome, given this course of action. This happens. But do not expect it, especially now when there are so many highly and even overqualified applicants for every entry-level position. Your application materials will make or break you, and even then, being what you think is the perfect fit does not mean the search committee will feel the same way. Unfortunately, there is no foolproof way to guarantee you will get a job after you graduate. THE HAVE-NOTS Twenty-one individuals, or 40 percent of all respondents, answered at least some portion of the question set covering the early career paths of those who are not currently working in music libraries. The largest represented group is made up of those who are still students (43 percent). Of those who are employed, 38 percent are working in another kind of library and 24 percent are working in a nonlibrary job. Of the unemployed, 10 percent are still looking for a position, and none reported having given up on their job searches. Once students are excluded, 28 percent of the total respondents who would like to be working in a music library are not. Of the two unemployed respondents, one has been on the job market for less than a year and the other had another job while looking until fairly recently. Of the respondents currently working in a nonmusic library position, 79 percent expressed an interest in returning to music librarianship in the future, while the remaining 21 percent plan on staying in their current fields. Considering that these are all individuals in the first five years of their careers, the numbers show a high success rate and continuing optimism for the future. CASE STUDY 5: MS. E

Ms. E earned a bachelor’s degree in piano performance, followed immediately by a master’s in musicology. She decided the life of a professor was not for her and chose not to pursue a PhD. In exploring other related career options, she discovered music librarianship. It seemed like a good fit for her skills, knowledge, and academic interests, so she headed off to library school. In library school, she worked in the music library, was active in a number of student and professional organizations, and

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took advantage of additional opportunities as a volunteer and intern to gain experience. She applied for many jobs, including a number in nonmusic libraries, but the job market had bottomed out right before she graduated. It took nearly two years of sending out applications before she got an interview and she still has yet to receive an offer. Does this story sound familiar? It should. Like Ms. D, Ms. E did everything right. She has an additional subject degree, got experience, networked, and took relevant classes. She did not have the expected outcome, given this course of action. There are no guarantees in this job market. You will be up against tens—if not hundreds— of other well-qualified candidates. I have served on search committees and know what it is like to be facing dozens of applications that could potentially be great fits and having to narrow them down to one. If you hang in there long enough, it is likely you will be that one person, particularly if you use the intervening time wisely. Get involved in professional organizations and other networking opportunities. Volunteer. Write reviews and newsletter articles. Get your name out there. Build your résumé. I am sure you have heard all of this before. That is because it works. The only problem is that everyone else is doing this too. So find a way to differentiate yourself from the crowd. Play up your unique skills and expertise. Throughout this chapter, you have read my advice. I will leave you with some of the personal experiences and advice that survey participants shared.13 Some of it is contradictory; that is okay. Go with the advice that works for you in your situation. And good luck! PERSONAL EXPERIENCE AND ADVICE REALITY VS. EXPECTATIONS

How did your experience on the job market compare to your expectations? Positive

• There is a decent selection of jobs available. • I thought it would be difficult but got the first job I interviewed for. • It was harder to find jobs that were a good match, but I still had better results than expected. • I thought it was going to be harder than it was. • The opportunities are there if you are in the right place at the right time and have the necessary skills. • It was fairly easy to find a job. • Now that I am not geographically limited, my prospects are looking better.

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• I was unexpectedly fortunate. • Searching for a second position is much easier. • It took me much less time than I expected to get a job. • I had phone or video interviews for most positions I applied for. • Already having a temporary job made it easier because I could hold out for the job I really wanted. Negative

• Being tied to a specific location makes searching difficult. • The job market is as bad as I thought it would be. • It was hard to find a music librarian job, as expected. • There are few positions for orchestra librarians and they are very competitive. • I did not expect the job market to be as tough as it has been since 2008. • It took longer than I expected to get a job. • There were significantly fewer opportunities than I expected. • There were more jobs available in 2008, when I was looking, than there are now. • There are fewer jobs in music librarianship than I expected. • Most jobs require or prefer a second master’s degree, which I did not expect. • I did not expect to be on the job market as long as I was. • I started looking just as the market crashed, so my expectations had to change. • It is more difficult than I thought it would be because I am geographically limited and overqualified for many positions. • I found more jobs than I expected but most were not a good match for my experience and training. • It was harder than I expected to find any job, even non-music-related jobs. • The process was brutal and exhausting. • I expected to find something right away but it took much longer. • I had to wait longer than expected to hear back about applications. • I am in a large city but am still having trouble finding a job for which I am qualified. WHAT THEY WOULD HAVE DONE DIFFERENTLY

If you could go back to any point in your career planning process (education, planning, application/ interview process), what would you do differently? • Learn to write better applications materials. • Practice interviewing. • Have more confidence in applying for jobs. • Get more work experience before returning to school for an MLIS. • Attend a school that was a better fit. • Focus on myself and forget about the competition. • Be more aggressive in pursuing volunteer work.

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• Make it clear in application materials that geography was not an issue. • Tailor presentations to better match what the search committee was looking for. • Apply to fewer jobs and write stronger applications. • Not pursue music librarianship. • Negotiate starting salary more aggressively. • Get a master’s in music immediately after or concurrently with my MLIS. • Complete my degree more quickly. • Search more job boards. • Take more courses in programming and systems. • Go back to school for an MLIS first instead of pursuing a PhD. • More emphasis on digital librarianship. • More hands-on experience. • Volunteer at relevant libraries and archives while applying to MLIS programs. • Pursue a dual MM/MLIS. • Find a paraprofessional position before beginning my MLIS. • Start applying and interviewing one to two semesters before graduation. • Pursue a different career in light of the job market. • Graduate a year sooner to hit the job market before the recession. • Prepare more for interview questions. • Finish my MLIS before pursuing a second master’s degree. • Marry rich. ADVICE FOR THOSE ON THE JOB MARKET

What advice would you offer for those currently on the job market? Networking and Professional Development

• Networking is important. • Networking can happen anywhere. • Get professional experience. • Go to the annual MLA conference. • Participate on committees. • Get involved in the professional community. • Stay involved in music librarianship even if your job is not. • Join local chapters of professional groups. • Find a mentor. • Surround yourself with a good support network. Experience and Education

• Take advantage of opportunities to gain experience. • Get as much experience as you can. • If you are unemployed, volunteer.

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• If you are employed in a nonmusic library, volunteer. • Take unpaid internships. • Specialize. • Get experience in reference. • Get experience in instruction. • Get experience in cataloging. • Make the most of unique experiences. • Make nonlibrary experiences translate. • Develop your skill set. • Get a second master’s in music. • Get experience while in school. • Any experience is better than none. Applying and Interviewing

• Apply for everything you are qualified for. • Apply for everything, even if it is a stretch. • Make your résumé stand out. • Customize your application materials for each new job. • Being tied to a certain place will limit your options. • Do not be shy about bragging. • Keep track of everyone and address them by name. • Ask specific questions. • Be prepared to move. • The hiring process takes time. • Find work where you can. • Focus on your qualifications. • Get a variety of feedback on your application materials. • Submit materials early. • Research the institution. • Keep applying. • Apply to as many jobs as you can. General

• Keep trying. • Do not give up. • Do not be too picky. • Think outside the box. • Use LinkedIn. • Be willing to work in nonmusic libraries. • Persist.

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• Learn something new from every experience. • Do not let the rejections get to you . • Stay positive. • Be flexible but do not compromise on what is important. • Hang in there. • Think about corporate jobs. • Cast a wide net. • Keep your foot in the door. • The right job will come along. For a list of additional resources that can help you make your way through your job search, see appendix B. CASE STUDY 6: MR. F

Mr. F was a double major in violin performance and Asian studies as an undergraduate and then went on to get a DMA. He had a performing career as part-time concertmaster in his midsized city’s orchestra and some solo and quartet work on the side. He auditioned for a few larger ensembles but was unable to move up. Instead of continuing on, he decided to move to a different city to get an MLIS and work as a music librarian. Upon graduation, he was unable to find work as a music librarian, but the local university had an opening for a cataloger for Asian language materials. He accepted the job. He continued to perform in his spare time to stay connected with the musical community in his new city. A few years later, a position opened up for an assistant ensemble librarian, and he took it. Another few years later, the position of head ensemble librarian opened up, and Mr. F was offered and accepted the job. Mr. F did not get his dream job right out of the gate, but he was able to leverage his unique skills into another position while he waited. He took what was available at the time and patiently waited for something that was more in line with his career goals. By working in a library, he was able to gain additional relevant experience to enhance his résumé. By building new connections to musicians in the area, he increased the size of his professional network, so when an opportunity was available, he was there and familiar with (and to) the right people. His efforts eventually paid off. Be patient, proactive, and positive, and yours can, too.

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APPENDIX A: SURVEY QUESTIONS EDUCATION AND EXPERIENCE

1. What advanced degrees do you have? Select all that apply. MLIS MA/MM PhD DMA Other (please specify) 2. Did the state of the job market influence your decision to pursue additional advanced degrees? Yes No How? 3. When you were in school or had recently graduated did you gain professional library experience in any of the following ways? Select all that apply. Graduate assistantship Hourly work at your university’s library Hourly work in another library setting Paid internship Unpaid internship Practicum Volunteer work Other (please specify) JOB SEARCHING

Unless otherwise stated, all questions apply to your most recent job search. 4. When did you start your most recent job search? Before 2008 2008 2009 2010 2011 2012 2013

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5. How long were you (or have you been) actively looking for a job? Less than 3 months 3–6 months 6–12 months 12–18 months 18–24 months More than 24 months Still looking 6. How many applications did you submit? Fewer than 10 10–25 25–50 50–100 More than 100 7. What percentage of applications were for music library jobs? Less than 25% 25%–50% 50%–75% More than 75% 8. How many phone or Skype interviews have you done? 0 1–2 3–5 5–7 8–10 More than 10 9. How many in-person interviews have you done? 0 1–2 3–5 5–7 8–10 More than 10 This set of questions is meant for those currently working in a music library position. If this does not apply, please continue to question 16.

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10. What kind of job do you have? Academic Public Ensemble Archives Other (please specify) 11. Did you have to move a significant distance (out of state and/or more than 200 miles) for your job? Yes No Other (please specify) 12. Are you: Staff Civil service Faculty Other (please specify) 13. Are you: Full-time Part-time Other (please specify) 14. Are you: Permanent Temporary Other (please specify) 15. What do your duties include? Select all that apply. Reference Cataloging Circulation Processing Other (please specify) This set of questions is for those who are not currently working in a music library position. If this does not apply, please continue to question 18.

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16. Are you: Working in another kind of library Working in a nonlibrary job A student Unemployed and still looking Unemployed and not looking Other (please specify) 17. If you are working in a non-music-library position, do you plan to: Stay in your current field Return to music librarianship in the future Other (please specify) 18. How did your experiences on the job market measure up to your expectations? 19. If you could go back to any point in your career-planning process (education, planning, application/interview process), what would you do differently? 20. What advice would you offer for those currently on the job market? APPENDIX B: CAREER RESOURCES FOR RECENT GRADUATES AND NEW PROFESSIONALS MUSIC LIBRARY RESOURCES

Carol Tatian, ed. Careers in Music Librarianship: Perspectives from the Field, MLA Technical Reports, no. 18 (Canton, MA: Music Library Association, 1990); and Paula Elliot and Linda Blair, eds., Careers in Music Librarianship II: Traditions and Transitions, MLA Technical Reports, no. 29 (Lanham, MD: Scarecrow Press, 2004). There have been two earlier editions of the book you are currently holding in your hands. Some of the essays might not be as relevant to your situation, but there is a wealth of information to be in these volumes as well as in the other chapters in this volume. Music Library Student Group: http://www.musiclibrarystudents.org Started in 2009 as a way to bring LIS students interested in music librarianship together. It provides a means for discussion, resource sharing, and professional development for current students as well as recent graduates. MLA Jobs and Careers: https://musiclibraryassociation.site-ym.com/?page=JobsAnd Careers MLA’s resources include the Job Placement Service, Résumé and Cover Letter Review Service, and Career Advisory Service. In addition, the website is host to an essay on whether music librarianship is right for you, a list of music librarianship concentrations/courses at ALAaccredited library schools, and lengthy bibliographies on a wide variety of career resources.

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Music Library Student Group: http://www.musiclibrarystudents.org Started in 2009 as a way to bring LIS students interested in music librarianship together. It provides a means for discussion, resource sharing, and professional development for current students as well as recent graduates. GENERAL LIS RESOURCES

LibGig: http://www.libgig.com Run by Library Associates Companies, LibGig provides a database of hundreds of job listings searchable by category, location, and experience level, including nontraditional jobs related to library science. It also features informational blogs from students and professionals at all levels about the job searching process. I Need a Library Job (INALJ): http://inalj.com Another good site for job postings and information about job searching. It also provides “Success Stories,” which are brief interviews with new professionals who have succeeded in their own job searches. These can shed more light on what works and what does not as you apply and interview for positions. Hack Library School: http://hacklibschool.wordpress.com A blog that welcomes contributions from library science students. Like MLSG, it brings together students from schools, in this case to “participate in the redefinition of library school using the web as a collaborative space outside of any specific university or organization.” Open Cover Letters: http://opencoverletters.com Collects cover letters from successful candidates for LIS jobs. It gives you the opportunity to read other peoples’ cover letters anonymously, and it can help you strengthen your own application materials. Sample Interview Questions: http://www.kent.edu/slis/careers/upload/sample-interviewquestions.pdf This list from Kent State University’s SLIS is just one of many lists of sample interview questions for librarians out there. These lists are excellent resources when preparing for interviews. Put your web searching skills to use to find more. LISNews: http://lisnews.org Pulls together news stories related to librarianship from a wide variety of sources. It is a great way to stay on top of interesting projects and new trends in the field. Hiring Librarians: http://hiringlibrarians.com Inspired by Ask a Manager (http://www.askamanager.org), this website offers library-jobspecific perspectives from the other end of the phone interview. Experienced librarians who have served on search committees offer up advice and answer questions based on their experiences.

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NOTES 1 More information about subscribing to MLA-L is available on the Music Library Association’s website at http://www.musiclibraryassoc.org. 2 More information about subscribing to the MLSG e-mail list is available on the Music Library Student Group’s website at http://www.musiclibrarystudents.org. 3 Mary Kay Duggan, “A Profile of MLIS Music Graduates, UC Berkeley,” in Careers in Music Librarianship, MLA Technical Reports, no. 18, ed. Carol Tatian (Canton, MA: Music Library Association, 1990), 32–42. 4 Throughout this chapter, MLIS is understood to stand in for all equivalent degrees (MLS, MSLS, MSLIS, etc.). 5 Two previous surveys of music library jobs by Laura Dankner and Reneé McBride can be found in the first and second volumes, respectively, of Careers in Music Librarianship. 6 Joe C. Clark, “Job Trends in Music Librarianship: A Nine-Year Analysis of the Music Library Association’s Job List,” Notes 69, no. 1 (September 2012): 44–58. 7 Joe C. Clark, “What Employers Want: Entry-Level Qualifications for Music Librarians,” Notes 69, no. 3 (March 2013): 490. 8 Ibid., 478. 9 Duggan, 35. 10 Susannah Cleveland and Mark Puente, “Survey of Music-Library Personnel Characteristics, 2009,” Notes 67, no. 4 (June 2011): 690. 11 Clark, “What Employers Want,” 478. 12 Ibid., 477. 13 These are not direct quotes from the responses. Changes were made to protect anonymity as well as standardize information and language.

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n any market—but especially a particularly dreary one, as we’ve experienced for the last several years—gaining the right qualifications to land one’s dream job is never easy. The successful job hunter will think in the long term and plan for ways to develop skills throughout her career while availing herself of opportunities to learn and practice new ones. Joe C. Clark demonstrates ways to develop, improve, and adapt when the direct route to a career in music librarianship does not materialize. He highlights the importance of seeking alternative paths and the rewards of flexibility while providing concrete advice to those facing adversity in getting started in music librarianship. Amidst this sluggish hiring period, many people have taken advantage of opportunities to improve their skill sets through further education. Joe’s guidance can help such people make intelligent choices about areas to develop and paths to take to increase their eventual likelihood of finding employment in a music library. This chapter will be especially helpful to those who are new to the profession but struggling to find appropriate jobs, as well as to those in the profession who would like to make a change but are having difficulty making inroads to a different type of work in libraries.

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4 Breaking into the Field in a Tough Job Market JOE C. CLARK “Tough times never last, but tough people do!” —Robert H. Schuller 1

Competition for music librarian vacancies is fierce as job postings diminish while the quantity of library school graduates remains strong. For the four years from 2009 to 2012, the professional entry-level positions on the Music Library Association’s Job List numbered sixteen (2009), twenty (2010), eleven (2011), and twenty-six (2012). 2011 and 2012 saw only twenty-five and thirty-five total professional postings, respectively, including entry-level and other positions. How does one break into the field when jobs are so scarce? An examination of how to obtain the qualifications employers demand, where to find alternate routes to music library employment, how to gain an edge in a crowded applicant pool, and where to find job announcements can guide the job seeker in a difficult job market. This advice, while aimed primarily at entry-level professionals, is also applicable for working librarians in nonmusic areas who want to move into a music-related library environment. CREATING A PLAN AND OBTAINING REQUIRED SKILLS AND EXPERIENCES When embarking on your new career, consider what type of job you want, what sort of work you are willing to do, and your aptitudes. Prospective music librarians must decide which settings and position types are most compatible with their personality and preferences. Do you like working with people, and helping them find the resources they need? Do you love preserving historical objects that have seen better days? Perhaps your passion lies in digital technologies that provide widespread access to rare materials. Are you geographically restricted? Can you work nights and weekends? What are your salary requirements? Once you know the type of job that interests you, ascertain the necessary skills, knowledge, and experiences that will help you land your dream position. The next step is identifying required skills and experiences by examining job announcements.2 Most employers and institutions want more than just degrees and training. Soft skills, emotional intelligence, and positive personal attributes can give an applicant an advantage over others. This is because they typically increase workplace productivity and improve an individual’s communication and collaboration with colleagues. Thinking beyond the job advertisement, search committee members could have other skills and experiences in mind that would enhance their library and its ability to serve patrons. Some may stem from the predecessor’s strengths and weaknesses. Committee members interview potential colleagues; hence, they want to see a person hired who can perform on a number

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of levels. Many of these traits are intangibles. Rather than focusing on these, the job hunter should concentrate on skills and abilities that often appear in position announcements, tempered by the considerations search committee members weigh when choosing the successful candidate. EDUCATION

While the MLIS degree or equivalent is standard for professional music library positions, subject expertise is also essential. Many positions require an undergraduate degree in music. If you want to work in music librarianship, have not earned said degree, and do not possess the time or money to invest, concentrate on the “equivalent.” Every search committee defines what constitutes this equivalency. Professional music experience, coursework, and years of lessons may suffice. Most search committees accept degrees from outside the United States as comparable to an American undergraduate degree. Academic libraries frequently prefer a master’s degree in music in addition to the MLIS, particularly in a competitive job market. In a large applicant pool, lack of a second subjectspecific graduate degree can hurt one’s chances for an interview, especially if it is preferred. Some positions, however, now require it for employment.3 Many academic institutions recruiting tenure-track librarians require a subject-specific master’s degree for tenure, even if it is not required at the time of hire. Among entry-level job types, the listing of a graduate degree in music varied between 2008 and 2011: over half (52 percent) in public services preferred it, a third of cataloging positions required or preferred it, and just under half (44 percent) of hybrid positions (those involving both public and technical services duties) preferred it. Only a fifth (20 percent) of archival positions listed the degree in the job requirements.4 Some positions will require an advanced degree in music and make the MLIS preferred.5 While obtaining a second graduate degree is daunting, some paths can make financing more manageable. If you work at a university that offers graduate degrees in music, you may receive reduced or free tuition. Additionally, you may be eligible for a similar arrangement if your spouse works at such an institution. A graduate assistantship, which generally includes a stipend and tuition waiver, is another possibility. If you opt for an assistantship that requires work (most do), look for a position that involves library-type duties. A choral conducting graduate assistant, for example, might oversee the choral music library. If this is not possible, the assistantship could offer opportunities to develop other skills, such as instruction, knowledge of course management systems, or multimedia expertise. Some fields within music librarianship require specific coursework. Coursework in cataloging, preservation or archival techniques, and fine arts or music librarianship frequently appear in the qualifications for entry-level jobs. If classes that match your interests are not offered during your MLIS program, consider setting up an independent study. If you failed to take one of these courses during your MLIS program, explore local, regional, or virtual courses. The ninth edition of MLA’s Directory of Library School Offerings in Music Librarianship, updated online in November 2011, offers information on music librarianship courses and distance and

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continuing education opportunities.6 The American Library Association’s list of accredited MLIS programs is available as a PDF document, Google map, searchable database, or alphabetical list.7 Many programs offer distance education, as well as workshops or condensed courses that last days or weeks rather than months. DESIRED PERSONAL AND SOCIAL ATTRIBUTES

The most frequently mentioned personal attributes for entry-level music librarians include motivation, flexibility, the ability to be organized and set priorities, and an aptitude for managing multiple demands.8 Less frequently listed personal attributes include problem-solving skills, the ability and interest to produce scholarly works, and professional service. Many soft traits are not taught in school; several strategies might help you improve areas of weakness. Ask colleagues about their approach to specific personal and social attributes. Webinars, conference presentations, or workshops sponsored by your employer’s human resources office occasionally focus on such topics. Self-help books sometimes help jobseekers improve these skills (see appendix A for recommended titles). Such volumes may not provide everything you need to enhance and develop your personal attributes; they may, however, expose you to new concepts and perspectives that can lead to further self-understanding and development. Demonstrate such traits in your cover letters and interviews. “I am well organized and can set priorities” in a cover letter is rather hollow. However, “I have exhibited organization and prioritizing skills in taking sixteen credits a semester two years while simultaneously working thirtyeight hours a week in the library” provides a solid context to your claim. When selecting internships, volunteer opportunities, and employment, consider how cultivated skills and traits might enhance future cover letters and interviews. Job announcements most frequently enumerate the following social attributes: interpersonal skills (both written and oral), collaborative skills, and a strong public service orientation. One’s résumé and cover letter reflect written and some organization skills, and phone and inperson interviews convey oral skills. To improve your writing ability, Jeanne R. Smith, director of the Writing Commons at Kent State University, suggests exploring a good handbook. She also recommends several online sources for editing, concision, and so forth (see appendix A). Demonstrated collaborative skills can include work done on major student projects or professional projects in which a number of individuals contributed. One can provide evidence of a strong public-service orientation through projects that improve the user experience. ARE YOU EXPERIENCED? While previous experience does not necessarily predict future performance, search committee members may look more favorably on candidates who have encountered success in similar circumstances. Less than half of the recent employment announcements in music librarianship list experience as required or preferred, yet this does not reflect the competitiveness of an overqualified candidate pool in a difficult market. Obtaining a general library background,

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through practicum experiences, employment, or volunteering, will validate your ability to function well in library settings. Even better is experience in a setting identical, or very similar, to the one for which you are applying. Some entry-level music library positions require experience with specific library skills, such as music reference, instruction, and cataloging. Obtaining hands-on practice as a volunteer or practicum student is easier for some skills than others. Catalogers are generally willing to accept someone with cataloging coursework as a practicum student. Experience with collection management or instruction is more difficult to gain, since a librarian will not simply allow a volunteer to make acquisitions decisions for the library. One may be able, however, to create a project or practicum focusing on an aspect of collection development or instruction. Communicate your desire to work or volunteer for someone, and remember that networking bolsters the likelihood of securing these types of experiences. If you know what experiences specific employers generally seek in successful candidates, elicit opportunities to obtain them. Do your best when working or volunteering; one of your supervisors or instructors might know someone on the search committee, and you don’t want anything negative or nebulous said about you that might cast doubt on your performance. You are working for future references. GENERAL AND TECHNOLOGICAL KNOWLEDGE, SKILLS, AND ABILITIES

Required and preferred knowledge, skills, and abilities (KSAs) can fill the majority of a job announcement. Each position type usually enumerates common KSAs. Understanding what each job might require can help one to address areas of weakness. Employers frequently ask for reading knowledge of foreign languages. This is not fluency, but rather the ability to provide a general translation of a title or passage, knowledge of key musical terms, and understanding sentence structures and basic grammar. Several semesters of a language will help you understand syntax, word order, and basic vocabulary but likely will not address music terms. Language books and music-specific multilanguage dictionaries offer the fundamentals needed for reading knowledge (see appendix A for selected titles). Bibliographic reading knowledge is important for catalogers, and several resources are vital for this type of work. C. G. Allen’s Manual of European Languages for Librarians (see appendix A) provides common traits among language families, general characteristics, bibliolinguistics, and a table of Cyrillic equivalents. These aid in translation and transliteration. Catalogers frequently use Google Translate.9 Finally, the Library of Congress and the American Library Association (ALA) have romanization tables online that can assist with transliteration.10 One can easily develop many KSAs through MLIS coursework; these include preservation techniques, knowledge of the Anglo-American Cataloging Rules (AACR2), Library of Congress Subject Headings (LCSH), Machine-Readable Cataloging 21 (MARC21), Resource Description and Access (RDA), and reference resources. Learn those not addressed in coursework or during employment through other credible means. In addition to university classes (many of

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which are now online), webinars and workshops abound. Some, but not all, are free. ALA Editions offers free “American Libraries Live” webcasts that cover numerous topics, such as library security, new technologies, discovery tools, and databases.11 ALA’s TechSource hosts frequent fee-based webinars on topics such as point-of-need instruction, website redesign, embedded librarianship, technology tools for outreach, and social media.12 ALA’s Online Learning website features webinars and resources for learning about multiple library facets.13 Attain other KSAs through experience. Examples include integrated library systems, multimedia expertise, digital repositories, course management software, Encoded Archival Description (EAD), Archivists’ Toolkit, grant writing, and music notation and audiovisual software. If you did not learn these skills in school, working or volunteering could provide the exposure employers desire. For experience with content management systems (CMS), work or volunteer in a position that involves web administration and CMS management, or consider a professional committee assignment or position that involves CMS work. Several years ago, ALA adopted Drupal, and dozens of committee chairs and members across all sections and round tables were trained online. These skills were put to use when the association’s web pages were rebuilt on the new platform. Other opportunities to work regularly with web pages exist; many nonprofit organizations need volunteers to maintain their websites. Over half of the archival positions required knowledge of preservation and archival practices, and almost one-fifth of all entry-level positions wanted or demanded it.14 Fortunately, one can gain this knowledge outside of the MLIS. Alice Carli’s annual summer music binding and preservation course concentrates on binding new music, repairing old music, and managing digitization projects.15 A number of websites provide education and training resources. One is the Digital Preservation Management Workshops, which were initially developed by Cornell University and later supported by the National Endowment for the Humanities.16 The Association of Recorded Sound Collections website also has resources in audiovisual archiving and preservation training.17 State libraries and a variety of associations hold preservation workshops as well; search for relevant learning opportunities online. Acquiring a basic understanding of other KSAs can be as easy as researching the topic. Books, articles, association websites, e-mail distribution lists, and conference presentations provide information about many issues and practices. These may include instruction, assessment, reference resources, trends in librarianship and education, and copyright. Because copyright law continues to evolve and affects libraries daily, knowledge of copyright and fair use appears in some vacancy announcements. In addition to addressing issues regarding monograph and journal rights, music librarians usually handle copyright questions concerning scores, sound recordings, and video. Some university and foundation websites enumerate the basics: the University of Texas has a “Copyright Crash Course,”18 Stanford University’s libraries hosts a page on copyright and fair use,19 and the Electronic Frontier Foundation covers current developments.20 Both MLA and ALA boast robust web pages on copyright.

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MLA’s site emphasizes music-specific issues.21 ALA’s provides the public domain slider, the Section 108 spinner, and fair-use evaluator.22 A general knowledge of arts other than music is important, particularly for fine and performing arts librarians. Private study can aid one in gaining a better understanding of these disciplines. Some professional organizations offer a broad area of interest that includes a number of the arts fields. (In chapter 10, Ruthann McTyre covers some general professional associations of interest to music librarians.) Job advertisements are full of the term “digital,” and required experience with cataloging, collecting, using, and manipulating digital objects will only become more common. Employers look favorably on all experiences with digital items and collections. A thorough grasp of basic software programs and operating systems is a necessity.23 Position types dictate what kinds of experience are most desirable. JOB ALTERNATIVES THAT MIGHT HELP YOU LAND IN MUSIC LIBRARIANSHIP Aspiring music librarians should have a secondary area of interest and specialization. Many music librarians either began their professional careers outside music librarianship or accepted a nonmusic post at some point. For those who are geographically restricted, underemployed, or unable to secure a music librarianship position, taking a job as a different type of librarian is a viable option.24 Which is better: a nonmusic professional librarian position or a nonprofessional music job? While complete agreement on the answer does not exist, a nonmusic professional position may provide many of the skills required for music librarian vacancies. Search committees typically look for a number of professional competencies and experiences as well as subject expertise; if one already enjoys a thorough knowledge of music, gaining the desired KSAs and experiences through professional duties makes one more competitive for music librarian vacancies. Such employment may also provide monetary support for attending conferences as well as the ability to contribute to the institution’s governance. Carefully assess which situations and positions best suit your needs, personality, and aspirations. Other employment possibilities include museums, bookstores, historical societies, educational institutions, vendors, publishers and producers of library content (such as Répertoire inter national de littérature musicale [RILM]), corporations, and government agencies. Nontraditional employment, such as independent contracting, also exists. Becoming a librarian with little or no music-related responsibilities is a great way to gain skill and regulate into a library setting as a professional. One of my colleagues is a music cataloger at a midsized university in the Midwest, and another is a music and multimedia librarian at a university library. Both took different paths to their current music librarianship post. Before accepting her current position, the music cataloger was a community college librarian. This was her first job out of library school, and it involved both public and technical service work. At that point, she wanted to keep her options open, because she was uncertain which job

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types she preferred. Not only did the community college provide her with professional experience, it allowed her to gain a tremendous amount of confidence in her skills as well as an understanding of librarianship. The music/multimedia librarian began her career with a one-year temporary appointment as a digital projects librarian working with digitizing music. The position allowed for exposure to a number of things not taught in her MLIS program: metadata for an assortment of music materials, batch uploads to Content DM, and outreach for the institutional repository. By the end of her tenure, she was more comfortable with technology and digital archives. She then moved, because of family commitments, to a region without any music librarianship vacancies. Rather than wait for something music related, she became a librarian in a research center focusing on science and public policy, which led to additional contract work in the same field. These positions allowed for considerable experience with a variety of reference materials and likely helped secure her current music library employment. She emphatically believes that her activity in MLA, even though she was not involved with music librarianship during her last two appointments, was a significant factor in her eventual successful employment as a music librarian. Her service and publication experience in MLA displayed a strong commitment to the field and a strong record of publication and service. A colleague who worked for a time at a historical society is now a performing arts librarian in an academic institution. Her previous position provided her with valuable hands-on experience with a variety of formats, preservation, and reference work, as well as areas not generally associated with music librarianship (genealogy, local history, development of local unions, etc.). The library and archive were in the same environment, which allowed her to become well versed in both areas. The institution’s small budget forced her to think creatively about solutions for access, preservation, and outreach. Participation on committees was valuable; she created a niche as the “music person,” which allowed her to work with the acquisition and referral of music-related items and conduct research on the regional jazz scene. Bookstores provide experience with a diverse clientele, reference interviews, reader advisory, displays, and customer service. Bookstore managers supervise personnel and budgets and usually conduct outreach with schools and the community. These skills transfer nicely into library environments. If you must work outside of libraries, pursue employment that will cultivate experiences and skills that you can translate to librarianship. It might be possible to negotiate a portion of the workload to allow for such opportunities. Keeping your ultimate goal in mind, along with the necessary and desirable traits needed to reach it, will help you get there. GAINING THE EDGE IN THE APPLICANT POOL When search committee members sit down to review forty-plus applications, what will make yours stand out? In a pool of that size, less than one fifth receive a phone interview and fewer than 10 percent are invited for an in-person interview. A clean, easy-to-read, concise application (which usually includes a résumé, cover letter, and list of references) is a must.

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SERVICE

The résumés of new librarians generally list professional memberships. Belonging to a professional organization is a great way to serve the profession, network, and stay current through association publications. Some search committee members may remark, however, that membership in such organizations is as easy as writing a check. Active participation—which could include serving on a committee, presenting a conference paper or poster, or writing for the organization’s journal or newsletter—demonstrates professional service and much stronger commitment. One should certainly pursue membership (it is usually a prerequisite for service activities), but active professional involvement and participation help one rise above other applicants in a large pool. Figure 1 presents sections from two curricula vitae, one with service and one with only professional membership. The service example establishes a stronger indication of professional involvement than professional membership alone. Evidence of service and publication can help secure an interview and job. Tenure-track faculty librarian positions, which comprised 14 percent of the entry-level jobs on the MLA’s Job List between 2008 and 2011, usually require some professional activity and scholarship.25 Since a clear line of research inquiry and professional service is usually preferred, demonstrated evidence of professional service and publication will increase one’s odds of securing an interview. Publication and service are much smaller aspects of public librarianship. These activities do, however, allow public librarians to stay current, contribute to the profession, and conduct professional development. MLA, with over thirty-five committees and subcommittees and over twenty round tables, has a number of service opportunities. Express interest to a committee chair and inquire about vacancies. Appointments are usually made in March or April after the annual meeting. A “Get Involved in MLA” session occurs at the annual meeting, which provides an opportunity for interested members to discuss with committee chairs the work of the committee and express their interest. The MLA president then makes committee appointments based on the chairs’ recommendations. MLA’s eleven regional chapters also offer service prospects. The number of committees and committee members varies by chapter. The Association of College and Research Libraries (ACRL) has over three hundred committees, many with “virtual” appointments that do not require conference attendance. The Arts Section of ACRL contains six committees and several discussion groups. Interest in serving on an ALA or ACRL committee is usually expressed through filling out the online volunteer form, and appointments usually occur in the spring.26 ALA also has numerous committees, as do most library associations. If you are unsure how to get on a committee of an organization, ask. Since volunteers do the work of most associations and committees, a place can usually be found for someone interested in advancing their charge. (To start determining what service opportunities best fit with your interests and goals, see chapter 10, where Ruthann McTyre mentions a number of other professional organizations.)

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PROFESSIONAL SERVICE Association of College and Research Libraries Chair of the Digital Media Resources Discussion Group, 2011-2012 Member of the Arts Section Membership and Outreach Committee, 2010-2012 Music Library Association Member of the Career Development and Services Committee, 2010-2014 Member of the Education Committee, 2007-2010 versus

PROFESSIONAL MEMBERSHIPS Music Library Association American Library Association Association of College and Research Libraries

Figure 1. Sections from two curricula vitae.

PUBLICATION

Opportunities for publication are occasional by-products of officers and committee members who are sometimes asked to create documentation or statements for an association. While this type of direct publication opportunity is not generally peer-reviewed and thus not as valued, networking can lead to other prospects. More intentional publication is something you can also pursue, and it will help your applications stand out. Publications generally fall into one of three categories: peer-reviewed, invited, and other. Peer-reviewed publications are unsolicited and undergo a thorough review by experts in the field, commonly peers of the author (hence the name). For the invited, or solicited, category one usually receives a call to publish by way of professional contacts or professional reputation. Unsolicited publications evaluated only by an editor and not by peers are generally viewed as less scholarly in nature. The literature contains several articles and books on research and the publication process. For those interested in qualitative research, books by Valeda Dent Goodman, G. E. Gorman, and Peter Clayton address the topic in the library setting.27 Ibironke O. Lawal’s Library and Information Science in the 21st Century walks readers through the research process, while Rachel Singer Gordon’s Librarian’s Guide to Writing for Publication examines the publication side of the process.28 Trudi Bellardo Hahn and Paul T. Jaeger discuss the benefits of publishing and present a table that outlines categories of publications, presentations, and service that build a publication record.29 Robert Hauptman’s short 2005 article offers various publishing suggestions for the uninitiated,30 and Wendi Arant Kaspar and Wyoma vanDuinkerken demystify the

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considerations and processes involved with manuscripts submitted to the Journal of Academic Librarianship.31 Thoughts of publishing a twenty-five-page article in a prestigious, peer-reviewed journal might be overwhelming, but the process does not necessarily have to be onerous. A few items under a résumé’s publications heading will set you apart from applicants with equal qualifications and no publications, so publishing is certainly worth your time. One of the simpler ways to get started is writing for publications that are not invited or reviewed. Newsletters are an important source of information for association members and the public, and write-ups are usually short. MLA’s Newsletter, published four times a year, welcomes communications and articles regarding ideas and trends in music librarianship.32 Many of the articles in two of the issues summarize the association’s annual meeting. Summarizing sessions is a great way to have something published. Contact the MLA Newsletter editor and offer to write up a conference session or contribute a piece about a recent internship, project, or professional experience. In a recent issue, a first-time MLA conference attendee shared his experiences at the meeting. Some MLA chapters also have newsletters. Communication with the newsletter editor is critical, as there may be an established practice in place to secure authors to report on sessions. A 2011 issue of the Midwest Chapter’s Midwest Notebook included topics as broad as chapter representatives at a university career fair, the publication of a meta-LibGuide, the world premiere of an unpublished Ravel fugue, and the summary of a Mellon Foundation cataloging project. You could also write about your experience at a workshop or institute (such as ACRL Immersion, Harvard Leadership Institute for Academic Librarians, etc.), which may be enlightening for colleagues. Another simple way to try one’s hand at publication is to write abstracts for RILM or similar organizations. RILM offers a bibliography of writings on music with over 700,000 records in 214 languages from over 150 countries.33 The US office of RILM coordinates the volunteer abstract writing of all US publications and is the point of contact for those interested. Many of RILM’s volunteer abstract writers work in music libraries. The current assistant director of RILM’s US Office, who encourages abstract volunteers to list the work on their résumés, has served as a reference for music librarians. Reviews are another good way to break into publication. If you are interested in evaluating books, electronic resources, recordings, or videos for a published journal, contact the editor of the review section that interests you. The editor will want a brief biography, résumé, and list of your areas of expertise. If not taking new reviewers at the time, the editor may keep your name on file and make contact when something becomes available. Do not pass up the opportunities to network with these editors at meetings and conferences. The ACRL Arts Section publishes its ARTSGuide for ALA’s summer and midwinter meetings as well as before the biennial ACRL conference.34 It appears two to three months before the conference and helps attendees to locate arts-related events and venues in the conference city. A

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call for volunteer contributors goes out, and each writer covers one area, such as music, visual arts, museums and galleries, architecture, and theater. Membership in ALA, ACRL, or ACRL Arts is not required. Writing journal articles requires a considerable amount of time. Examine the literature to get a sense of what is being published and how articles are constructed. When beginning a research project, identify several target journals and look carefully for the best fit. Often the journal will include a guide to contributors, which will include formatting and submission requirements that should be followed carefully. The primary journals in music librarianship are Notes: The Quarterly Journal of the Music Library Association, Fontes artis musicae, and Music Reference Services Quarterly. (In chapter 9, Holling Smith-Borne and Mark Puente list the more prestigious journals for various aspects of librarianship.) Calls for article and chapter contributors frequently appear on e-mail distribution lists, and they are also listed on some websites. The website H-Net: Humanities and Social Science Online offers a listing of both music and library-science opportunities that is usually updated several times a week.35 Presenting at meetings and networking is excellent for facilitating future collaborations. PRESENTATIONS AND POSTER SESSIONS

Conference presentations demonstrate scholarship potential, dedication to the profession, and comfort in presenting, all of which potentially translates into teaching. Presentations and poster sessions also offer a chance to present new and innovative library projects, original research, or information on new standards in the field. Most are refereed, meaning that you submit a proposal abstract, and a program committee selects the most appropriate submissions. Professional refereed presentations often require travel, but virtual presentations are now more common. ACRL’s Arts Section offers these during its Midwinter Virtual Discussion Forum. ACRL’s Instruction Section also hosts virtual discussion forums, which, like the Arts Section virtual discussion forum, is refereed. Poster sessions are another venue for presenting research or original approaches to library problems. Submissions for these work much like those for conference papers: the presenters send in their title and abstract. When deciding whether to submit a project as a paper or poster session, consider the nature of the project and which format would be more suitable. (The poster session is more of a visual medium.) Most conference paper and poster session submissions are due many months in advance. Proposals for the biennial ACRL conference are usually due six-to-eleven months before the meeting (depending on proposal type), while proposals for paper and poster sessions at MLA’s national meeting are usually due about ten months in advance. The proposal deadline for MLA chapter meetings is three to four months before the meeting. Collaborating on a poster session, article, or presentation is another way to ease into scholarship and improve your curriculum vitae. Working with others on projects offers opportunities to learn from their approach and experiences, and if you have an idea and want to work

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with someone in particular, approach them. If they are unable to contribute to your project, they may suggest another individual who can. FINDING YOUR JOB In this age of internet job postings and e-mail alerts, finding appropriate job announcements has never been easier. If you are seeking ultimate employment in music libraries, you should be attentive to sites that focus on those vacancies, but also explore others and follow those most germane to your situation and interests. (See appendix B for a more comprehensive list.) Since no employment site is all inclusive, it is important to monitor several. The best aggregator of music library positions is MLA’s Placement Service Job List.36 The association’s placement officer, who is responsible for listing the vacancies, must obtain permission from an institution before posting a job. While this is generally not a problem, occasionally the lack of response to repeated attempts to secure permission results in nonlistings. MLA-L, the profession’s e-mail distribution list,37 is a better source, as permissions are usually not needed (or obtained). Further, some institutions do not care to have their temporary or nonprofessional vacancies listed with the Placement Service but feel that announcing positions on e-mail lists is acceptable. Another good website for positions in orchestral and ensemble librarianship is the “Job Openings” section of the Major Orchestra Library Association (MOLA) website.38 A comparison of performing-ensemble library position announcements posted on MLA’s and MOLA’s websites revealed that neither service was comprehensive, and less than half of the announcements appeared on both sites.39 Most job-listing websites have Twitter accounts that provide hyperlinks not only to job announcements but also to articles related to the job search process. These come from a variety of sources, including the corporate business world and library-specific publications. Other web platforms may eventually serve as the go-to source for finding employment information; some librarians at the ALA meeting in summer 2013 reported that a few people have successfully used Tumblr to find their library job. CONCLUSION Although the number of music librarian announcements is up from the lows of 2011, open vacancies continue to draw many qualified candidates. In order to stand out in a crowded pool, having the required and preferred skills and experiences is not enough. Applicants should also consider publishing and service. Because finding the right job takes time, and the hiring process is lengthy, patience is a must. Craft a plan, and concentrate on acquiring the qualifications that potential employers demand in today’s competitive job market.

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APPENDIX A: FURTHER READING BOOKS FOR IMPROVING COMMONLY LISTED PERSONAL/SOCIAL TRAITS

Allen, David. Getting Things Done: The Art of Stress-Free Productivity. New York: Viking, 2001. Aslett, Don. The Office Clutter Cure. 2nd ed. Avon, MA: Adams Media, 2005. Crouch, Chris. Getting Organized: Improving Focus, Organization and Productivity. Memphis, TN: Dawson, 2005. Felton, Sandra, and Marsha Sims. Organizing Your Day: Time Management Techniques That Will Work for You. Grand Rapids, MI: Revell, 2009. Klaus, Peggy. The Hard Truth about Soft Skills: Workplace Lessons Smart People Wish They’d Learned Sooner. New York: HarperCollins, 2007. McCorry, K. J. Organize Your Work Day in No Time. Indianapolis, IN: Que Publishing, 2005. Silberman, Mel, with Freda Hansburg. PeopleSmart: Developing Your Interpersonal Intelligence. San Francisco: Berrett-Koehler, 2000. WRITING WEBSITES

All sites accessed July 3, 2013. Purdue University Online Writing Lab, http://owl.english.purdue.edu Colorado State University’s Online Writing Lab, http://writing.colostate.edu/learn.cfm The University of Wisconsin–Madison’s Online Writing Lab, http://writing.wisc.edu /Handbook FOREIGN LANGUAGE RESOURCES

Allen, C. G. A Manual of European Languages for Librarians. 2nd ed. New Providence, NJ: Bowker-Saur, 1999. Barber, Josephine. German for Musicians. Bloomington, IN: Indiana University Press, 1985. Boccagna, David L. Musical Terminology: A Practical Compendium in Four Languages. Stuyvesant, NY: Pendragon Press, 1999. Cirone, Anthony. Cirone’s Pocket Dictionary of Foreign Musical Terms. Galesville, MD: Meredith Music Publishing, 2008. Fayer, Mischa H., and Aron Pressman. Simplified Russian Grammar. 2nd ed. New York: Pitman, 1963. Goldman, Norma W. English Grammar for Students of Latin: The Study Guide for Those Learning Latin. 3rd ed. Ann Arbor, MI: Olivia and Hill Press, 2004. Heminway, Annie. Better Reading French. New York: McGraw-Hill, 2011. Jones, Peter V., and Keith C. Sidwell. An Independent Study Guide to Reading Latin. New York: Cambridge University Press, 2000.

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Korb, Richard Alan. Jannach’s German for Reading Knowledge. Boston, MA: Heinle, 2009. Sandberg, Karl C., and Eddison C. Tatham. French for Reading. Upper Saddle River, NJ: Prentice Hall, 1997. Seibert, Louise Cleret, and Lister G. Crocker. Skills and Techniques for Reading French. Baltimore, MD: Johns Hopkins Press, 1958. Sidwell, Keith. Reading Medieval Latin. New York: Cambridge University Press, 2005. Stack, Edward M. Reading French in Arts and Sciences. Boston, MA: Houghton Mifflin Harcourt, 1987. Wheelock, Fredric M. Wheelock’s Latin. Revised by Richard A. LaFleur. New York: HarperCollins, 2011. Wilson, April. German Quickly. New York: Peter Lang Publishing, 2007. RESOURCES FOR THE JOB OPTIONS AND SEARCH

Barr, Catherine. “Library Employment Sources on the Internet.” Computers in Libraries 32, no. 6 (July/August 2012): 9–12. Doraiswamy, Uma. “Tips for Library and Information Science Students Seeking Employment and Entering the Workforce.” Collaborative Librarianship 3, no. 3 (2011): 176–79. Gordon, Rachel Singer. What’s the Alternative? Career Options for Librarians and Info Pros. Medford, NJ: Information Today, 2008. Johnson, Kay G., Jessica L. Ireland, and Gayle Baker. “A Needle in the Haystack—Finding That First Academic Serials Job and Advancing to the Next Level.” Serials Librarian 54, no. 3/4 (June 2008): 273–79. Pollock, Ronald D. “Facing Trying Times for Librarians.” Texas Library Journal 87, no. 2 (Summer 2011): 55–57. Shontz, Priscilla K., and Richard A. Murray, eds. A Day in the Life: Career Options in Library and Information Science. Westport, CT: Libraries Unlimited, 2007. Sung, Myung Gi. “Ten Tips for Success: A New Librarian’s Guide.” Public Libraries 46, no. 2 (March/April 2007): 42–46. Woodward, Jeannette. A Librarian’s Guide to an Uncertain Job Market. Chicago: American Library Association, 2011.

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APPENDIX B: JOB WEBSITES AND TWITTER ACCOUNTS LibGIG: http://www.libgig.com Geared to both library and nonlibrary employment for the information professional, this site provides job boards, advice columns, and other relevant links for the job seeker. USA Jobs: http://www.usajobs.gov Lists all jobs with the federal government, including those at the Library of Congress, military base libraries around the world, and all other federal libraries or archives. The Chronicle of Higher Education: http://www.chronicle.com While articles on the Chronicle’s web site are available only to individual and institutional subscribers, anyone can search the employment listings at no cost. However, they are by no means comprehensive, and administrative positions appear to make up a higher percentage of postings than some other academic job sites. Higheredjobs.com: http://www.higheredjobs.com A nice complement to the Chronicle’s listings and ALA’s Job List. Frequently posts vacancies not listed on many other sites. The Special Libraries Association’s Career Center: http://www.sla.org/career-center Includes jobs postings, a list of resources, and a place to post your résumé. Jobs found here can range from a research librarian at a public radio station to one-person libraries in a business environment. American Library Association Job List: http://www.joblist.ala.org The primary job clearinghouse for the American Library Association. Includes many vacancies that require an MLIS. Public, academic, and vendor positions are included. Library Job Postings on the Internet: http://www.libraryjobpostings.org Presents links to dozens of job site boards by geography and job type. Simply Hired: http://www.simplyhired.com Lists all types of employment and allows users to set up alerts for library positions. I Need a Library Job: http://inalj.com Offers dozens of links to other job pages, allowing for geographical/regional and institutionspecific searches. Tweetmyjobs: http://www.tweetmyjobs.com Founded in 2009, this site provides a social media connection for employers and job seekers through Facebook and Twitter profiles. Postings that match a user’s profile are sent via e-mail, mobile device, or Twitter account.

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NOTES This is the title of Robert H. Schuller’s book (New York: Bantam Books, 1984). This topic is explored in Joe C. Clark, “What Employers Want: Entry-Level Qualifications for Music Librarians,” Notes 69, no. 3 (March 2013): 472–93. 3 In Clark’s study, 39 percent of announcements listed a subject-specific graduate degree as preferred, while 1 percent required the degree. Ibid., 489. 4 Ibid. 5 The University of Virginia recently announced a music librarian position with just such qualifications: http://musiclibraryassoc.org/employment.aspx?id=1294, last modified February 2, 2013. 6 Lisa Shiota, comp., “Directory of Library School Offerings in Music Librarianship,” 9th ed. (November 2011), http://www.musiclibraryassoc.org/?page=LibSchoolDirectoryI. 7 American Library Association, “Directory of ALA-Accredited Master’s Programs in Library and Information Studies,” accessed June 7, 2013, http://www.ala.org/accreditedprograms/directory. 8 Clark, “What Employers Want,” 490. 9 “ Google Translate,” accessed June 11, 2013, http://www.translate.google.com. 10 Library of Congress, “ALA-LC Romanization Tables,” accessed June 12, 2013, http://www.loc .gov/catdir/cpso/roman.html. 11 American Library Association, “ALA TechSource,” accessed June 12, 2013, http://www .alatechsource.org. 12 Ibid. 13 American Library Association, “ALA Online Learning,” accessed June 27, 2013, http://www.ala .org/onlinelearning/home. 14 Clark, “What Employers Want,” 385, 492. 15 This is addressed in greater detail chapter 9. 16 “Digital Preservation Management: Implementing Short-Term Strategies for Long-Term Problems,” accessed June 19, 2013, http://www.dpworkshop.org. 17 Association of Recorded Sound Collections, “Education and Training in Audiovisual Archiving and Preservation,” accessed June 19, 2013, http://www.arsc-audio.org/etresources.html. 18 University of Texas Libraries, “Copyright Crash Course,” accessed June 10, 2013, http:// copyright.lib.utexas.edu. 19 Stanford University Libraries, “Copyright & Fair Use,” accessed June 10, 2013, http://fairuse .stanford.edu. 20 Electronic Frontier Foundation website, accessed June 10, 2013, http://www.eff.org. 21 Music Library Association, “Copyright for Music Librarians,” accessed June 10, 2013, http:// copyright.musiclibraryassoc.org. 22 American Library Association, “Copyright Tools,” accessed June 10, 2013, http://www.ala.org /advocacy/copyright-tools. 23 Commonly referenced software include the programs in the Microsoft Office Suite (Word, Excel, PowerPoint) and Google Documents; frequent operating systems include Windows 7, Windows XP, and Mac OS. 1 2

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This topic is covered in considerable depth in Rachel Singer Gordon, What’s the Alternative? Career Options for Librarians and Info Pros (Medford, NJ: Information Today, 2008). 25 Clark, “What Employers Want,” 490. 26 ACRL Arts Section website, accessed June 11, 2013, http://www.ala.org/acrl/aboutacrl /directoryofleadership/sections/arts/artswebsite. 27 Valeda Dent Goodman, Qualitative Research and the Modern Library (Oxford: Chandos, 2011); and G. E. Gorman and Peter Clayton, Qualitative Research for the Information Professional: A Practical Handbook, 2nd ed. (London: Facet, 2005). 28 Ibironke O. Lawal, Library and Information Science Research in the 21st Century: A Guide for Practising Librarians and Students (Oxford: Chandos, 2009); and Rachel Singer Gordon, The Librarian’s Guide to Writing for Publication (Lanham, MD: Scarecrow, 2004). 29 Trudi Bellardo Hahn and Paul T. Jaeger, “From Practice to Publication,” College & Research Libraries 74, no. 5 (May 2013): 238–42. 30 Robert Hauptman, “How to Be a Successful Scholar: Publish Efficiently,” Journal of Scholarly Publishing 36, no. 2 (January 2005): 115–19. 31 Wendi Arant Kaspar and Wyoma vanDuinkerken, “Demystifying the Life of an Article: From Submission to Publication in Journal of Academic Librarianship,” Journal of Academic Librarianship 39, no. 2 (March 2013): 113–14. 32 Music Library Association, MLA Newsletter, accessed June 19, 2013, http://www.musiclibraryassoc .org/?page=newsletter. 33 RILM, “About Us,” accessed April 10, 2013, http://www.rilm.org/aboutUs. 34 Association of College and Research Libraries, “ArtsGuide,” accessed April 30, 2013, http:// www.ala.org/acrl/aboutacrl/directoryofleadership/sections/arts/artswebsite/artsguide/artsguides. 35 H-Net: Humanities and Social Sciences Online website, accessed April 30, 2013, http://www .h-net.org. 36 Music Library Association, “Job Openings,” accessed April 23, 2013, http://www.musiclibrary assoc.org/?page=JobList. 37 MLA-L website, accessed July 2, 2013, http://www.musiclibraryassoc.org/?page=mlal. 38 Major Orchestra Librarians’ Association website, accessed June 6, 2013, http://www.mola-inc .org. 39 Joe C. Clark, “Job Trends in Music Librarianship: A Nine-Year Analysis from the Music Library Association’s Job List,” Notes 69, no. 1 (September 2012): 44–58. 24

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pplying and interviewing for library positions are skills generally not emphasized in library school, yet they make up that important segue between the completion of graduate school and the launching of one’s professional career. Cover letters that fail to address vacancy requirements, hard-to-read résumés, and lack of interview experience frequently result in long periods of job seeking for new and early career librarians as well as some seasoned professionals who have not applied for a position in several decades. For many, the process is often conducted in a solitary manner, with minimal guidance and counseling. Susannah Cleveland offers advice on how to create and format appropriate application materials, address salary requirements, and interview in a way that will allow job seekers to represent themselves well both virtually and in person. She also addresses the important, yet often overlooked, steps of conducting pre-application research and negotiating salary once an offer is made.

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5 Success is a Science: Tips for Applying and Interviewing for Music Library Jobs1 SUSANNAH CLEVELAND “What we want to do is to have all the real conditions of success in our hands. Success is a science; if you have the conditions, you get the result.” 2 —Oscar Wilde

The search process for librarian positions is often shrouded in mystery, but it need not be overly intimidating or secretive. Much nonlibrary professional literature covers the idea of the job search extensively, but most of this information is geared toward the business sector. While some of this information crosses easily into the territory of common-sense applications for librarian positions, much of it is irrelevant, inappropriate, or even wrong when applied to the library environment. Positions in music libraries present their own challenges, often including requirements for music and language expertise, making existing advice for applying for library jobs less than completely helpful. A methodical approach—with an emphasis on both practical and philosophical considerations—can help job seekers present themselves in the best possible light and improve their chances of finding a good fit in a new job. There are as many opinions about ways to create application materials and interview for jobs as there are positions, so it is important for job seekers to keep an open mind and assume that any advice—included that presented here—should be tempered with common sense, personal judgment and comfort levels, and the cultural atmosphere of prospective institutions. No single formula will prove to be the magical approach that will guarantee an interview for every job. Researching the institution, seeking feedback from successful librarians, and tailoring materials for each application will help the job seeker to create and present the best application package. START WITH RESEARCH You need to tailor your application materials to each job for which you are applying, and this will require some background work before you begin. This work will enable you to tie your strengths and skills to the needs of the institution in your application materials and also to confirm that the institution is one where you would like to work, or—often more important— to realize before you have invested time, effort, and emotional energy that it would not be a good fit for you. Learn what you can about the institution by looking thoroughly at the institution’s website and read about the collections if you can find descriptions in reference sources.3 Check databases for publications by librarians at the institution if you want to get a sense of the

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scholarly activities of your potential colleagues. Find and read the library’s mission statement to be sure that it reflects the values you look for in a workplace. Read the position advertisement carefully and make sure that the job as written truly appeals to you. Position descriptions usually change with time, but if tasks are considered important enough to include in the advertisement, they are not likely to change soon. It is always easy to imagine that with a few tweaks, a particular job would be your ideal job, but make sure that you can live and thrive doing the tasks that are specifically required. As in dating, you might enter a relationship thinking you can mold the other party to fit your needs, but in jobs, as in romance, this is most often a fool’s errand. If any of the requirements seem confusing, ask a colleague or the Music Library Association’s Placement Officer for an opinion before contacting the institution for clarification. If putting your head together with others makes the situation no clearer, contact the institution, but be sure to use the methods of communication they have outlined in their advertisement. Some institutions do not identify an individual as the contact person. If this is the case, make note of your questions and ask them later if you get a phone or site interview. Determine if you are indeed qualified for the position. In some cases, you might be almost ready for specific duties and feel able to make a case for how your background has prepared you to perform the required tasks. It is generally seen as poor judgment, however, to apply for a position for which you meet none of the minimum requirements, and such practice will not garner you a strong reputation in the profession. If after all of this research, you’re not sure if it would be a good fit but are still interested, you should apply. Your application is not a commitment to accept the position later, but it is the beginning of a conversation between you and the institution. If you get a phone or on-site interview, you will have plenty of time to make observations and ask questions. After speaking with people from the institution, you will be in a much better position to determine if you and the job make a good fit. COMPILE YOUR APPLICATION PACKET When you are ready to start applying for the position, begin crafting your application documents. Start your writing process by imagining who your audience will be. Rarely will you know exactly who will be seeing your materials, but you can probably make a few basic assumptions. For most jobs, it is likely there will be at least one librarian reviewing your application. For academic jobs, there will probably be a search committee of library staff who will understand the principles of what you say about library experience and operations. At the same time, you will likely have people from Human Resources, Equity and Diversity, and other offices looking at your materials, so be sure to avoid library jargon and acronyms that are not spelled out. These people will not likely participate actively in the search process (in a typical academic library, at least), but they are often vetting candidates and might conclude that you don’t meet the minimum requirements simply because the terminology is inexplicable. You might also need to make

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an impression on deans and other managers, so take their perspective into account when preparing your materials. When considering the audience of your application materials, it is perhaps most important to remember that search committees are reading applications looking for future coworkers. Any behavior or language that does not promote the likelihood that you will be a collegial team member and welcome addition to the work environment can be a stumbling block for those reading your documents. Unless an application depends exclusively on forms and questionnaires, your application packet will typically consist of a cover letter and a résumé or curriculum vitae and might also include references and a salary requirement. These documents work in conjunction with one another to present an image of you as a prospective candidate. Each should be tailored to the job for which you are applying; this is a big investment, but it is time well spent if it keeps you in the running for the job past the first perusal. Be sure that every qualification listed in the advertisement is clearly accounted for somewhere in your application packet. If there are any minimum requirements that are not clearly addressed in your application, many committees will not even be able to consider your candidacy. While many search committee members pull for every candidate and try to rationalize how a certain experience would mean that the candidate is likely to have mastered a particular skill, this sort of supposition creates a treacherous legal area because it leaves the hiring institution open to lawsuits from unsuccessful candidates who clearly do meet the minimum requirements. Avoid this pitfall completely by leaving the committee with no doubts about how you do meet the minimum requirements. Ultimately, the goal of your application is to demonstrate two things: (1) you are qualified for this position, and (2) you will be a good colleague and employee. Keep these two goals constantly in mind as you prepare your application. RÉSUMÉ AND CURRICULUM VITAE

One frequent point of confusion for job seekers is the difference between a résumé and a curriculum vitae (also known as a “CV” or “vitae”) and which should be submitted. The decision about which to include will depend upon the position; submit specifically what the institution states it requires. Some institutions use these terms interchangeably, while some really do have a preference for one or the other format. If in doubt, it might help to know that public library jobs might be more likely to require a résumé to facilitate what is often a more agile hiring process, while academic library jobs will more likely require a CV to reflect the scholarly activities often required for these positions. There are some slight differences between the two documents. A résumé will typically be fairly brief—think of a two-page limit for entry-level positions—and will include a summary of education, experience, and professional memberships. The CV will likely be longer and include the same categories as the résumé but also publications, presentations, and awards, and perhaps library-specific technological proficiencies and language skills.4 Start creating your application by compiling or updating your résumé or CV for that particular job; it should always be customized for each position. Regardless of the document you

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are using, it is never a good idea to pad and overfill it with irrelevant details that distract the reader from the most important facts. Generally, organize your CV or résumé in reverse chronological order, keeping the most recent things first to highlight them. In a CV, consider including major accomplishments from previous library positions in addition to listing responsibilities. This will add some nuance to the document, and it is a good place to demonstrate previous work that is related to the position for which you are applying. Also include nonlibrary experience if you have it, but keep the focus on relevant skills. From a bookstore position, for instance, a potential library employer will be happy to see that you developed skills with inventory and customer service, but might be less interested in your impressive barrista skills. Likewise, try to avoid personal information, such as age, marital status, or religion (unless it is a religious institution). The layout of your CV is flexible. The most important thing is to make sure your contact information is readily available—preferably at the top of the first page—and the eye is able to pick out the major headings easily. Horizontal lines or simple text effects (like bold and italics) can help define the categories simply and elegantly. The order of elements is also somewhat flexible. At the very beginning of your career, the first section should definitely be education; be sure you include institution, degree, major, and, optionally, date the degree was obtained. For degrees that are in progress or incomplete, include them here, but be sure the incomplete status is clear; for instance, if you are finishing your MLIS at the end of the current semester, precede the degree date with the word “anticipated.” If you did not complete a degree and do not intend to return to it, it is common to list “Coursework toward [X] degree...” in place of the degree name, with a range of dates. Do this only if the coursework is relevant to the position for which you are applying. Likewise, if you are working on a PhD whose completion is not a requirement of the job for which you are applying, indicate your status with something like “ABD” (all but dissertation) or “Coursework completed.” If your thesis or dissertation topic is relevant to the position, you might consider including the title and, if it’s available online, a link as well. Those who have several years of library experience might wish to begin their CV with professional experience rather than education. This can help highlight specific, more esoteric abilities rather than emphasizing basic qualifications. Those new to the profession should include this as the second element, after education. For each position, include the institution, position title, inclusive dates, and ranks held. For a CV, provide a basic position description and consider highlighting major projects. Do not list every daily activity but rather include broader categories (“maintained day-to-day operations of circulation” rather than “checked materials in and out, cleared hold shelf, placed recalls, etc.”). Focus on the duties that would be transferrable to this new position and show progressively greater responsibilities (“because of my success with writing stories for the library newsletter, I was asked to edit it”). Beyond the essential components—contact information, education, and professional experience—you have many options for what else you might want to include on your CV.

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Students just now entering the job market might wish to include selected coursework, but be judicious in this; while it can be a helpful way to illustrate familiarity with a skill you have not put into practice in a work situation, it also emphasizes your newbie stature and can look like filler. Most applicants for academic jobs will want to include publications (indicate if they are in peer-reviewed publications) and presentations. It can be helpful to include professional memberships—including dates and any committee memberships—to show your commitment to and involvement with the profession at large. Also include honors and awards, being sure to give enough context for the reader to know where and why you received the honor. For musicians, it can also often be useful and meaningful to include professional performing affiliations to demonstrate your ties to musical activities. If you maintain a professional online presence—such as a virtual résumé, a profile in a scholarly repository, or an electronic portfolio—include a link with your contact information. Some institutions will not search for additional information about a candidate beyond the material in the application packet, but many individuals from search committees admit to conducting internet searches for potential hires. Be aware of what social media says about you, keep your personal settings on “private,” and try to control the message as much as possible by maintaining professional sites that positively highlight your work and qualifications. COVER LETTER

Your cover letter presents the first moment that your potential employer is able to form an impression of you. It is the heart of your application package and should never be reduced to something as minimal as a statement that you want to apply for the job and that your CV is attached (although you will likely find such a description of cover letters in the business literature). If the cover letter is not required but is allowed, you should definitely plan to write one. While job applications can seem huge, there is remarkably little space to give potential employers a sense of your personality and style, so you should not miss this opportunity. The cover letter is where you can clarify your experience and strengths and succinctly show how these specifically relate to the position at hand.5 Do try not to write a three-volume novel; search committees often have hundreds of applications to read, and they will appreciate a candidate who makes an effort to be thorough but succinct. Some people feel strongly that a cover letter should not exceed a single page, while some concede that two pages can be appropriate. If your letter is any longer than this, you may feel assured that at least some committee members will not read the entire letter and that most will question your ability to communicate efficiently. Although this letter is a prime opportunity to showcase your own style and personality, there are certain conventions that add structure and flow to the letter. Be sure you are following proper business letter formatting styles. Even though much communication these days happens informally and electronically, many businesses and institutions still expect traditional approaches to formal correspondence and will frown upon an overly familiar or casual approach. Place your name and address at the top of the letter—a header can be appropriate for this—to facilitate

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quick access to your contact information. You should include a date, an address, and a salutation before the body of your letter. Following the body of your letter, be sure to include a closing (“Sincerely” or “Cordially,” for instance), allow space for your signature, and type your name. If you are unfamiliar with the conventions of such correspondence, an etiquette guide will prove to be an invaluable investment.6 The body of the letter is where you communicate how and why you are a strong candidate for the position. First, explain how you heard about the job. This should be a brief statement like, “I recently saw your position advertised on the Music Library Association’s Job Placement Service.” Some institutions specifically ask you to include such information because it helps them know how effective their advertising strategies are. Next, explain why this particular job interests you. Include details from the position description and anything about the institution or the collections that particularly piqued your interest. Be honest here. Simply rephrasing descriptions from their website and waxing rhapsodically about them will fool nobody; flattery can be persuasive, but it can also be transparent and is best avoided in this situation. Describe how your specific experiences would contribute to this position and organization. This is your opportunity to align the skills and experiences from your CV with the requirements outlined in the position; think of this section as a crosswalk between the position description and the experience outlined in your CV. One strategy that might help you with this is to convert the position advertisement into a checklist (as, indeed, many search committees do when reviewing applications) and consult it after you have completed the first draft of your application to see if you’ve addressed all of the key points. Provide examples of concrete knowledge, skills, and abilities that are mentioned in the advertisement. Tell stories rather than simply mentioning buzzwords to engage your audience. Some esoteric characteristics in position descriptions—often called soft skills or social characteristics—are difficult to address elsewhere in your application, so this is your chance to demonstrate them. For example, while maintaining a practical tone, you can share your philosophy on leadership, if that’s a requirement, explain specifically how you’ve seen the value of diversity in your work experience, and describe your role in projects that reveal things like interpersonal skills, collaborative skills, and flexibility. Describe projects you’ve done that illuminate these social characteristics. Your letter itself should demonstrate strong written and communication skills so that you do not need to say much about these explicitly. If necessary, ask the hiring institution to treat your candidacy confidentially. Some job seekers do not want to inform their current institution that they are applying for a new job. In such a case, it might be appropriate to include a request that the hiring institution keep the candidacy confidential and not contact references unless he or she is a serious contender. Do not assume that this will necessarily always be honored, but most institutions respect a candidate’s wish for confidentiality. Such an approach can raise alarms in the minds of search committee members because it can suggest a level of deviousness or dishonesty, so do try to avoid this strategy unless absolutely necessary.

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There are several things that you should deliberately not include in a cover letter. Do not repeat things—like education—that are readily apparent from your other application materials, unless you want to highlight a connection or strong familiarity with the institution. Avoid any statements that are at all negative; if you come across as cynical at this stage, an employer will harbor few hopes that you will turn out to be a positive team member and colleague. While your reasons for leaving your current position may be justifiable and extensive, this is not the time to discuss them, and you should focus on the positive. Do not drop names or try to impress a committee by association. Your connections might seem impressive to you, but rest assured that others are rarely as impressed by such things and will read a letter heavy with names of others as a veil of insecurity that might or might not be masking a capable worker. Such a person would likely be an annoying coworker at the very least, and this technique will likely hurt more than help you. Obviously, you should avoid any typos or grammatical mistakes. Librarianship is a detailoriented profession, so you may rest assured that not only will people notice mistakes, they will often mark them to be sure other committee members see them as well. Such oversights reflect poorly on your attention to detail and to the commitment you made to the application process. Do not expect your software to detect every error but rather allow yourself time to have a few days between composition and submission and ask a friend (or an MLA Résumé and Cover Letter Review Service reviewer) to read it and provide feedback.7 REFERENCES

Depending on where you are in your career, selecting references can be trickier than you might imagine. This is an area where the search committee can get a sense of your judgment. A poorly chosen reference will not only give the committee little useful and positive information about you, but such a choice can show a lack of self-awareness or a lack of understanding of professional conventions, while a well-chosen reference will confirm good impressions of you and give the committee details about your work that have not necessarily come out thus far in the process. First, choose people who know your work well. While it may be tempting to list people you know who are well connected within the profession, if they are not familiar with your ability to complete work proficiently and interact well with others, their opinion will not be very helpful to the search committee. Also keep in mind that while music librarians recognize the importance of MLA, many institutions have but one music librarian—the position you might be applying for—so a reference from an MLA dignitary who has never worked with you daily might not be as meaningful to a hiring committee as a reference from your long-suffering supervisor from your student days. This is not the time to be flashy; you need references who can speak extensively and in detail about your work. Always include your current direct supervisor if possible. Notifying your supervisor that you are looking for a position can be stressful, but that person is usually the best one to assess

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the sorts of skills that the hiring institution wants their new employee to have. Applications that do not include the direct supervisor as a reference generally raise eyebrows. The impression is that the applicant is either sneaky (and the extension of that, the fear that this sneakiness would continue if that person came to work in a new institution) or that he or she has had a difficult relationship with the supervisor and does not trust him or her to say nice things about the candidate. Both of these impressions could easily be wrong, but you want to avoid the possibility of this reaction to your application. Include coworkers only if you have worked together closely. Committees are frustrated by reference calls in which the reference continually has to say, “I don’t know,” when asked about the candidate’s specific work behaviors and experiences. If you are new to the profession and don’t have very many professional contacts who might be in a position to provide you with a reference, it is acceptable to ask a professor to serve as a reference. Aim for no more than one professor as a reference if possible, because while your current and previous teachers can comment on your intelligence and drive, they do not necessarily have the perspective to comment on your work behaviors unless they have also supervised you in an assistantship. Be sure to ask permission before including anyone as a reference. It might not seem to you that you are making a commitment on that person’s behalf, but if you get to the stage of reference checks in the interview process, that person will be asked to give a phone reference or write a letter on your behalf, and it is only fair and courteous that you give him or her an opportunity to decide whether to be included. Somebody who you think is your biggest fan might have severe reservations about some aspect of your work, and including such a person without permission creates an awkward situation in which that reference will either be cagey in answering some questions to avoid liability or will simply not give you a positive reference. In either case, you are at a disadvantage. In your list of references, cite each person’s name, title, institutional affiliation, and full contact information, including mailing address, telephone number, and e-mail address. Some applicants also indicate the relationship of the reference to him or herself—such as “current supervisor,” “former supervisor,” “chair of committee on which I served.” In cases where only select references will be contacted, this additional information makes it easier for the committee to decide whom to contact. Do not overwhelm the committee with potential references. Include only as many as the job advertisement indicates you should include with perhaps one additional person on the list in case the search committee is unable to get in touch with one reference. List the references at the end of your CV or as a separate document. Whether they are required with the application or not, avoid stating that they are “available upon request”; if the ad requires references, include them no matter what, and if it doesn’t there is no need to mention them just yet. Finally, it is important to realize that unless letters of reference are specifically requested in the advertisement, when a hiring institution requests references, they are asking for contact information, not letters that you submit with your application.

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SALARY REQUIREMENTS

To be sure, it can feel very awkward to assign a monetary value to your skills and experience at the beginning of the application process, but some potential employers request the inclusion of salary requirements in your application packet to save you and the employer time later. The purpose of this number is twofold. First, it can help the hiring institution have a sense of the compensation range for the entire pool; if nobody, for instance, indicates a salary requirement lower than $42,000, yet the position has only been approved for a salary up to $36,000, the hiring official knows that some adjustments will likely need to be made before making an offer to any of the current applicants. Second, it lets the institution know whether they can afford you; if not, they and you will save substantial amounts of time and effort by not beginning an interview process that can only end in frustration for both sides. A decision about such a number should take several factors into account, and, like your cover letter, should be devised for each job for which you need to provide it. In determining your salary requirements, above all, be realistic. It might be tempting to use a low-ball number in the hopes of catching the search committee’s eye, but if you begin with this strategy with the assumption that you will negotiate a significantly higher salary once they have discovered how marvelous you are in person, you are likely to be disappointed. Likewise, overshooting the market and listing a salary far higher than would tempt you to the job might take you out of contention. And remember: this number is a starting point for consideration, not the final step in a negotiation. Start by looking at the cost of living in the city where the new job is—or nearby cities, if commuting is a viable option—and compare that to your current cost of living. Figure out how much money you would need to make to be comfortable in the new location. This, of course, is a completely subjective assessment, but think about your fixed expenses—such as rent, car payments, student loan payments, and such—then make a guess about flexible expenses like utilities. Add to that the things you would like to be able to afford, such as entertainment, dining out, and other nonessentials. This step will take a while, and the idea is not that you outline your ideal level of income—most librarians will likely define that substantially above their current salary, even if they are fairly comfortable—but rather to figure out what you must have, and what additional things would be important to you to have. The goal here is to define your absolute bottom line, not to create a ceiling for yourself. From here, you need to decide how much above your bottom line would be needed to make a move to a new position worthwhile. Presumably, if you are already employed, you would want to make more money than you currently do, and your bottom line will be at least equal to your current salary, if not higher. Salary is not the only factor for most job seekers; there are emotional costs associated with accepting a new position, something that often requires a move for music librarians. Consider these as well, and while they are not generally quantifiable, thinking of salary as a slight compensation for missing people, a place, or a collection can help you to

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define what percentage above your bottom line would make it possible for you to maintain ties to people and places that are important to you. Conversely, be sure you take into account intangible benefits of the new position or community—proximity to loved ones, more responsibility, performing opportunities—and consider what these might offer that might make a salary lower than your ideal acceptable. Another strategy for defining salary requirements that can be effective when one is already employed elsewhere is simply to show your math. A statement such as, “I currently earn $51,000 and feel that with the cost of living increase, I would need to earn at least 7 percent more to accept this position,” can clarify your situation well. In general, though, it is a good idea not to include a salary requirement unless specifically asked; in addition to the negotiating disadvantage it places you in, it can also seem crass to be overly concerned with money at the outset of the process. INTERVIEWING SURVIVING TELEPHONE AND VIDEO INTERVIEWS

So, you’ve made a splash with your application materials, and the institution now wants to schedule a telephone or video interview. This preliminary interview will often be different from any other experience you will have had before beginning the job search process. It can be awkward because of the lack of visual feedback and nonverbal cues, and it is easy to feel overly casual because one is not coming face-to-face with a potential employer or search committee. For this reason, many people recommend dressing for your phone interview as if it were a face-to-face interview. This helps to put you in a more professional state of mind than you might be if you were sitting on your sofa in your pajamas. If you’re doing a video interview, you will definitely want to dress as if you were visiting the institution. While preliminary interviews are indeed often more casual than in-person interviews, be sure you still prepare. This is often a crucial part of the screening process, so don’t try to wing it. Have questions prepared to ask about the institution and its collections. Take notes throughout the interview so that you can follow up on any new questions you had not prepared beforehand. Write down the names of your interviewers as they’re introduced; if you’re unsure about the committee composition ahead of time, it might help to have a library directory available to help you take note of who is there. If you have a choice, it is usually a good idea to schedule a phone interview on a landline rather than on a cell phone to ensure that you have a strong, consistent connection. If you can’t do this, make sure that you choose a location with a reliable signal. Likewise, if you are doing a video interview, it is preferable to use a hard-wired connection rather than wireless. In either case, choose a location that is quiet and free from distraction (including pets; we all know the stereotypes about librarians and cats, but nobody wants to pause while you get Fluffy off your keyboard).

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If, after scheduling your call, you find you need to make a change, communicate this early; these people have scheduled their time around this call and will appreciate as much advance warning of changes as possible. Whatever happens, do not miss your scheduled appointment. A committee might be willing to reschedule after a missed appointment, but you will be hard pressed to change their impression of you as flakey unless there are extenuating circumstances. In a phone interview, keep in mind that often multiple people will be on a conference phone on the other end of the line. These phones frequently have noise-canceling microphones, which make it impossible for you to hear if they try to interrupt you. Avoid the embarrassment of realizing that you’ve been talking for five minutes after they wanted to move on to the next question by pausing occasionally to take a breath and give the committee a moment to speak up if they want to pose a follow-up question or move on. With such a microphone on their end, you will also not get instant feedback such as laughter or agreement from the other end of the line, so make sure you prepare mentally for this vacuum. Following the phone interview, it is polite to send a quick thank-you note to the committee chair acknowledging the time spent speaking with you and, if relevant, affirming your interest in the position. An e-mail is most appropriate for this step, and a card or letter can seem like overkill. ACING YOUR FACE-TO-FACE INTERVIEW

The face-to-face interview is often one of the most intimidating aspects of the job search, but if you make it to this stage, take heart that you have already impressed the institution in some measure. This is an exciting opportunity to demonstrate your social and communication skills and to see how well you might fit into the organization, but it can also be a grueling day or couple of days, so pace yourself carefully. If you are required to do a presentation during the interview, this will be the heart of your preparation. Like your application documents, this should be crafted especially for each job. Begin your preparation early so that you have time to revise and practice the interview ahead of time. Pay close attention to any time limits that are indicated and be sure you are able to stay within them easily without falling substantially short. Follow the presentation prompt closely and stay on topic. You will often be given a hypothetical audience (other than the search committee or library staff ), and you should be sure that you pitch your presentation to this audience carefully. It is a good idea to have a backup plan for data storage; save a presentation on a portable storage device (such as a USB stick), in the cloud, and anywhere else you can think of to be sure that you can access it when you need to. Better yet, be prepared to run your presentation without technology at all, if necessary. If you’re using your own computer, be sure you’ve checked on connectors ahead of time; an annoyed response to an institution’s lack of Mac cables will not win you any fans. It should go without saying that you should not use your current employer’s resources (database subscriptions, webhosting, etc.) in an interview with another institution. Many institutions will provide guest access to their subscriptions for you to use in preparing your presentation if you ask.

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Pack carefully for your interview. The old adage about dressing for the job you want might not be as helpful in the library world as it is in the business world; many librarians dress very casually, but a potential candidate still needs to dress professionally to gain admittance to their ranks. Men should plan on suits, or at the very least, jackets and ties. Women may opt for a suit or choose a less stiff path; in either case, be sure the outfit is coordinated and appropriately professional. Choose fabrics that travel well and that will not emerge from your suitcase creased. Accessories should reflect your personality but not be too distracting (avoid noisy jewelry, to be sure). Pick shoes that you can wear comfortably all day long and be prepared for walking and being on your feet quite a bit. You might find it helpful to wear your complete interview outfit ahead of time to be sure that it presents no uncomfortable surprises at the end of a long day. In addition to clothes and computer (if necessary) consider also packing stain remover for unexpected coffee spills. If you can, try to travel without checking a bag; a lost suitcase can lead to near-instant, but unnecessary, panic during an interview. You will meet many people during your interview and will likely speak with several groups. At all times, remember to make eye contact and shake hands firmly. You are forming interpersonal relationships, so get them off to a strong start. Remember that you are interviewing them, too, so try not to focus so much on impressing that you fail to gather your own impressions. As you answer questions, be prepared with specific examples of projects that you have done. Look at lists of common librarian interview questions, and be ready to cover some of the most frequently asked ones.8 Always have some questions of your own for each group with whom you are scheduled to meet. This shows that you have given ample thought to the position and that you are curious about it and the culture. Towards the end of the day, you will likely feel as if most of your potential questions have been answered, so this is where it pays to have a list ahead of time. If you feel like you’ve gathered enough facts, ask about the institution’s culture, people’s favorite things about working at the institution, and similar things. There are some questions that can be pitfalls for the novice interviewer. “What is your greatest weakness?” is one that can cause cringes on both sides of the interview tables. Some interviewees respond to this question with an obvious strength posing as a weakness (“I’m too driven.”), but hirers certainly see right through such a technique and will think you ingenuous and evasive if you try this approach. Try, instead, to offer a genuine weakness to which you have found a solution, and explain how you have learned to work with that weakness rather than being crippled by it. Another question, “How did you think your presentation went?” has more meaning than is immediately obvious. This one sounds harmless at the outset, but your response is a strong indication not just of your confidence, but of your insight and flexibility as well. Expressed over-confidence in a mediocre presentation shows a lack of judgment and personal honesty while false modesty comes across as lacking in genuineness. Try to mention a thing or two that seemed to have worked well, but if there were sections that seemed awkward, talk about these and explain what you might do differently with such a task in the future. The key is to demonstrate that you can assess yourself honestly and learn from your mistakes.

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Show the hiring institution that you want this job, not any job. Many people new to the profession are still discovering their path, but you want to be sure that you communicate to the interviewers why this particular job is interesting to you, rather than trying to be flexible—“I really want to do any work in a library”—at the expense of seeming aimless. This flexibility may seem to you like it would keep your options open, but many potential employers will see it as a lack of enthusiasm for the job at hand and get the impression that you hope to spend your time with them figuring out what sort of librarian you want to be. Focus on emphasizing the skills that the library wants. It might seem obvious that criticizing the hiring institution during your interview is not a winning technique, but the frequency with which this happens suggests otherwise. There is a fine line between sharing ideas about ways that you can contribute to the organization and pointing out what you, in your experience of one day, see as the organization’s fatal flaws, so think carefully before you speak. Questions about how you would change a procedure or strategy at the hiring institution should be fielded diplomatically, and such opinions should most definitely not be offered if not requested. Do not dwell on conversations about money during your interview. It might be appropriate to ask about the institution’s commitment to funding professional development, for instance, but the salary negotiation needs to be saved for the negotiation period. Even if you are feeling concerned about your current fiscal situation and worried about making enough money to cover your personal costs, too much emphasis on money in the interview gives the impression that you’re more interested in the paycheck than you are in the job. If you are asked for your salary requirements during the interview, you might try to delay answering with a response like, “What is the typical salary range for positions like this?” After the interview, send thank you notes to the committee and anyone else who made your interview go smoothly. A note sent by e-mail is sufficient for this task, but a handwritten note never goes amiss. This step is not about getting the job but rather showing appreciation for the time and resources that the institution has already invested in you, so while you should send it promptly after the interview (many people find the time in the airport following the interview to be an advantageous time to write thank you notes), don’t worry if the note won’t get to them before they make their decision. NEGOTIATING THE SALARY Receiving a job offer—particularly if you have been searching for one much longer than you had anticipated—can be so exciting that many job seekers will accept immediately, without negotiating, but this can be a costly mistake. Most hiring institutions expect a candidate to negotiate and have likely built some cushion into the salary range to be able to do this. Fear of negotiation too often leaves that money unclaimed when it could, with a little bit of confidence, become part of your base salary. Remember that unless you specifically reject a job offer, the institution will not rescind the offer simply because you ask to negotiate, so you have nothing to lose by asking for a higher salary as long as you handle it with grace and composure.

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When you receive an offer, if you are interested in accepting, ask if it is negotiable. If not, consider asking if there is room to negotiate with other perks, such as professional development funds, spousal hire, technology (think both desktop and portable), research time, moving costs, and so forth. If the offer is negotiable, express a general interest—without accepting the position just yet—and ask for a few days to consider the offer. Do not turn the offer down with the assumption or hope that a higher offer will be forthcoming; many institutions will take such rejection at face value and move to the next candidate on the list. Rather, stay positive but noncommittal until you have settled on a mutually agreeable salary. Dedicate the time leading up to your second conversation to preparing your counter offer, which will usually be a bit higher than the number you hope to settle on. Do the math in the “Application Packet” overview above, then compare that number to the offer number. To get a sense of what the market will bear, look at job ads for comparable jobs to see if you can find posted salaries, look at the annual Library Journal “Placements and Salaries” report,9 or consult the Association of Research Libraries Annual Salary Survey.10 Each library has a different set of fiscal conditions, so use these numbers as guidelines rather than fixed targets. As with your presentation, it can be a great help to you to practice this conversation with a friend before you have it with the hiring institution. Many find it awkward to talk about money, but practicing can help alleviate some of that awkwardness. If you currently have a job that you would like to keep if possible, this is the time to let your current institution know that there is an offer and to give them a chance to respond. If they do, but you are still potentially interested in the new job, you will take this offer into account when formulating your own counter offer to the new institution. When pitting two institutions against each other in a bidding war, be sure you know what the stakes are and be diplomatic to avoid the impression—to either institution—that you simply applied for the new job to get a raise at your current job. Once you have completed your research and speak again with the hiring institution, present your counter offer. Be prepared for the idea of being turned down completely or for being met with a counter offer yourself. Know going into the conversation whether you are willing to walk away if your requests are not granted and be prepared to do so. An immediate assent to your request brings an end to the negotiations, but perhaps means you set your target too low, something you can learn from for the next time you change jobs. An immediate “no” also brings negotiations to an end and puts you in the position of having to decide if the original offer is worth it to you (and there is no shame in not “winning” a negotiation if the end salary for a position you want is manageable to you). Ideally, you will have aimed slightly higher than the institution was willing or able to pay, and the end result of negotiations will be a happy medium where all parties will be satisfied. Compensation is not the only factor to consider as you try to decide if you want an offered job. Reflect on the interview experience and consider if the environment seems as if it would be comfortable and that you would be a good fit. Assess whether the position seems doable yet suf-

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ficiently challenging. Determine if the health care and retirement options fit with your specific needs. Look at your family situation to decide if the location would allow you to thrive in your personal life. In short, know what aspects of your life—both personal and professional—are most important to you and compare those aspects to the reality of the job being offered. If, after reflection, a given job does not seem like one that you would be willing to accept, you might consider withdrawing from consideration before an offer is made as a courtesy to the institution. This will allow them to move immediately on to other candidates (if you were the leading candidate) and improve their chances of securing the candidate they want. If you do not decide until an offer is made that a job would not be a good move for you, treat the notification like a bandage that must be removed quickly; drawing out such a decision is painful for everyone. Accepting an offer and then rescinding your acceptance later is also in very poor form and should always be avoided if at all possible. CONCLUSION While the process of obtaining a library job can be likened to a form of “genteel hazing,” it represents a careful dance between both parties—the applicant and the hiring institution—and helps each to see the benefits and pitfalls of establishing a relationship. It feels, very often, that the institution holds all of the power, but the applicant can balance the power a bit by preparing carefully and thoughtfully and understanding that what he or she needs and wants is as important as what the institution can offer. By being thorough and confident, the job seeker can vastly improve the likelihood of getting an interview, and, eventually, the job. FOR FURTHER READING Hodge, Megan, and Nicole Spoor. “Congratulations! You’ve Landed an Interview: What Do Hiring Committees Really Want?” New Library World 113, no. 3/4 (2012): 139–61. doi:10.1108/03074801211218534. Stormes, Sheridan, and Gordon Theil. “Job Hunt Rhetoric: The Conversation behind the Successful Search.” In Careers in Music Librarianship II, edited by Paula Elliot and Linda Blair, 53–70. Music Library Association Technical Reports, no. 29. Lanham, MD: Scarecrow Press, 2004. Wang, Zhonghong, and Charles Guarria. “Unlocking the Mystery: What Academic Library Search Committees Look for in Filling Faculty Positions.” Technical Services Quarterly 27, no. 1 (2010): 66–86. doi:10.1080/07317130903253449. Whisler, Laurel A. “Résumés, Curricula Vitae, and Cover Letters for Music Librarians: Suggestions for Librarians in Job Searches or Compiling Annual Review Documents.” Music Reference Services Quarterly 8, no. 4 (2005): 1–46.

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NOTES 1 This chapter is revised and expanded from a portion of two different panel presentations: “Putting Your Best Foot Forward: Successful Navigation of the Job Interview,” presented at the annual meeting of the Music Library Association (MLA), San Diego, CA, March 2010; and “Scoring the Perfect Job,” presented at the annual meeting of MLA, San Jose, CA, March 2013. 2 Correspondence from Oscar Wilde to the actress Marie Prescott, July 1883. Reproduced in The Complete Works of Oscar Wilde: Together with Essays and Stories by Lady Wilde (Boston: The Aldine Publishing Company, 1910), 153. 3 Several reference sources contain descriptions of major music library collections, often with more detailed description and analysis than can be found on collection websites: H. Wiley Hitchcock and Stanley Sadie, eds., New Grove Dictionary of American Music (London: Macmillan, 1986), with a new edition forthcoming; D. W. Krummel et al., Resources in American Music History: A Directory of Source Materials from Colonial Times to World War II (Urbana: University of Illinois Press, 1981); and Rita Benton, ed., Répertoire international des sources musicales (RISM), Series C: Directory of Music Research Libraries (Kassel: Bärenreiter Verlag, 1979–85). 4 Laurel A. Whisler, “Résumés, Curricula Vitae, and Cover Letters for Music Librarians: Suggestions for Librarians in Job Searches or Compiling Annual Review Documents,” Music Reference Services Quarterly 8, no. 4 (2005): 1. 5 For some great examples of cover letters that got people hired in libraries, see Stephen X. Flynn, “Open Cover Letters,” http://opencoverletters.com/faq. 6 In addition to standard etiquette guides like Emily Post’s classic (Peggy Post, Anna Post, Lizzie Post, and Daniel Post Senning, Emily Post’s Etiquette, 18th ed. [New York: Harper Collins, 2011]), you might simply try a subject search in your local library catalog for “business etiquette” to find some useful tools on letter writing. 7 Music Library Association, “Résumé and Cover Letter Review Service,” accessed October 16, 2013, https://musiclibraryassoc.org/?page=RCLRS. 8 For a helpful compilation with links to additional sources, see “Library Interview Questions,” Mr. Library Dude (blog), http://mrlibrarydude.wordpress.com/nailing-the-library-interview/libraryinterview-questions. 9 “LJ’s Placements & Salaries,” Library Journal, accessed June 30, 2013, http://lj.libraryjournal.com. 10 Association of Research Libraries, ARL Annual Salary Survey, http://publications.arl.org /ARL_Annual_Salary_Survey.

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hile a majority of music librarians work in academic libraries, the status of a librarian in this environment can vary greatly. Institutions may classify their librarians as faculty, professional staff, contract staff, or even, on occasion, classified staff. These classifications are often contentious, and the issue is particularly complex in the area of faculty status. Under the umbrella of faculty status, there are many variations for librarians—tenure-track, continuing appointment, term—each with its attendant controversies. This topic is even timelier now, as some universities attempt to change or even eliminate longstanding faculty status for librarians. Jennifer Ottervik provides a history of faculty status in relation to libraries, surveys its benefits and drawbacks, and examines the trends in higher education. Anyone choosing to pursue academic librarianship should be aware of the possibility that meeting strenuous tenure and promotion requirements may be expected. If faculty status and its accompanying responsibilities appeal to a jobseeker, full information about its requirements and standards will help one to prepare for the challenge.

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6 Faculty Status and the Music Librarian JENNIFER OTTERVIK

While the majority of music librarians working in a college or university library are classified as staff, just over 40 percent have faculty status, with or without the opportunity for promotion and tenure.1 Faculty distinction and guaranteed job security often appeal to prospective candidates, but the expectations of a tenure-track position, which usually include publication and other scholarly activities—often without the release time or nine-month contract afforded to teaching faculty—can conflict with, if not prohibit, the professional success of music librarians. In addition, research is an inherent attribute of academic librarianship as well as an integral component of advanced degree work in music, but the contributions of faculty or tenured librarians are not always perceived as equal in stature or importance to those of their teaching-faculty counterparts. A study of the history of this ongoing debate and an examination of the criteria by which faculty/tenure status is evaluated, followed by an investigation into the opportunities and challenges presented by faculty status and tenure, can help music librarians better understand the challenges and benefits of this status. In 2012, the Association of College and Research Libraries (ACRL) and the American Association of University Professors (AAUP) revised and reissued their “Joint Statement on Faculty Status of College and University Librarians”: As the primary means through which students and faculty gain access to the storehouse of organized knowledge, the college and university library performs a unique and indispensable function in the educational process. This function will grow in importance as students assume greater responsibility for their own intellectual and social development. Indeed, all members of the academic community are likely to become increasingly dependent on skilled professional guidance in the acquisition and use of library resources as the forms and numbers of these resources multiply, scholarly materials appear in more languages, bibliographical systems become more complicated, and library technology grows increasingly sophisticated. The librarian who provides such guidance plays a major role in the learning process. . . . Where the role of college and university librarians, as described in the preceding paragraphs, requires them to function essentially as part of the faculty, this functional identity should be recognized by granting of faculty status. Neither administrative responsibilities nor professional degrees, titles, or skills, per se, qualify members of the academic community for faculty status. The function of the librarian as participant in the processes of teaching, research, and service is the essential criterion of faculty status. . . . Faculty status entails for librarians the same rights and responsibilities as for other members of the faculty. They should have corresponding entitlement to rank, promotion, tenure, compensation, leaves, and research funds.2

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First published in 1972, this renewed declaration reaffirms the critical role of academic librarians in the life of their institutions. For music librarians, the joint statement may present an opportunity to assess its relevance to our profession collectively. For the music librarian, subject expertise plays a key role in the development of professional credentials. In the United States, music as an academic discipline developed during the Great Depression. In 1930, Otto Kinkeldey, head of the Music Division of the New York Public Library, was appointed the first professor of musicology in the United States at Cornell University, which awarded the first PhD in musicology in 1932. With Kinkeldey as its first president, the American Musicological Society (AMS) was founded in 1934.3 Librarianship, too, was evolving during this period. In 1931, the Music Library Association (MLA) was founded. The Association of Research Libraries (ARL) was formed in 1934. In 1940, ACRL was established as the academic division of the American Library Association (ALA). The AAUP issued its “Statement of Principles on Academic Freedom and Tenure,” and soon thereafter, in 1944, the University of Illinois became the first institution to grant tenure to its librarians.4 ALA changed its standard for the appropriate terminal degree for professional librarians from a bachelor’s to a master’s.5 After World War II, academia changed dramatically. From 1944 to 1956, the Servicemen’s Readjustment Act (the “GI Bill”) provided college tuition for education and training to over seven million veterans of the war.6 In response, the number of graduate and doctoral programs increased, as did the need for librarians, particularly subject specialists. In 1956, the AAUP welcomed professional librarians into its membership, and within one year, nearly 750 librarians had joined.7 In 1958, ACRL established the Committee on Academic Status, which officially endorsed faculty status for academic librarians. Over the next decade, neither ALA nor ACRL voiced much support until the 1969 “rebellion” at the Atlantic City conference that “fundamentally changed the American Library Association and academic librarianship as well. . . . Among those malcontents were 600 academic librarians seeking faculty status.”8 Accordingly, ACRL proposed nine conditions in their “Standards for Faculty Status for College and University Librarians,” and a national committee representing ACRL, the AAUP, and the Association of American Colleges (now the Association of American Colleges and Universities) prepared its “Joint Statement on Faculty Status of College and University Librarians.” In 1972, the ACRL board of directors endorsed the statement, and it was adopted by the AAUP in 1973.9 Over the next twenty years, the debate over faculty status for academic librarians continued, and numerous journal articles and surveys were published that investigated pros and cons, job satisfaction, and institutional compliance with ACRL’s conditions of faculty status. In 1999, ACRL surveyed the application of their nine standards in over eight hundred institutions, allowing respondents to rate compliance as “not at all,” “partially,” or “fully” (see figure 1).10 In response to these findings, the ACRL board of directors reaffirmed the 1972 joint statement in 2007 and revised the nine original conditions to the ten now outlined in the “Standards for Faculty Status for College and University Librarians” in 2011:11

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TTenure enure e

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Figure 1. Percentage of institutions providing faculty status conditions. 1. Professional responsibilities 2. Library governance 3. College and university governance 4. Compensation 5. Tenure 6. Promotion 7. Leaves and research funds 8. Academic freedom 9. Grievance 10. Dismissal Faculty status for librarians can often moderate the perceived sense of inequality between librarians and teaching faculty. MLA’s 1997 “Survey of Personnel Characteristics” identified a disparity in the sense of equality between librarians and teaching faculty among MLA members. Thirty-one percent of respondents who worked in academic or conservatory libraries indicated that they felt a sense of equality with teaching faculty while 46 percent of librarians who had faculty status reported the same sense of equality.12 The 1997 survey indicated that approximately 49 percent of music librarians working in academic libraries had faculty status in some form, including faculty status without tenure as well as tenured and tenure-track status.13 In 2009, Susannah Cleveland and Mark Puente conducted a follow-up survey for MLA in which 42 percent of those working in academic libraries reported having faculty status—26 percent tenured or tenure-track; 16 percent untenured (see figure 2).14 The 1997 and 2009 studies indicate that the state of full faculty status for music librarians has not changed much and is consistent with other types of academic librarians. STANDARDS FOR FACULTY STATUS Full faculty status affords privileges partially or not available to nonfaculty positions, including evaluation by one’s peers, sabbaticals, access to research and professional development

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non-renewable contract 3% classi ed staff 4%

other 7% tenured faculty 16%

tenure-track faculty 10%

professional staff 44%

permanent or continuing faculty (other than tenured or tenure-track) 16%

Figure 2. Status of academic library employees, 2009. funds, committee participation, other institutional governance responsibilities, and academic freedom. These benefits, along with strengthened opportunities for promotion, encourage most teaching faculty to work within the assessment and reward system of tenure. ACRL’s ten “Standards for Faculty Status” address all of these privileges, but the conditions that vary the most or are the basis for contentious debate are governance, compensation, leaves and funding, academic freedom, and tenure. GOVERNANCE OF LIBRARY FACULTY

ACRL recommends that the leadership position of a college or university library parallel administrative positions in other departments or schools. If the reporting structure is similar and familiar to the rest of the campus community, a dean of libraries, equivalent to any other dean, can have a positive impact on the overall status of the library system. Teaching faculty usually report to a department chair, director, or dean, but as a whole, they may be largely self-governed, which is viewed to be a more democratic infrastructure. Li-

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brarians, on the other hand, may follow a more business-oriented and multilevel hierarchy that varies greatly among institutions. Higher-level positions may report directly to a dean or director, but frequently academic librarians, particularly music librarians, report to the head of public services, fine arts, or special collections; to an associate dean or director; or to someone with whom they may rarely interact. It is common for the heads of library departments to supervise multiple individuals who may be even farther removed from top leadership. Depending on how a library is organized, librarians may be reporting to—and therefore reviewed by—someone ill-suited to assess job performance. This may be the case for the majority of music librarians, 55 percent of whom work in a branch location, separate from the main library.15 Teaching faculty may be required to submit annual reports to their director, who in turn may or may not issue written or oral feedback. Librarians—even those with faculty status—are more likely to be evaluated annually according to a documented review system more like those administered to paraprofessional positions. PARTICIPATION IN COLLEGE OR UNIVERSITY GOVERNANCE

For the academic librarian, there is no shortage of opportunities to serve on committees at the departmental level, but librarians—even those with faculty status—may not be able to participate fully on institutional governing bodies. Faculty librarians without tenure status, for example, are not able to serve on a university-wide tenure committee. Librarians, both faculty and staff, may be eligible to serve on most standing committees, but ad hoc committee membership may be restricted to full-time teaching faculty. Subject librarians might serve on committees in a different department—to broaden a search committee, for example—as ex officio members, or as entitled by an adjunct appointment. Music librarians, particularly those working in a branch library within a school or department of music, may have vested interests in governance and administration. They may be able to attend faculty meetings or assemblies, but voting and serving as an officer or chair may be prohibited. COMPENSATION

Comparable salaries, fringe benefits, and contract length are central conditions for faculty status equality for academic librarians. Thirty-six faculty-status surveys published between 1971 and 1984 were reviewed by Janet Krompart and Clara DiFelice, who found that “librarian salaries were lower than those of the teaching faculty in at least 50 percent of the libraries which responded to the surveys.”16 In general, the salaries of academic librarians tend to be lower, but music librarians appear to be on par with pretenured instructors and assistant professors, who account for approximately 36 percent of full-time music faculty. The National Association of Schools of Music (NASM) reports that the average full-time salary for the rank of Instructor— frequently equated to Librarian I—is $41,728, and the average salary for the rank of Assistant Professor (or Librarian II) is $52,828.17 The 2009 MLA “Survey of Personnel Characteristics”

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Figure 3. Annual librarian salaries, 2009.

shows that the majority (almost 41 percent) of music librarians earn between $40,000 and $60,000 (see figure 3). About 25 percent of music faculty are at the associate professor rank, when tenure is usually awarded, with an average salary of $64,644, whereas 19 percent of music librarians’ salaries fall into the $60,000–$70,000 range. Full professors average $83,794 and comprise about 24 percent of full-time music faculty, yet only 13 percent of music librarians (34 people) earn over $80,000.18 Fringe benefits, such as leave time, tuition remission, tuition waiver for dependent children, and contributions to retirement funding, may differ between faculty and staff and could amount to thousands of dollars; for example, staff positions will accrue vacation and sick leave, but once these are depleted, they must take unpaid leave, whereas full-time faculty on ninemonth contracts do not accrue vacation and sick time. Benefits also differ between full- and part-time faculty, affecting those who teach in continuing adjunct positions. If the course is core to the curriculum, such as a graduate music bibliography and research course, a long-term arrangement may seem mutually beneficial, but librarians should be aware that adjunct faculty positions are not afforded the same fringe benefits as full-time faculty. Institutional contributions to retirement may range from 3 percent to 15 per-

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cent and are not usually paid to adjuncts. The additional salary may also place the individual in a higher tax bracket. The usual contract term for teaching faculty is nine or ten months, or an academic year. A full teaching load may consist of two or three classes per semester, or six to nine hours of actual classroom time. In addition to grading and class preparation, part of one’s teaching load may include supervision of graduate documents, student advisement, and writing letters of recommendation. Librarians frequently participate in these activities as well but may do so on a voluntary basis rather than as part of one’s regular workload. For librarians on the tenure track with the pressure to publish, a twelve-month contract puts them at a distinct and unfair disadvantage, relegating research to personal time. The primary argument against nine- or ten-month contracts for academic librarians is the perceived adverse effect on public and customer service if librarians disappear during the summer months, especially if this is when teaching faculty are conducting their research. Some schools host classes, workshops, festivals, and camps during the summer months, which can increase library traffic and the demand for services. Some institutions, therefore, are compensating librarians for summer months, just as teaching faculty are paid over and above their regular salary for working during this period; for example, West Chester University’s May 2013 music librarian job posting stated, “This is a nine-month position with faculty status and rank. Some evening and weekend hours are required. Additional compensation for support of classes outside the traditional academic year may be available.”19 Other schools are opting to provide additional leave, reducing actual time served to ten months within a twelve-month contract. Another standard practice in higher education is the awarding of a significant pay increase of about $5,000 to $10,000 with each promotion in rank. This progression establishes a salary structure where instructors might earn $35,000 and tenured professors earn $65,000, for example. Even at the lower end, promotion can increase one’s salary by 15–30 percent. Administrative and professional staff and faculty without rank may earn cost-of-living and merit increases, but these do not compare to this kind of pay hike. For tenure-track faculty without rank, a hefty increase may happen once, when tenure is awarded. RESEARCH LEAVES AND FUNDING

Continuing education is mandatory for librarians and directly correlates to a library’s level and quality of services. Music librarians, often responsible for all physical formats, must remain current in several highly specialized and rapidly changing areas. Publications from MLA’s Basic Manual Series and Technical Reports show the evolution of issues related to access, delivery, and preservation of music materials, and range from classification and cataloging (1977, 1981, and 1996) to equipment and facilities (1979–82, 1989, 2006) to acquisitions (1984) to archival processing (1992), and most recently, metadata standards for digital audio (2010). Now we are also responsible for negotiating licenses for electronic resources, conferring with information technology departments, applying digitization standards, ensuring copyright

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.

compliance, implementing web-based technologies, and deciding questions of media storage and content management. Professional development is critical for music librarians, but even for those with faculty status there may be no or limited financial support to travel to professional conferences and workshops. Not all librarians are given release time to attend, which cuts into their accrued leave. Without faculty status, librarians may not be able to take semester-long or academic-year sabbaticals or leaves of absence to conduct research, even if required for tenure and promotion. Internal and external funding opportunities may be limited. Sponsored projects may need to be supervised by a faculty member rather than the person actually managing operations; for example, librarians classified as staff may not be able to serve as principal investigator for a grantfunded project. ACADEMIC FREEDOM

This issue of academic freedom is currently at the forefront of the faculty-status-for-librarians debate, though it has long been a key argument. In his monumental essay, “Status of the University Librarian in the Academic Community,” Arthur McAnally presents three areas of librarianship affected by academic freedom: the freedom to select, right of access and privacy, and protection for the librarian.20 Jobs may be vulnerable if controversial material is purchased, promoted, or published. Librarian Dale Askey was threatened with lawsuits after his blog posting about Edwin Mellen Press:21 Edwin Mellen Press is suing Dale Askey—a McMaster University librarian—and McMaster University for “$3.0 million dollars as damages for defamation arising from continuous publication on the World Wide Web by the defendant Askey.” The alleged defamation occurred in a 2010 blog post Askey—an American citizen—wrote when he was a librarian at Kansas State University. . . . Regardless of the outcome of the case, academic librarians should consider the implications of this lawsuit and its potential attack on academic freedom and the public expression of professional opinions on relevant subjects.22

With no guarantee for support, Askey is fortunate that McMaster University declared “to rigorously defend its commitment to academic freedom and freedom of speech as the case proceeds before the courts,”23 but many worry that those librarians without faculty status might not have the same support if their academic freedom were challenged. TENURE AND PROMOTION Tenure, or continuous appointment, is defined as an institutional commitment to permanent employment to be terminated only for adequate cause (for example, incompetence, malfeasance, mental or physical disability, bona fide financial exigency) and only after due process. Tenure (continuous appointment) shall be available to librarians in accordance with provisions for all faculty of the institution.24

While each of the factors in the preceding section has significant bearing on faculty status, no condition carries more weight and more controversy than tenure. This controversy can stem

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from teaching faculty, as noted by Raj Madan et al.: “Each time the question of equal status for librarians arises the teaching faculty creates an uproar as if the attainment of status is their sole right and extending the same privileges to others is an infringement of this right,”25 while even some librarians themselves have voiced opposition to tenure. While most areas of academia view tenure as the quintessential benchmark in one’s professional career, opponents argue that it can stifle the progressiveness of an institution and the career of those on the tenure track. Historically, teaching faculty work to “prove their worth” by fulfilling institution-specific criteria in three weighted areas: teaching (40%), research (40%), and service (20%). Acknowledging faculty output in departments such as music and libraries, some institutions have revised nomenclature from “teaching” and “research” to “professional practice” or “scholarly and creative work.” Libraries that have developed department-specific criteria commonly use the category of “librarianship,” rather than “teaching.” Service to the department, institution, profession, and community is often deemed equivalent to librarianship. Some libraries encourage scholarly activity, but it may not be required for tenure and promotion. Formulas, therefore, vary by institution; all tenure criteria, however, must be clearly and comprehensively documented, not only for candidates but for administrators and outside reviewers as well. The typical period of time one remains on the tenure track is six years, with the application and supporting documents due at the end of the fifth year. Over the course of one’s sixth year, the file progresses through multiple rounds that usually begin at the department/peer level and end in the president’s office or with the board of trustees or regents. A conventional tenure file consists of a number of items, including one’s curriculum vitae, a personal statement, and supporting materials, such as publications, syllabuses, and teaching evaluations. Performing arts faculties parallel librarians when it comes to supporting materials. Music faculty, for example, may not have the traditional arsenal of publications, but may instead have published or performed compositions, given public or recorded performances, or taught master classes. Because these activities fall out of the “normal” scope of acceptable activities, music faculties have had to justify and develop appropriate program-specific criteria. Music librarians, too, may have distinct supporting materials; for example, contributions to NACO (Name Authority Cooperative) are subjected to rigorous outside review, so should be included in one’s file. A library’s tenure criteria may not allow for this type of submission unless previously advocated. The tenure files of most teaching faculty include student evaluations and may include annual evaluations or a summary written by their department head or dean. Annual assessment of teaching faculty may include self-reports and student evaluations, but the performance review process can be much more rigorous for librarians, who frequently undergo a yearly performance appraisal, often conducted by a manager, dean, or someone working in a different department and geographic location. Librarians may be further subjected to periodic user surveys at the department or university level. In addition to annual supervisor reviews, librarians’ files can and should include teaching evaluations. As with classroom teachers, it is common procedure to administer an evaluation

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following instructional sessions, and a librarian’s file is strengthened by assessment from diverse populations across campus. For teaching faculty, tenure is most frequently awarded at the rank of Associate Professor, which usually equates to Librarian III. The next stage of promotion is full Professor/Librarian IV. TEACHING/LIBRARIANSHIP

Some argue that tenure is meant exclusively for teaching faculty, but the AAUP “Statement of Principles on Academic Freedom and Tenure” specifically states that “the word ‘teacher’ as used in this document is understood to include the investigator who is attached to an academic institution without teaching duties.”26 Regardless, many librarians provide group and individual instruction on a daily basis. Other departments provide similar one-on-one instruction, namely studio or applied faculty in music schools, setting a precedent for librarians explaining unusual teaching situations. The manner in which we facilitate the learning process is different from the traditional classroom setting, but no less crucial. For those in technical services positions, where there are no easy analogs with teaching faculty, it is essential to be able to account for their institutional contributions through explicit, documented criteria. Public-service activities are easier for a tenure review committee to understand, so librarians working in or with acquisitions, cataloging, digital content, interlibrary loan, and metadata must articulate the benefits of their work to and impact on the overall institution. Activities that meet the criteria of “librarianship” vary among institutions. The following examples typically are categorized under librarianship, but they may fall instead under service, research, or creative activities—or none of the above: • Develops or improves procedures, policies, or workflows at departmental and/or Libraries’ level(s). • Designs and implements library instruction programs, including preparation and delivery of orientation sessions and course-related instruction. • Organizes knowledge by cataloging and classifying materials for use by others, and by designing methods for retrieving information through systematic, structured methods that can be applied to a variety of disciplines. • Selects, evaluates, and acquires library materials in all appropriate formats. • Serves as thesis or dissertation committee member. • Prepares grant proposals for submission to funding sources. • Develops innovative programs that facilitate the delivery of library services. • Ensures continuing access to library collections through implementation of preservation and conservation policies, training, and treatments. • Cooperates with other libraries and institutions to facilitate research and to develop regional and national library services. • Employs foreign language skills.

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• Develops teaching materials for use by others in addition to the author, including texts, course syllabuses, bibliographies, computer programs, guides, and educational displays. Librarians, particularly those with an advanced subject degree, may be contracted to teach in adjunct positions, which bestow some degree of faculty status. Teaching a for-credit course for another department may be included in a librarian’s contract, thereby implying that class preparation and grading can take place within a standard work week and be part of the activities for which one can be assessed for teaching/librarianship. If a librarian is compensated separately for teaching a class, they are typically expected to prepare, teach, and grade beyond their normal work hours. Librarians who teach in an adjunct capacity may not be able to count credit-bearing classroom instruction in the teaching/librarianship category. If teaching a course (such as one on music bibliography) is not part of a librarian’s primary assignment, it may be viewed as elective and therefore considered a service to another department. In some situations, a librarian teaching in an adjunct capacity might carry a greater teaching load than that required of full-time teaching faculty. A full load for studio or applied faculty, for example, may be teaching private lessons to eight performance majors per week. An adjunct, on the other hand, may be teaching one or more sections of a music bibliography course with a combined enrollment of forty to seventy graduate students. The studio or applied faculty member is earning a full-time salary with benefits, while the adjunct in this scenario may be earning just a few thousand dollars, depending on an institution’s pay scale for part-time instructors. The 2011–12 NASM Data Summary reports that the average salary of part-time music faculty is $17,065, whereas the average salary for adjunct music faculty is $8,768.27 Adjunct status may also negatively impact perceptions of a librarian’s contribution to the curriculum; for example, other faculty members and students may not view a part-time instructor as effective or authoritative. Adjunct faculty may not be eligible for teaching awards, or at the least, this status may impact the chances of their selection. Michael Gorman, then the dean of library services at California State University in Fresno, notes, “One of the librarians on the CSU staff, Ross LaBaugh, won the campus teacher-of-the-year award last year. . . . He wouldn’t even have been considered had he not been a faculty member.”28 RESEARCH/SCHOLARSHIP/CREATIVE ACTIVITIES

Music librarians and music faculty face similar difficulties in documenting effectiveness in an area that does not completely align with traditional models of scholarly productivity. Conventional activities deemed acceptable for meeting tenure and promotion may include refereed and nonrefereed publications, poster sessions, finding aids, web pages, book reviews, editing, digital collections, individual and team consulting, and conference presentations. For music faculty and librarians, creative activities may include published and performed compositions, program notes, and musical performance.

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Publication may not be required for librarians with faculty status; rather, it may be only encouraged, or even discouraged, depending on an institution’s philosophy. In most tenure criteria, peer-reviewed journal articles and monographs carry much more weight than other types of publications. Accomplishments in this area will be evaluated in terms of their perceived significance to their fields. Some critics of the tenure system claim that the pressure to publish results in oversaturation of poorly written, poorly researched publications, sometimes prepared by graduate assistants. This is true of all disciplines, yet library journals are subjected to an even greater level of scrutiny because of the assumption among traditional faculty and administrators that if a librarian doesn’t have a PhD, he or she is unable to conduct, synthesize, and present significant research.29 Most librarians are not afforded leave time to conduct research, so some librarians have faculty status without tenure, which eliminates publication from their required performance. In general, critics of the traditional tenure system argue that because funding may depend on it, research in higher education has surpassed teaching in importance, and it may be considered more important during the evaluation process. This trend has manifested criticism of undergraduate education, in particular: Current changes in higher education practice and thinking recognize that undergraduate education has suffered because colleges and universities have not been teaching as well as they might. These changes carry both promise and challenges for librarians. Rising to these challenges is imperative because without the collaboration of librarians, attempts to improve teaching and learning are less likely to succeed.30

SERVICE

Service to an institution usually includes committee participation at the institutional and departmental levels. Music and other subject librarians often have the advantage of being able to participate on committees in two departments. Other service activities might include attending graduation and assisting with orientation or other campus events. Beyond the institution, service to one’s profession and, often, even the community will be required. Professional service can include participating on committees, serving as an officer or chair, editing newsletters or journals, and working on conferences, at the chapter or national level. Community service varies greatly, and may include serving as a church musician, helping with a local arts festival, teaching in a community music program, or participating in any number of activities that raise the profile of the individual—and by extension, the individual’s institution— through contributions to the welfare of the community. CRITERIA/EVALUATION FOR TENURE AND PROMOTION

Once a candidate’s file is complete, it is usually submitted to the library’s tenure committee for the first round of voting. If a file does not pass this stage, it may or may not move forward to the college or university’s tenure and promotion committee. A negative tenure vote by one’s peers often means that the library’s director or dean and then the president will likewise

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refuse tenure. If that is the case, the applicant is then notified that tenure has been denied, in which case, the employee’s appointment usually terminates within one year. Many institutions have implemented mentoring programs and review systems designed to prepare the tenure-track librarian—especially important during one’s first year. Some institutions conduct annual peer reviews in addition to the supervisor review. Some have a mock-tenure process during the third-year review, which helps identify individuals not progressing satisfactorily. One of the major criticisms of the tenure system is that once a faculty member is tenured, their production declines, so many schools have a post-tenure review process, whereby individuals prepare a file that represents their work since becoming tenured. Most often, this file is reviewed only at the departmental level. If the post-tenure review is unsuccessful, a performance plan may be put into place before steps are taken to revoke tenure. Untenured positions can be just as bureaucratically difficult to manage. The perception of long-term security is greater when one has tenure, but there are many nontenured faculty and staff positions that are occupied just as firmly. Because tenured faculty must be paid more than junior members of the profession, the decision to grant tenure has been called the “milliondollar decision,” but long-held staff positions can be equally ensnarled in longevity and financial concerns. For the individual, tenure affords a sure thing, but for the institution wanting to manage its long-term or less-productive personnel, tenure limits its options. Tenure can provide a contractual chokehold that is extremely difficult to overcome. PREPARING MUSIC LIBRARIANS FOR FACULTY STATUS Some accrediting bodies place great emphasis on doctorates held by faculty, so arguments against granting librarians faculty status include disagreement about the appropriate terminal degree required for employment. Other perspectives include the idea that the discipline of librarianship actually prepares one better for the “knowledge universe”: Unlike the dual focus of the library profession, which is both deepening and broadening, the process that leads to the terminal degree in virtually every other discipline is focused on the development of a specialization in a subdiscipline of the field. As an individual moves through this process, the result is mastery of an increasingly fractured part of the knowledge universe and a strong personal identification with that discipline.31

But does the MLS adequately prepare academic librarians to meet the rigors of a tenuretrack faculty position? Nancy Davey and Theodora Andrew raised this concern in 1978: Library schools have done their students a disservice by no longer requiring the master’s thesis and/or research papers. . . . It would be highly advisable for library schools to better prepare their graduates for what is to come in academic positions.32

MLS programs, however, are still geared toward practitioners, whereas SLIS doctoral programs are geared toward those who wish to teach or work as administrators. A 2010 survey shows that SLIS faculty disagree that the MLS degree adequately prepares librarians for faculty status.33 Some library and information science programs may require intensive writing and research for

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the master’s degree, but more do not, and most do not require a thesis, putting graduates at a distinct disadvantage entering the academic work force. Cynthia Tysick and Nancy Babb report that “an analysis of forty-eight ALA-accredited MLS programs in the United States shows that 54 percent require students take a research methods course while only 10 percent require a thesis or project.”34 Many subject specialists, like music librarians, frequently hold two master’s degrees—the MLS/MIS and a master of music (MM). Susannah Cleveland and Mark Puente’s 2009 survey found that 187 of the 301 respondents (62 percent), had a subject master’s degree, usually in musicology or music history. A doctorate was held by 31 individuals, or about 10 percent of respondents.35 Most graduate music programs require completion of a music bibliography or research course in order to comply with accreditation standards. An MM in performance may not require a thesis, but seminars and the history and theory requirements of any graduate program likely results in substantial coursework. An MM in musicology usually means a thesis was written, in which case its quality and contribution to existing literature may be similar if not better than many supporting papers for the doctor of musical arts (DMA) lecture recital. Music faculties, particularly in the area of performance, employ individuals whose highest and only advanced degree may be an MM. These individuals may be responsible for guiding not only master’s theses but DMA documents as well. There are other fields where a master’s is considered an appropriate terminal degree, including art, communication, dance, nursing, social work, and theater. Currently, a doctoral degree is no guarantee of faculty status or tenure. A 2006 survey reported in the Chronicle of Higher Education found that half of 664 doctorate-holding librarians had some kind of professional status. While the other half had faculty status, 37 percent had tenure, but 13 percent did not.36 The PhD requires a minimum of two years of coursework, several years of dissertation writing, and possibly more loans and debt. Given the cost of higher education, the average salary of an academic librarian, and the odds of faculty status, this would seem an unwise pursuit. Additionally, imposing a doctoral-degree requirement on academic librarians would greatly affect subject specialization—would music and art and law librarians need four degrees for faculty status? PROS AND CONS OF FACULTY STATUS Faculty status comes with pros and cons for both librarians and institutions. Some feel it benefits and strengthens the individual, the institution, and the profession, while others think it detracts. John N. DePew’s criticism from 1983 is still regularly echoed today: “Unfortunately, the search for faculty status will . . . confuse those they serve and work with, and demean librarians as professionals in their own right, grasping for something they are not.”37 For music librarians, faculty status acknowledges our education as well as our role within our institutions and the discipline of music: “Music librarianship has been a specialized form of work within the field of music as much as it has been a specialized form of librarianship.”38

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PROS

• Faculty status recognizes the value of the profession and raises standards of performance. • Faculty status conveys certain rights and privileges to academic librarians that are not afforded to those classified in administrative or staff positions. • Faculty librarians’ involvement on university committees and in governance increases visibility that positively impacts curricular development and improves teaching faculty’s impressions of and collaboration with the library. • Faculty status ensures access to fiscal resources and support, such as research funds, faculty development moneys, sabbaticals, and a greater voice in budgetary matters at both the departmental and college or university levels. • Faculty status can favorably affect job satisfaction, morale, turnover, and student retention. Tenured positions have a higher level of institutional commitment that results in less turnover. Some turnover is healthy and desirable, but a high turnover rate and the demands of frequent change can have a demoralizing effect on employees. There are also costs associated with the search and interview process—advertising, travel, lodging—not to mention lost productivity of other staff when an institution is in the hiring and training process.39 • Faculty status can benefit the institution in the areas of diversity and recruitment by increasing the number of female, tenure-track faculty. Cleveland and Puente report that 62 percent of respondents in the 2009 MLA survey were female.40 This percentage approximates Charles Lowry’s twenty-year perspective that found that over 67 percent of academic librarians were female.41 • Faculty librarians are better poised to negotiate for similar status and benefits, even if transitioning into a staff position. Librarians on the tenure track moving to another tenure-track position should negotiate for acceptance of previous service, just as teaching faculty do. • More widespread tenure for librarians increases the number of individuals qualified to review a tenure application. Many institutions require that external reviewers of tenure files be tenured as well. Currently, the relatively small pool of “acceptable” reviewers inhibits fair assessment by one’s peers; for example, tenure is held by only 16 percent of the respondents in the 2009 MLA survey, or about forty-eight individuals. If an institution cannot find a reviewer deemed qualified, someone in another field may end up reviewing and issuing a recommendation on a file. CONS

• Some librarians simply do not want faculty status or tenure, positing that it is counterproductive and interferes with essential duties. They do not want the stress and pressure of meeting the stringent requirements of a tenure-track position, especially if on a twelve-month contract.

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• The rigid requirements of a tenure-track position can be limiting. Research specialization may limit future opportunities and stifle long-term career growth. • Institutionally, tenure-track positions may result in a great practitioner being overlooked as those making ultimate hiring decisions need to consider an applicant’s ability to produce scholarship. • The focus on teaching/librarianship and research can affect a librarian’s ability to manage the library and supervise and train its personnel. If granted leave time for research, uncompensated duties fall to those on site, which can have an adverse effect on employee morale. • Neither faculty status nor tenure guarantees professional advancement. • Denial of tenure can end one’s academic career. TRENDS IN HIGHER EDUCATION PREVIOUS TRENDS

In addition to issuing their “Standards for Faculty Status,” ACRL pledged to “investigate all violations of these standards which are reported by members of the Association of College and Research Libraries” and to invoke sanctions against institutions found to be negligent by publicizing violations in C&RL News, refusing job advertisements in ALA publications, and discouraging members from accepting employment at these institutions.42 ALA did censure Milton College after finding that the termination of librarian Rose Smith violated their policies on faculty status and job security. Their intention and attempt to enforce were both noble and unrealistic.43 In the forty years since, many institutions have conferred faculty status to its librarians, but many have not. Numerous surveys have been conducted that investigate the related topics of institutional practices, tenure criteria, job satisfaction, and adherence to the ACRL standards. Some of these evince trends in higher education that can help inform job seekers at any stage of their career. According to the Carnegie Classification of Institutions of Higher Education, schools fall into categories based on primary focus and highest degree granted: Baccalaureate, Master’s, Doctorate-granting, and Special Focus Institutions, 129 of which are listed in the “Arts” program category. ARL uses a similar classification system: Liberal Arts, Comprehensive, and Research/Doctoral. ARL is composed of 125 North American institutions: seventeen are in Canada, nine are public libraries or independent organizations, and ninety-nine are colleges and universities in the United States. Membership is by invitation only. At the time of invitation, an institution must fall into the Research/Doctoral category.44 Based on the institutional membership data reported in the 2009 MLA personnel survey, about 19 percent of reporting music librarians work in institutions that offer only undergraduate degrees in music, 29 percent at institutions where the highest music degree is a master’s degree, and the largest group, 50 percent, at institutions that grant doctoral degrees in music.45

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In 1989, Betsy Park and Robert Riggs surveyed 304 library directors and found that librarians had faculty status in 41 percent of the sampled four-year institutions.46 An ACRL survey in 2011 reported comparable findings; only 48 percent of librarians at liberal arts colleges grant some kind of faculty status to librarians.47 What seems to be a consistent pattern among four-year institutions is paralleled among Research/Doctoral universities: The higher the tier [in which an institution is ranked in the U.S. News & World Report annual report on America’s colleges], the less likely librarians will have faculty status or rank, the less likely they will be required to undergo a formal review process . . . , the less likely they will have access to research funds . . . , and the less likely they will be eligible to serve on standing or ad hoc faculty committees.48

Further, the best colleges—that is, those in the top tier of the U.S. News and World Report rankings— were almost seven times less likely to afford librarians faculty status and sixteen times less likely to afford faculty rank than those in the bottom tier.49

The U.S. News & World Report top ten rankings for 2012 and the status of those librarians are shown in figure 4. All ten institutions are private, are classified as doctorate-granting research universities, and except for Stanford, are members of ARL. With the exception of MIT and Dartmouth, PhDs in music are awarded at the institutions. Yale is the only member of NASM. All employ at least one professional music librarian. In general, more public institutions grant faculty status to academic librarians than private institutions. The same is true for music librarians. For a good list of institutions and the status of their librarians, see the Academic-LibrarianStatus wiki’s “A Guide to the Professional Status of Academic Librarians in the United States (and Other Places).”50 CURRENT STATE OF THE DEBATE

The topic of faculty status for academic librarians is as contentious today as ever. In the voluminous amount of literature over the past seventy-five years, opposition ranges from ambivalent to hostile: Faculty status should not be considered for positions such as cataloging, acquisitions, or circulation librarians. Although these jobs constitute important work, nothing in them even remotely approximates what one would consider a higher education faculty member.51 Tenure and the paraphernalia of the academic calling have nothing whatsoever to do with the praxis of librarianship. . . . To put it simply, you get less for more as a result of conferring faculty status on professional librarians. I recall a senior administrator’s (perhaps tongue-in-cheek) comment to the effect that his institution granted tenure to librarians because that way they could be paid less. . . . Librarians, along with information systems specialists and sundry other members of the campus community are professional employees whose role is to support, not define or negotiate, the academic mission of the university.52

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Ranking R anking 1. 1. 3. 4. 4. 6. 6. 8. 8. 10.

Institution Institution

Librarians SStatus tatus of Libr arians

Harvard Harvard Univ University ersity Princeton Princeton Univ University ersity Yale Yale Univ University ersity Columbia Columbia University University University University of Chicago MIT Stanford Stanford Univ University ersity Duke Duke University University University University of Pennsylvania Pennsyylvania Dartmouth University Dar tmouth Univ ersity

SStaff taff SStaff taff Staff with rrank ank and pr Staff promotion omotion SStaff taff FFaculty aculty with continuing continuing appointment appointment Administrative staff Administrative Academic staff with continuing continuing appointment Academic appointment Staff with rank rank Staff SStaff taff SStaff taff

Figure 4. Top ten U.S. News & World Report institutions and librarian status.

The latter statement, by a former dean of the School of Library and Information Science at Indiana University, illustrates the powerful influence and capricious potential of leadership. Less frequent are those administrators who have championed faculty status and its corresponding benefits. In 2009, librarians at Wake Forest University became faculty following a two-year study: Library Director Lynn Sutton consulted with the University Senate, Wake Forest College faculty, Dean’s Council, Cabinet, and Academic Committee of the Board of Trustees in the effort to give librarians a share of academic peer governance. Beginning July 1, 2009, librarians will be assigned to one of four library faculty ranks: Assistant Librarian, Associate Librarian, Librarian or Senior Librarian. Provost Jill Tiefenthaler said, ‘Faculty status will help position the library to better meet the University’s strategic priorities.’53

More recently, faculty status for librarians has been under attack as University Librarian Karin Wittenborg of the University of Virginia informed library employees in March 2013 that despite a long history of granting faculty status to librarians, new hires would be classified as staff: “Very few universities offer faculty-level library positions.” 54

ALTERNATIVE MODELS

Faculty status for librarians is in a state of perpetual flux. Numerous solutions have been proposed to reconcile this. Suggested models include: • National standardization/professionalization. Professional position types and uniform tenure criteria for librarians would be standardized nationally, similar to the professorial system of tenure and promotion. • Clinical. Client service is the basis for evaluation similar to clinicians in the medical field who see patients in lieu of teaching:

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Clinicians diagnose and manage medical problems. Academic librarians diagnose and manage information problems. Radiologists and pathologists rarely see a patient, but they analyze, categorize, and offer descriptive information to assist the clinician to serve his or her client. Catalogers and bibliographers do the same. . . . The essential element of the clinical faculty model is client service.55

• Cross/dual appointment. Librarians hold a joint appointment in two departments; for example, a music librarian might hold a dual appointment in the library and the music school or department. • Situational. Status is dependent upon qualifications and experience, and varies among employees; for example, professional librarians and occupational librarians. Status may also depend upon rank—e.g., a library director, emeriti—or special cases, like visiting positions. • Optional or at-will faculty status. Employees elect either professional or faculty status, the latter reserved for those who value the benefits of tenure and opt for the tenure track. The situational and optional-status models create a two-tier system that can be polarizing within an institution and leaves the debate open to future administrative interpretation: The ambiguities of faculty status for librarians can oftentimes lead to conflict among administrators and other faculty. Weaver-Myers provides a case-in-point in her study of the challenge faced by University of Oklahoma librarians in the 1990s. It came about that a dual status was proposed after one particular library faculty member was granted tenure and, another, upon not receiving tenure was offered professional status. This suggested that librarians could successfully perform their duties without faculty status. . . . Ultimately, it was decided that librarians would choose their preferred status, with an even 50/50 split deciding for and against a tenure-track position and subsequent new hires were all appointed to non tenuretrack positions, as required by the provost.56

CONCLUSION The first iteration of ACRL’s “Statement on Faculty Status of College and University Librarians” (1971) was endorsed by many state library groups as well as the Special Libraries Association (1973), the Theatre Library Association (1973), the Association of American Library Schools (1974), the Medical Library Association (1974), and the Music Library Association (1974).57 Forty years later, however, roughly half of all academic librarians have faculty status. Despite ACRL’s continued advocacy, ARL has never expressed a definitive position. To significantly boost acceptance of faculty status for music librarians in particular, action and support need to increase from faculty, administration, and professional organizations. Library school faculties could reevaluate curricula or publicly support faculty status and tenure for practitioners. Across campus, music faculty might consider this issue with greater

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concern for the colleagues with whom they often work in close proximity. Bibliography and research courses are usually offered through the musicology or music history department, and the symbiotic relationship between music librarianship and musicology contributes to strong collegiality with these faculty, in particular. Many music librarians belong to AMS as well as MLA. There is opportunity here for effort from AMS and MLA that parallels the work of ACRL and the AAUP. In 1994, NASM and MLA collaborated on “Local Assessment of Music Libraries and Information Services: The Present and the Future,” but the status of music librarians is not addressed. NASM appears not to have broached the subject. Expenditures for “library staff ” are published in NASM’s annual data summaries, but no other library-specific information is reported. For library personnel, the NASM standard for accreditation is that they be sufficiently qualified.58 Librarians can seek information and assistance from unions or collective bargaining units, although these do not exist at all institutions. The AAUP’s “Statement on Collective Bargaining” encourages faculty to embrace collective bargaining to: a. protect and promote the professional and economic interests of the faculty as a whole in accordance with the established principles of the Association; b. maintain and enhance within the institution structures of representative governance that provide full participation by the faculty in accordance with the established principles of the Association; c. obtain explicit guarantees of academic freedom and tenure in accordance with the principles and stated policies of the Association; and d. create orderly and clearly defined procedures for prompt consideration of problems and grievances of members of the bargaining unit, to which procedures any affected individual or group shall have access.59

The 1997 MLA “Survey of Personnel Characteristics” reported that salaries were higher for the 21 percent of members who were unionized. Similar data was reported in the 2009 survey: “The largest portion of union members, 22%, have a salary in the range of $60,000– $70,000, while nonunion members are situated most solidly in the area of $40,000–$50,000.”60 Vigilance and pursuing resolution is exhausting but perhaps necessary for librarians seeking faculty status. Even those who do not want it are, by association, immersed in and affected by a relentless debate that scrutinizes and dismisses our profession. It may be easier to accept the hand we are dealt, but John Moriarty, former director of libraries at Purdue University, articulated reasons for continuing: We present practitioners must ask for full and unequivocal status for such professors or we will never be able to recruit the quality of people required. . . . There should be no compromise; we should never settle for “with the rank of ” or for “Librarian Grade I” or VI or higher. Twentyfive years in the academic world has taught me that lesson. If you do, then some young and new business manager does not understand, and a librarian rated as Librarian III does not get

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a travel grant reserved for professors. Or a new president comes into office and appoints a campus-wide committee for some key purpose and forgets to name any librarian member. The oversights, the “pin-pricks” brought on by any quasi-status are pointlessly but cruelly demeaning; they sour able people; they make present librarians only halfhearted recruiters of new professionals; or, as in the past, they drive able librarians out of the profession.61

As Moriarty points out, the most challenging impediment to parity between teaching faculty and librarians can be administration. There are real costs associated with a tenure and promotion system, such as higher salaries for tenured faculty, expenses associated with continuous professional development, and release time from work. However, arguments about the cost of granting tenure to librarians should be weighed carefully against other equally contentious practices, such as spousal hires, which is becoming a common and more transparent faculty recruitment tool. In addition to the long-term cost, a spousal hire may be taking the place of more qualified applicants. When analyzing cost benefits of faculty status, administrators should consider the intangible benefits to the institution: the positive impact of a committed and satisfied library faculty permeates student recruitment and retention. The debate will continue until full faculty status becomes routinized. In the years between the original 1972 “Joint Statement on Faculty Status” and the 2012 restatement, faculty status for academic librarians has hovered around 50 percent. On the other hand, the percentage of music librarians, who often have a second advanced degree and are better positioned to meet the stringent requirements of a tenure and promotion system, has lingered around 42 percent. This number is unlikely to change anytime soon. Higher education and the tenure system are under greater siege during periods of economic recession: The National Association of College and University Business Officers (NACUBO), which reports on more than 800 U.S. and Canadian colleges and universities, reported an average loss of 18.7% of endowment funds in institutions in 2009. Meanwhile, 65% of state institutions faced mid-year budget cuts in 2009, with 44% of these in states where governors have planned cuts or no increase in funding in fiscal year 2010.62

The resulting retrenchment will inevitably affect an institution’s libraries as well as its librarians. Teaching faculty may have similar concerns about the future of their profession given the push for online and distance education. How instruction is delivered is changing at a rapid pace as courses and entire programs can be completed online, reaching more students with fewer faculty. Learning environments are expanding across the web through Massive Open Online Courses (MOOCs). The digital age will affect not only traditional classroom education but also tenure and the entire bureaucracy of higher education as demographics shift from local populations to “hybrid terrestrial and virtual communities.”63 The fate of the tenure system—and all of academia—remains to be seen. What is a sure bet, though, is that regardless of status, music librarians will expertly navigate the changing landscape, just as those who have come before us have done.

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In closing, I would like to share some personal comments about faculty status and tenure, having had both and then electing for neither. It may be obvious that I feel our credentials warrant faculty status, but I do not subscribe to the idea that it correlates to prestige or is a measure of worth. Some of the greatest music librarians I know do not have faculty status. Nor do I support the notion that technical service librarians are handicapped or less equipped for faculty status—two of the strongest tenure files I have ever reviewed belonged to music catalogers.

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NOTES 1 Susannah Cleveland and Mark A. Puente, “MLA Survey of Personnel Characteristics, 2009: Report and Statistical Summary,” accessed May 1, 2013, http://www.musiclibraryassoc.org/?page= PersonnelSurvey. 2 Association of College and Research Libraries (ACRL), “Joint Statement on Faculty Status of College and University Librarians” (1972), http://www.ala.org/acrl/standards/jointstatementfaculty. 3 Oxford Music Online, s.v. “Musicology; III. National Traditions of Musicology; 8. The USA,” by Vincent Duckles and Gary Tomlinson, http://www.oxfordmusiconline.com. 4 Robert Bingham Downs, “Academic Status for University Librarians—A New Approach,” College & Research Libraries 7, no. 1 (January 1946): 7, 9. 5 Arthur McAnally, “Status of the University Librarian in the Academic Community,” in Faculty Status for Academic Librarians: A History and Policy Statements (Chicago: American Library Association, 1975), 7. 6 “The GI Bill’s History: Born of Controversy: The GI Bill of Rights,” GI Bill website, last modified February 9, 2012, http://www.gibill.va.gov/benefits/history_timeline. 7 McAnally, “Status of the University Librarian,” 10. 8 R. Dean Galloway, “Status or Stasis: Academic Librarians 10 Years Later,” American Libraries 10, no. 6 (June 1979): 349. 9 ACRL, “Joint Statement.” 10 Shannon Cary, “Faculty Rank, Status, and Tenure for Librarians: Current Trends,” C&RL News 62, no. 5 (May 2001): 511. Cary bases data on ACRL’s 1999 survey, “Trends in Academic Libraries: Faculty Rank, Status, and Tenure for Librarians,” which investigates compliance with the ACRL conditions for faculty status. 11 ACRL, “Standards for Faculty Status for Academic Librarians,” rev. 2011, http://www.ala.org /acrl/standards/standardsfaculty. 12 David Lesniaski, “A Profile of the Music Library Association Membership,” Notes 56, no. 4 (June 2000): 903. 13 David Lesniaski, “Summary of Data from MLA Summary,” accessed August 25, 2013, http:// library.music.indiana.edu/tech_s/mla/person/mladatasummaryfornotes.htm. 14 Cleveland and Puente, “MLA Survey.” 15 Ibid. 16 Janet Krompart and Clara DiFelice, “A Review of Faculty Status Surveys, 1971–1984,” Journal of Academic Librarianship 13, no. 1 (March 1987): 15. 17 Higher Education Arts Data Services (HEADS), “Full-time Music Faculty Salaries,” in Music Data Summaries 2011–2012 (Reston, VA: HEADS, 2012), Music Charts 16-1 and 16-2, [pp. 59–60]. 18 Cleveland and Puente, “MLA Survey.” 19 “Jobs and Careers,” Music Library Association, posted May 29, 2013, http://www.music libraryassoc.org/?page=JobArchives, item no longer available. 20 McAnally, “Status of the University Librarian,” 17. 21 Dale Askey, “The Curious Case of Edwin Mellen Press,” Bibliobrary (blog), September 22, 2010, http://web.archive.org/web/20110630153231/http:/htwkbk.wordpress.com/2010/09/22/thecurious-case-of-edwin-mellen-press.

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Wayne Bivens-Tatum, “Edwin Mellen Press Suing a Librarian?” Academic Librarian (blog), February 6, 2013, http://blogs.princeton.edu/librarian/2013/02/edwin-mellen-press-suing-a-librarian. 23 “McMaster’s Commitment to Academic Freedom,” McMaster Daily News, February 19, 2013, http://dailynews.mcmaster.ca/worth-mentioning/mcmasters-commitment-to-academic-freedom. 24 ACRL, “A Guideline for the Appointment, Promotion and Tenure of Academic Librarians,” June 2010, section III.A., “Tenure (Continuous Appointment),” http://www.ala.org/acrl/standards /promotiontenure#tenure. 25 Raj Madan, Eliese Hetler, and Marilyn Strong, “The Status of Librarians in Four-Year State Colleges and Universities,” College & Research Libraries 29, no. 5 (September 1968): 386. 26 American Association of University Professors (AAUP), “1940 Statement of Principles on Academic Freedom and Tenure,” note 1, accessed August 27, 2013, http://www.aaup.org/report/1940statement-principles-academic-freedom-and-tenure. 27 HEADS, “Part-Time Music Instruction: Adjunct Faculty or Teaching Associates,” in Music Data Summaries, 2011–2012 (Reston, VA: HEADS, 2012), Music Chart 19, [p. 65]. 28 Mark Herring and Michael Gorman, “Do Librarians with Tenure Get More Respect?” American Libraries 34, no. 6 (June–July 2003): 71. 29 Stephen Wiberley Jr., Julie Hurd, and Ann Weller, “Publication Patterns of U.S. Academic Librarians from 1998 to 2002,” College & Research Libraries 67, no. 3 (May 2006): 212. 30 James Wilkinson, “From Transmission to Research: Librarians at the Heart of the Campus,” in Future Teaching Roles for Academic Librarians, ed. Alice Harrison Bahr (Binghamton, NY: Haworth Press, 2000), 25. 31 Torre Meringolo, “Supporting the Institutional Mission: Libraries Lead the Way,” C&RL News 67, no. 9 (October 2006): 545. 32 Nancy Davey and Theodora Andrews, “Implications of Faculty Status for University Librarians, with Special Attention to Tenure,” Journal of Academic Librarianship 4, no. 2 (May 1978): 72, 74. 33 Paul Alan Wyss, “Library School Faculty Member Perceptions Regarding Faculty Status for Academic Librarians,” College & Research Libraries 71, no. 4 (July 2010): 375–89. 34 Cynthia Tysick and Nancy Babb, “Perspectives on . . . Writing Support for Junior Faculty Librarians: A Case Study,” Journal of Academic Librarianship 32, no. 1 (January 2006): 94. 35 Cleveland and Puente, “MLA Survey.” 36 Todd Gilman, “Academic Librarians and Rank,” Chronicle of Higher Education, January 4, 2008, http://chronicle.com/article/Academic-LibrariansRank/45926. 37 John N. DePew, “The ACRL Standards for Faculty Status: Panacea or Placebo,” College & Research Libraries 44, no. 6 (November 1983): 410. 38 J. Bradford Young, “Education for Music Librarianship,” Notes 40, no. 3 (1984): 510. 39 Dee Ann Allison and Eva Sartori, “Professional Staff Turnover in Academic Libraries: A Case Study,” College & Research Libraries 49, no. 2 (March 1988): 141–42. 40 Cleveland and Puente, “MLA Survey.” 41 Charles Lowry, “The Status of Faculty Status for Academic Librarians: A Twenty-year Perspective,” College & Research Libraries 54, no. 2 (March 1993): 166. 42 ACRL, “Standards for Faculty Status for College and Research Librarians,” C&RL News 32, no. 6 (June 1971): 172, quoted in Ruth Hyman and Gail Schlachter, “Academic Status: Who Wants It?” College & Research Libraries 34, no. 6 (November 1973): 472. 22

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Galloway, “Status or Stasis,” 351. “Membership,” Association of Research Libraries, accessed May 2013, http://www.arl.org /membership. 45 Cleveland and Puente, “MLA Survey.” 46 Betsy Park and Robert Riggs, “Status of the Profession: A 1989 National Survey of Tenure and Promotion Policies for Academic Librarians,” College and Research Libraries 52, no. 3 (May 1991): 279. 47 Cary, “Faculty Rank,” 511. 48 Dorita F. Bolger and Erin T. Smith, “Faculty Status and Rank at Liberal Arts Colleges: An Investigation into the Correlation among Faculty Status, Professional Rights and Responsibilities, and Overall Institutional Quality,” College & Research Libraries 67, no. 3 (May 2006): 227. 49 Ibid. 50 “A Guide to the Professional Status of Academic Librarians in the United States (and Other Places),” Academic-Librarian-Status (wiki), accessed May 1, 2013, http://academic-librarian-status.wikispaces.com. 51 Fred Batt, “Faculty Status for Academic Librarians: Justified or Just a Farce?” in Issues in Academic Librarianship, ed. P. Spyers-Duran and T. Mann (Westport, CT: Greenwood Press, 1985): 119. 52 Blaise Cronin, “The Mother of All Myths,” Library Journal 126, no. 3 (February 15, 2001): 144. 53 “ZSR Librarians Attain Library Faculty Status,” Library Gazette (blog), Wake Forest University, April 26, 2009, http://cloud.lib.wfu.edu/blog/gazette/2009/04/26/zsr-librarians-attain-libraryfaculty-status. 54 Julia Horowitz, “Library Employees Protest Changed Title: New Designation for Incoming Employee Provokes Heated Debate,” Cavalier Daily, March 7, 2013, http://www.cavalierdaily.com /article/2013/03/library-enacts-title-changes. 55 Julie J. McGowan and Elizabeth H. Dow, “Faculty Status and Academic Librarianship: Transformation to a Clinical Model,” Journal of Academic Librarianship 21, no. 5 (September 1995): 348, 349. Mark McKnight also posits that “cataloging is public service.” Quoted in Paula Elliot, “A View of the Field: Landscapes and Faces,” in Careers in Music Librarianship II: Traditions and Transitions (Lanham, MD: Scarecrow Press, 2004), 7. 56 Nathan Hosburgh, “Librarian Faculty Status: What Does It Mean in Academia,” Library Philosophy and Practice, paper 572 (December 2011): 4. 57 McAnally, “Status of the University Librarian,” 37–38. 58 National Association of Schools of Music, “NASM Handbook, 2012–2013,” sec. II.G.4, “Standards for Accreditation, Library and Learning Resources (Personnel),” accessed May 1, 2013, http://nasm.arts-accredit.org/index.jsp?page=Standards-Handbook. Annual Data Summaries available from the HEADS Project at http://nasm.arts-accredit.org/index.jsp?page=Statistical%20Information. 59 AAUP, “Statement on Collective Bargaining,” accessed August 25, 2013, http://www.aaup.org /report/statement-collective-bargaining. 60 Cleveland and Puente, “MLA Survey.” 61 John H. Moriarty, “Academic in Deed,” College & Research Libraries 31, no. 1 (January 1970): 17. 62 Kelly Blessinger and Gina Costello, “The Effect of Economic Recession on Institutional Support for Tenure-Track Librarians in ARL Institutions,” Journal of Academic Librarianship 37, no. 4 (July 2011): 308. 43

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Kevin Carey, “Commentary: Embrace the New Academic Freedom: Technology, Not Tenure,” Chronicle of Higher Education, July 29, 2013, http://chronicle.com/article/Embrace-the-New-Freedom/140569. 63

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T

he preponderance of academic librarians in the profession of music librarianship means that we often spend much of our time focused on academia, overlooking the possibilities of music library careers in other environments and missing the opportunities to transition to and from such positions. Public libraries provide employment for many in our profession, as do ensembles, radio stations, nonprofit organizations, and more. There is much overlap between the responsibilities of these positions and those of the academic music librarian, but there are many duties and qualifications unique to these less common libraries. Amy Pawlowski—herself a veteran of a public library, a vendor, an ensemble archive, and even an academic library—outlines for us the many ways into some of these specialized environments and encourages an exploration of these types of positions to increase one’s marketability throughout a career. She combines firsthand accounts of librarians who care for nonacademic collections with pragmatic strategies for helping library professionals find their niche and establish a path that keeps them directed toward their ultimate goals. If a career outside of academia is appealing to you, or if you need to figure out how to break into an area of librarianship that currently seems mysterious, you will find her advice invaluable.

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7 Career Flexibility: Moving between Position and Institution Types AMY PAWLOWSKI While there may be many different types of positions that fall under the umbrella of music librarianship, the field is intrinsically small, and, unfortunately, so are the job opportunities. If you add peripheral library positions (those not necessary dealing with music), your job outlook and career options become broader. The broader field of librarianship, however, is seeing a decline in growth. According to the US Bureau of Labor Statistics, the average growth rate for librarian positions over the next ten years is 7 percent, well below the average growth rate of 15 percent for all occupations.1 In chapter 4, Joe C. Clark outlines different library and library-related positions that offer other options for those having difficulty securing a position in a music library and who need to expand their potential job pool. Considering jobs outside of the field, however, is not limited to those who currently cannot find a position. We are in an age of new models of service and decreased funding, so it is essential that current music librarians and those preparing to enter the field look for new ways to grow their professional experiences—ultimately becoming flexible and prepared for change. CAREER PLANNING ON A BROADER LEVEL The scarcity of music library jobs or the need to remain within a certain geographical area may ultimately require you to take a bigger look at your career plan. Career counselors often employ the Social Cognitive Career Theory (SCCT) to provide “a conceptual framework for understanding how people develop career-related interests, make (and remake) occupational choices, and achieve career success and stability.”2 One tenet of this model, barrier management, can help you prepare or shift your career as desired or needed. It also can help you remain flexible while being focused. Barrier management contains three steps: (1) identifying potential barriers, (2) considering which barriers are most likely to be encountered, and (3) preparing strategies to cope with the most likely ones.3 For me, this tool was most useful when I did find that I wanted to remain in a certain geographical area and work within the music library field. After working on steps 1 and 2, I crafted the following strategies as step 3: 1. While working on my MLIS, focus on electives that will supplement or expand my current skill set.

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2. Identify part-time employment options in my geographic area that relate to music and music librarianship. 3. Explore what the volunteer opportunities are in my geographic area that relate to music and music librarianship. 4. Network within the following areas: music librarianship, overall librarianship, music performance, music pedagogy. 5. Become a member of and be active in professional organizations. 6. If at any point I am unable to find a position within the library field, find a position in a higher-education setting—if possible, within the institution’s music or arts department. If a position in a higher-education setting is unavailable, find a position that would focus on books, reading, or the organization and delivery of materials. Working through the barrier management tool helped me focus and find experience related to the music library field while working outside of the field. I had a plan, and once I actively followed it, I was able to gain employment in myriad settings and fulfill my desire to remain working in music. FINDING EXPERIENCE WHEN NOT WORKING IN THE FIELD There are many different job alternatives that might help you land a job within the music library field, but what if you cannot find any jobs related to library work? You then need to be a bit creative about gaining experience. Once you find yourself in a position that is not within music librarianship, part-time job opportunities or volunteerism can be excellent options to keep your foot in the music library career door. Start by identifying musical organizations in your area and then think about how your skill set may best fit and aid the organization. Local Orchestras, Youth Orchestras, or Bands. Most of these organizations are small and will not have a large enough budget or enough work to justify a full-time ensemble librarian position. In addition, they may need help with program notes or researching for program notes. Independent Local Music Schools. If the school is large enough, odds are they have some sort of music collection, and it may need a music librarian’s touch. They might even have institutional materials that potentially could be organized to create their own small archives. Who best to tackle that project than someone with both a degree (or part of a degree) and interest in the area? Established Archives. More often than not, established archives usually have a backlog of materials to process. Archives in the Cleveland area are a great example. Because of the city’s rich history in all genres of music, I can list at least five different local archives, all of which have music-based or music-related materials. Although processing archival materials

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does require a specific skill set, if your basic skills are well sharpened, an archivist might be willing to have you assist with a project. Local Radio Stations. Most radio stations have a collection of materials and, depending on the size of the station, they may not have a full-time staff member to manage its organization and do research. Remote Freelance Work. If you have a particular talent for writing and researching, there may be opportunities to find work with a variety of organizations that focus on music. Some websites, such as Allmusic.com, occasionally hire freelancers for writing or research assignments. Bear in mind that you will likely not find these types of opportunities while doing a typical job search. Positions like these are usually acquired by those who are proactive and approach the institution in a professional manner. You can also volunteer for an organization for a focused period of time. Andy Leach, director of the Rock and Roll Hall of Fame and Museum’s Library and Archives, was once approached by a librarian from Australia who was interested in music archives. She and Leach agreed to an arrangement where she volunteered full-time for several weeks. This particular librarian was so committed to learning about the field that she flew across the globe and used her vacation time and personal finances to gain valuable experience.4 Last of all, consider teaching music lessons in a music-school environment. The networking in itself is valuable, and it keeps you close to music. Keeping involved in musical activities outside of work is key. It’s much easier to keep abreast of other job opportunities that may arise in your area when you are tapped into the industry. There are opportunities where you make them, and it’s up to you to sell yourself and your skill set to the particular organization for which you are interested in working. Don’t be shy about contacting any organization, and be prepared to explain how you can be an asset. It’s imperative that you impress upon them that you are not just someone who expects that organization to teach you skills but someone who is willing to learn and play a role in the improvement of the organization. JOB CRAFTING Job crafting is a concept that may help you gain experience in an interesting area of work that is not currently within your job description or duties. A concept introduced by Amy Wrzesniewski, job crafting “is a means of describing the ways in which employees utilize opportunities to customize their jobs by actively changing their tasks and interactions with others at work.”5 Job crafting is a process or exercise a person walks through to discover how best to approach their personal situation when they feel as if there is no growth opportunity in their current position, or they feel they have an interest that may work in tandem with their current responsibilities.6

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In regard to music librarianship, you can use job crafting from both within the field and outside of the field not only to increase your job satisfaction but also to help prepare yourself to be more flexible within the job market. For someone working within the field of music librarianship, the job-crafting process will help pinpoint and guide how best to implement tasks that may not be related to music librarianship but that may help better serve the music library where you work. For instance, if you are in a reference-librarian position and have a passion for and knowledge of web design and social media, perhaps you can approach your supervisor as well as those responsible for the library’s website and social media efforts to discuss how your skills might be put to good use. It is important, however, not to encroach on others’ work or insult current staff by offering your expertise in their job area.7 A great way to avoid this scenario would be to outline a project in which you rely on that person’s expertise and assist in the movement of the project. An example would be to approach the person responsible for social media efforts about starting an “Ask the Reference Librarian” project on Facebook or Twitter. With jobs outside the profession, you can use job-crafting tools to pull in aspects of music librarianship within your current position. Again, make sure you focus on a potential project in which your expertise can be valued as a contribution rather than viewed as a threat. For example, a former music librarian who has shifted into a position that manages a library website may not necessarily work with music projects. But because she has a background and interest in music, she could comfortably employ the job-crafting technique to determine a project focused on music that would use her web job’s toolkit and that also requires a knowledge of music. MOVING BETWEEN POSITION TYPES Of all the potential job-shift scenarios facing music librarians, one would think that shifting to a different position within the field would be the easiest. There are many different considerations, however, that one should contemplate before making such a shift. Outlining your personality type and listing which work tasks bring you the most gratification can go a long way when considering a new position. Odds are, you gravitated toward a particular facet of music librarianship while working on your library science degree. You may want to reflect on why at the time you decided to take that career path and consider how you have changed or grown since. For example, if you are currently a music cataloger and the thought of working closely with the public makes you feel uncomfortable, you should probably avoid a move to public service. Although there are still music library positions where job responsibilities are cut and dried, there are some music librarians who have primary responsibilities in one area but also work in another area, and other librarians with hybrid positions where their time and effort are split fairly equally between two or more areas. In both instances, these types of jobs can be considered opportunities to explore tasks typically associated with other positions. It can be a great way to evaluate the direction of your career and keep in touch with the tract of music librarianship that brings you the most career fulfillment. Keeping an open mind to such situations can

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only have a positive outcome and will certainly help keep you flexible when thinking about your next career move. MOVING BETWEEN INSTITUTION TYPES As Misti Shaw points out in chapter 1, a large majority of music library positions are in academic institutions. There are still, however, a fair number of music specialists within larger public libraries—especially those considered large public research libraries. The experience of moving from an academic institution to a public library and vice versa can vary greatly depending on the institution’s size and organizational layout. Michael Dalby, a senior subject librarian in the Fine Arts Department at the Cleveland Public Library, points to the depth of patrons’ musical knowledge and work associated with programming as two major differences between music-library work at an academic library versus a public library. Dalby explains that patrons’ knowledge of music may vary greatly in a public library setting. Someone may come in wanting to know who Bach was and be introduced to some of his work and then the next day someone might ask for help researching the chord structure of a Beethoven symphony. Public librarians also deal with programming (or creating events) to help bring community members in the library. An example of music programming at the Cleveland Public Library is the “Music at Main” chamber music series. Dalby and his department are responsible for finding musicians to perform, creating the event’s program, setting the program’s budget, and everything else that comes along with running a small concert series.8 Programming at this level is not typical of a music library associated with a music school, as the school itself typically takes care of concerts and events. As a librarian expands the scope of his or her career, there may come a time where a shift is made from an academic library to a special library, such as one set in a business or a nonprofit organization. This is more likely a scenario where the position is not within the music field. Yet there are still businesses and nonprofits that employ music librarians, and their work is rather different in nature. Take for example the music publishing field. A music librarian working at a publishing house will not only have different job responsibilities than a music librarian at an academic institution, but will also work in a very different job setting. The cultural differences between working in the private sector and an academic setting are vast. Businesses focus on profit and ultimately expect you to add value to their bottom line.9 This is a very different job environment that may seem stressful to someone at an academic institution who enjoys the flexibility to pursue scholarly research. On the flip side, if you find the pace of academia to be a bit too slow, a shift to this environment may be what ignites your career and empowers you to flourish. A nonprofit environment is closer to an academic setting, and shifting between them is more facile. However, there are still differences that should be considered. Andy Leach came to the position of director of the Library and Archives for the Rock and Roll Hall of Fame and Museum from the Center for Black Music Research at Columbia College Chicago, where he served as librarian and archivist. Even though he was shifting from one archival collection to

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another, he essentially was moving out of academia and into nonprofit, more specifically a museum. One big difference is at a broad level. Funding sources for nonprofits are crucial to the organizations’ existence, and as a result there is an astounding focus on grant writing and donor relations. Archives associated with an academic institution usually have a funding line that is not so heavily dependent on donations and grants alone. In addition, a museum’s organizational structure might be different and may vary from museum to museum, depending on the institution’s size and mission. At the task level, there are many differences between a museum and an archive. As the director of the Library and Archives, Leach does not oversee the three-dimensional artifacts (clothing, instruments, etc.) in the museum’s collection, but it is important that he understand how each department functions. For example, items in museum collections are accessioned, which takes them through a process that includes an intricate description. Archival materials (which are usually documents, photographs, or audiovisual items) are organized and cataloged at a higher level—such as series level or folder level—because the volume of archival materials are intrinsically greater. Materials may move from museum to archive and vice versa, and understanding both cataloging methods is essential. Leach has had a long career in atypical music librarian positions and has been successful because of his careful yet acute approach to his career plan. His advice for attaining flexibility in the career field is to network, attend professional conferences, and publish. More important, he says, is to make sure you get the correct experience on your résumé and focus on being very good at what you do. Leach paraphrased his former professor and mentor, Donald Krummel, by saying, “It might be important what degrees you have, or where you got your degrees, but the most important is what you’ve done and what people say about you—it goes a lot further than you think it might.”10 LEAVING THE FIELD As mentioned earlier, if you feel there are barriers that may be keeping you from fully pursuing the exact music library job you desire, it’s in your best interest to plan accordingly and prepare yourself for the reality of working outside of the field. The earlier you start planning barrier crossing, the less stressful the situation will seem once it is upon you. At any point in your career, you may come across a position outside music librarianship that offers you a new opportunity. For example, if you are working as a reference librarian in a music library, odds are the next step for you (outside of being head of a music library) is heading up a reference department at an institution of higher education. The same situation may apply to someone working as a music cataloger. Advantages in these instances are actually plentiful. Basic librarian skills are basic librarian skills. You have already built a strong foundation within a particular subset of the field; applying those skills to a broader area is not a far stretch.

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It’s important, though, to remain realistic about your skill set and the new position in which you have an interest. Jon Haupt started out his professional career working in music libraries. His most recent music library position was at the Hamon Arts Library at Southern Methodist University, where after four-and-a-half years an interesting job posting for wine librarian at Sonoma County Library caught his attention. Haupt applied for and was offered the position, although he admits he was uncertain he would land the job since it was so different from his current job. After a few months on the job, he concluded that most of his skill set easily transferred. Haupt listed some examples: • basic librarian skills—how to build a collection, research skills, reference interview strategies, and so forth • instruction techniques • subject specialist librarianship—working with a particular subject area • getting to know your user base, figuring out their needs • communication across many lines and with myriad groups • supervisory experience, working with employees and volunteers • reformatting and digitization experience; creating digital collections • writing and editing skills Haupt also recognized that there were some challenges. He said that when you change to such a different topic area, you can “feel like a new librarian again.” When he started out as a librarian, it was in a subject area he had been studying for many years (as is the case for most interested in music librarianship). Since he was so comfortable with the subject, he realized that during those first few years of professional employment, he was mostly honing his basic librarian skills. With his new position he says it is now the opposite: he has the basic librarian skills down and is now focusing on really learning the subject. This, he suggests, can cause a lot of pressure because you want to provide good service, but doing so within a new subject may take a bit longer to accomplish. Haupt gives this advice to someone considering a library position outside of the field: “As always, the broader your interest in and willingness to apply for different types of positions, the narrower your geographic preferences can be, and vice versa—if you want a particular kind of job, you might have to move to a place you aren’t expecting, but if you really want to live in a particular place, you should keep a very open mind about how your skills might apply themselves.” Haupt also points out that in each of his professional positions he found that “everything seems to help with anything else you end up doing, so just keeping an open mind [is key]. If there’s something you’re interested in, run with it.”11 Because music libraries are generally small, those working within the field find that they have a range of responsibilities that extends beyond music reference, collection development,

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music research, or music cataloging. For example, you might find that a staff member is also responsible for maintaining the music library’s website, or creating and curating a locally created database. These outlying responsibilities are great opportunities. Jim Benson’s experience is an example of how a peripheral project eventually led to a new career path. Benson was working at the University of Akron’s Bierce Library (which supports fine and applied arts), first doing copy cataloging for the Guitar Foundation Archives then as a circulation staff member. When he was put in charge of library reserves, copyright clearance for the electronic reserves system was tracked in a Microsoft Access database reaching its capacity. He researched and surveyed his options, then decided to rework the database as a MySQL database. With the help of an information technology staff member, Benson was set up with the tools to create a MySQL database for reserve items. It is important to mention that Benson worked up the idea and proposed it to his supervisor. In turn, his supervisor then gave him the leeway to learn how best to create the database. The project provided him a new skill set that was very marketable, and when he was ready to take the next step in his career, he landed a job at the Cleveland Public Library as a library systems and application specialist, where he worked with the integrated library system and wrote scripts that use its application programming interface. His experience at Cleveland Public Library then led to a job as the systems librarian at Youngstown State University’s Maag Library. Music is still very much a part of Benson’s life. He is a cellist with the Akron Symphony Orchestra, a professional orchestra that performs around fifteen concerts a year. Although he points out that it’s nice keeping his work life separate from his music life, he knows that by staying involved in music, he has an added edge should he decide to try to reenter the job field.12 REENTERING THE JOB FIELD Because those who work in music librarianship have a propensity to be passionate about their career, those who have left the field may find themselves thinking about returning. The circumstances that drive that question may vary. Perhaps the chosen career path was not what they had expected, or maybe they gained some experience that they felt could bring a new dimension to their previous career. A return to the field can be a benefit to both the institution for which you work and to yourself, if it is indeed the right decision for you. Before leaving the field, Phil Ponella was the head of public services at the Sibley Music Library at the Eastman School of Music. This was during the period in the mid-to-late 1990s when technology was quickly becoming increasingly critical to the work of both the music library and the school. As Ponella had taken an interest in technology-related issues for the library, he was asked to take on similar issues for the entire Eastman School. In his new role, he drove the implementation of computer networks and new systems and supervised technicians. This position then led to a leadership role in the University of Rochester’s central information technology (IT) department and took him out of libraries and music for the first time. While working outside of the field, Phil gained a different perspective:

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IT organizations spend a great deal more time on “business” issues and operate more like a business than an academic unit. In both IT organizations I worked in, we had a regular budget allocation for training each year and were expected to attend seminars or training activities. . . . Professional development experiences and my work interacting with deans, directors, provosts and higher level administrators [also] forced me to focus more on the big picture of the University. . . . Music librarians seem to identify themselves with their function. They see themselves as a music reference librarian, or music cataloger, and they believe that the height of their professional worth is in being the best [in that exact position]. [In IT] a great emphasis was placed on how we interacted as team members and behaved as colleagues.

After being out of the field for seven years, Ponella was not really planning to return; he was content with his successful progression within IT and administration. What enticed him to return was a position that presented an opportunity to work in a setting that merged all of his interests—music, IT, and higher education administration. Now the director of the William and Gayle Cook Music Library at Indiana University, Ponella can apply what he has learned to help elevate the music library field and feel more fulfilled in his career while doing so. When working exclusively in IT, he missed being in the musical environment—especially that of a top-notch music school with world-class faculty and talented students. It’s important to evaluate objectively what you’re getting yourself back into and not rush into what may be a rebound. You want to make sure that you feel the work you will be doing is meaningful and is something that you can do with energy and enthusiasm—make the decision for the right reasons. When asked what he learned that improved his work in the field, he mentioned two things: being agile and being able to see the bigger picture. Agility is not a word that is usually associated with music libraries as much as with IT organizations. Working in IT, Ponella found that the environment evolved quickly and he recognized that “technology advances, and so would the needs of the organization and the solutions applied.” And because of the pressure libraries have come under in recent years to change more rapidly, his experience in the rapidly changing technology environment helps him to think more easily about the possibilities and to plan accordingly. The ability to see the bigger picture has also helped Ponella recognize that decisions that come down from the top are usually made after they’ve been well thought out and planned. “Sometimes there is a lot of information that can’t be shared that may explain otherwise baffling decisions. So I always encourage others to look beyond their desk and immediate sphere of responsibility and get out into the community and involved in larger projects. They give perspective that you will never get sitting at your desk focusing on simply being the best cataloger or best reference librarian.” For those considering reentering the filed, Phil suggests thinking about what it is you want to do with your career and consider what makes you happy professionally and personally. Ask yourself if you have had experiences that can be applied in a different way that might make you a better music librarian and consequently a better candidate for a music librarian position. Finally, consider what new skills or perspectives you can bring back to the profession. Do you

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now have unique skills that librarians who have stayed in music librarianship their entire career lack? If so, how can you share those skills by returning to the music library world?13 KEYS TO BEING FLEXIBLE AND SUCCESSFUL Although it’s difficult to predict when and why you may need to move to a different job, it’s not difficult to prepare for such changes. Certainly keeping an open mind and being inventive in your approach to gaining experience and finding work will help build a foundation that will stimulate job flexibility. You should also draw on other resources to use in tandem with your overall flexibility. A second component to the SCCT model mentioned above is to develop a support system. A broad support system can lead to more opportunities and help with career flexibility. Consider the following when building your support. NETWORKING

Andy Leach started networking by identifying five or six people he considered to have his “dream job” and sending them well-crafted and thought-out emails. As it turned out, one of the people who responded with career advice and whom he had subsequently cultivated a relationship with contacted him when she had a job opening because Leach was the first person that she thought of.14 Undeniably, it’s important not just to make the connections but also to maintain and nurture the relationships with your connections. As a member of the Music Library Association (MLA) for many years, Jon Haupt learned that the relationships he built with other members of the association were priceless. Even though he has left the field, he stressed that he will continue to nurture those relationships. You never know when you may need to call upon someone for some insight or for help in making another connection.15 Having a career goal of being a music librarian doesn’t mean that you should network only with other music librarians. Cast a wider net. Consider networking with librarians, musicians, music administrators, college music professors, artists, and business professionals. PROFESSIONAL ORGANIZATION INVOLVEMENT

Networking can seem difficult and unnatural at times. When you join and become active in professional organizations, however, making those connections comes more naturally. Aside from MLA or the American Library Association, try to find other groups (either local or national) that you find interesting or for which you have a special interest. For example, if you have website responsibilities, consider finding a local group that focuses on web topics or the user experience (UX). Or, if you are responsible for archival materials, look for local history groups. In addition to attending meetings, get involved in committees or consider an officer position. This often leads to deeper relationships with members and easily lends itself to cultivating networked relationships.

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PROFESSIONAL DEVELOPMENT

Professional development is defined in the Oxford English Dictionary as “the development of competence or expertise in one’s profession; the process of acquiring the skills needed to improve performance in a job.”16 If you find that you are tasked with nontypical job responsibilities or duties that fall outside your job description, look at them as an opportunity instead of an obstacle. Talk to your supervisor about taking classes to develop those skills. It will no doubt improve your job performance, but it will also bolster your knowledge of a skill that will help you move your career forward. Keep in mind that professional development is not limited to classes or learning a skill. MENTORING AND COUNSELING

There are many benefits to having a mentor to guide and encourage you at any point in your career. Typically, people search for mentors who have chosen a similar career path. There is no rule, however, that you are limited to one mentor, and much can be learned from someone who has had success in a different arena. Having an additional mentor outside music librarianship can expose you to new opportunities you may have not considered.17 Seek the assistance of a career counselor; they do much more than help undergraduates pick a career. They are trained to know an assortment of tools to help you plan your career path. And while they may not be able to give you exact, pointed advice on finding a career in music librarianship, they will be able to help you shape your path and build out a proper barrier management plan that you can then use over the course of your career. FINAL THOUGHTS

If you are fortunate enough to have worked in a music library before pursuing your library degree, focus on electives that will broaden your knowledge as much as possible. An extensive base of knowledge will prepare you be flexible as you move through the early part of your career. Consider your options and zero in on courses that are of interest to you or that may help you if you need to consider a different job path. The courses may expose you to a new interest, open you to an entirely new career path, or enable you to apply new skills in a position at a professional organization or volunteer opportunity outside of your full-time job. You should also consider how you format your résumé when applying for positions outside of the field. Using a résumé fully focused on your music library career will not get you an interview outside of the field. Make sure that your résumé is crafted to match the job for which you are applying. Using the “functional résumé” format that focuses on job achievements rather than job duties will give you the flexibility to describe how you fit the job qualifications for a position that may seem vastly different from your current job.18 If you are coming from an academic library background, you will likely have a curriculum vitae instead of a résumé, so be sure you convert to a résumé and adapt it appropriately for the culture of the position you are seeking.

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Finally, look at job postings that fall within the spectrum of your current position on a regular basis, even if you are not considering a job change. You should always be aware of how your field is changing. Looking at open jobs and assessing their responsibilities and required qualifications will give you a good sense of what, if any, professional development activities you could pursue to be flexible (and therefore more marketable) with your career. NOTES US Department of Labor, Bureau of Labor Statistics, “Librarians,” in Occupational Outlook Handbook, accessed July 2, 2013, http://www.bls.gov/ooh/education-training-and-library/librarians.htm. 2 Spencer G. Niles and JoAnn Harris-Bowlsbey, Career Development Interventions in the 21st Century (Upper Saddle River, NJ: Pearson, 2009), 90. 3 Robert W. Lent, “Career-Life Preparedness: Revisiting Career Planning and Adjustment in the New Workplace,” Career Development Quarterly 61, no. 1 (March 2013): 2–14. 4 Andy Leach, interview by the author, July 8, 2013. 5 Justin M. Berg, Jane E. Dutton, and Amy Wrzeniewski, “What Is Job Crafting and Why Does It Matter?” Ross School of Business, University of Michigan, October 9, 2007, rev. October 1, 2008, http://www.bus.umich.edu/positive/pos-teaching-and-learning/job_crafting-theory_to_practice-aug_08 .pdf. 6 Amy Wrzesniewski, Justin M. Berg, and Jane E. Dutton, “Turn the Job You Have into the Job You Want,” Harvard Business Review 88, no. 6 (June 2010): 114–17. 7 Ibid. 8 Michael Dalby, e-mail message to author, July 18, 2013. 9 Heather Krasna, “Career Transition: From Academia to Industry and Vice Versa,” Wiley Job Network, accessed August 14, 2013, http://www.wileyjobnetwork.com/article/career-transition-fromacademia-to-industry-and-vice-versa. 10 Andy Leach, interview by the author. 11 Jon Haupt, interview by the author, June 30, 2013. 12 Jim Benson, interview by the author, July 17, 2013. 13 Phil Ponella, e-mail message to author, July 18, 2013. 14 Andy Leach, interview by the author. 15 Jon Haupt, interview by the author. 16 Oxford English Dictionary, s.v. “professional development,” accessed June 30, 2013. http:// public.oed.com. 17 Some helpful guidance may be found in Kerry Hannon, “How to Find a Mentor,” Forbes website, October 31, 2011, http://www.forbes.com/sites/kerryhannon/2011/10/31/how-to-find-a-mentor. 18 Ritika Trikha, “3 Reasons You’d Need to Use a Functional Resume,” On Careers (blog), U.S. News & World Report website, September 11, 2012, http://money.usnews.com/money/blogs/outsidevoices-careers/2012/09/11/3-reasons-youd-need-to-use-a-functional-resume. 1

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any music librarians will have the opportunity to move into library administration at some point in their career. Leaving music librarianship behind to tackle institutional strategic issues and work with an entire campus may sound daunting, but the attraction of influencing the bigger picture is quite appealing to some. Factors such as higher pay and learning new skills draw others to library administration. Ned Quist draws on the experiences of four other former music librarians who now serve as library administrators to create a thought-provoking dialogue about the move from a music library specialization to library administration. Having recently made such a move himself, Quist examines whether music librarians make good administrators, and considers some of the attractions of making such a career move.

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8 Upwardly Mobile: Music Librarians Leave the Nest NED QUIST

“Words of wisdom from a friend: When dealing with university administration, never play all your cards at once.” — Tom Scheinfeldt1

During my career as a music librarian, I saw many colleagues leave the profession. Some left librarianship entirely, but to me the most interesting ones were those who stayed in librarianship but either gradually moved into administration or did it rather suddenly, often to remarkably distinguished posts. I suspect like many others I was always rather suspicious of their motives, and like Stephen Wright, wondered if they’d turned to the “dark side,”2 and did they suddenly become political players in academic administration who had to be handled strategically, as Tom Scheinfeldt’s tweet suggests? I am writing this article from the point of view of someone who himself recently left music librarianship to become an associate university librarian in a major research library. My choice to do so was a personal one, yet drawing on my own experience and that of several colleagues who have made similar moves, there are certain common themes in the decision. I have also come to believe that our work as music librarians qualifies us for this type of work, and there are lessons to be learned about how library administrative work is different. In order to enrich what would otherwise be just one person’s view, I have solicited the thoughts of several distinguished colleagues who were willing to share some of their views of music librarianship and library administration: Harriette Hemmasi (Brown University), Michael Keller (Stanford University), Paula Matthews (Boston Athenaeum), and Diane Parr Walker (University of Notre Dame), all of whom were music librarians at some point in their careers. I am most grateful to them for making time in their busy schedules to share with me their reflections on how music librarianship shaped their careers.3 While several similar themes emerged from my four informants’ remarks, I have chosen the theme that I believe to be the most compelling. DO MUSIC LIBRARIANS MAKE GOOD ADMINISTRATORS? I once heard Karin Wittenborg, director of the University of Virginia Libraries, say that in her view music librarians were among the mostly upwardly mobile of all librarians. She was saying this just as Brown had appointed Harriette Hemmasi, a former music librarian, as its new

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director. Wittenborg herself had, only a few years before, appointed Diane Parr Walker, UVa’s music librarian, as one of her senior leadership team. Walker subsequently became the library director at University of Notre Dame. As of this writing, aside from Notre Dame and Brown, Stanford and Syracuse Universities and the Boston Athenaeum also boast former music librarians as their current directors, not to mention the many other senior administrators in libraries, all of whom began their careers in the music library field. Among music librarians, the promotions of many of our own to these prestigious appointments have become mainstream knowledge. It is not by accident that the opening session of the 2013 annual meeting of the Music Library Association (San Jose, California), entitled “View from the Top,” featured two university librarians, Hemmasi and Keller, and the dean of Drexel University’s College of Information Science and Technology, David Fenske, all of whom were music librarians at one time in their careers. So why do music librarians make good administrators or leaders? In the previous edition of Careers in Music Librarianship, Steve Wright suggested that it was the “appreciation of the pivotal role that cataloging plays in the library world.”4 While this notion may be true, I suggest, as do my correspondents, that there is far more to it than cataloging. Michael Keller, formerly a music librarian at both Cornell University and then the University of California, Berkeley, notes the relationship between the multiple media formats that music librarians routinely handle and their relative comfort, historically, with technology: At one point we had eight or nine music librarians working in the Stanford University Libraries, of which only four were in the music library. Music librarians were multimedia, multiformat, multigenre librarians long before there were others who might be so described. And thanks to engagement in OCLC and RLG, most of us were computer literate from the 1970s. The RLG Music Program Committee and the Music OCLC Users Group as well as the plethora of MLA committees gave us practice as collaborators, too. On top of all that, most music librarians were not well understood by colleagues, and frequently we operated in music libraries that were independent physically, almost always in buildings housing music departments. In short, because music librarians had such rich backgrounds in highly relevant aspects of what was then the future and now is the present, we were called upon to assume responsibilities beyond those of our music library assignments.5

Drawing on Keller’s reference to the Research Libraries Group Music Program Committee and the Music OCLC User’s Group, one can point to other cooperative efforts, such as the more recent Borrow Direct Music Group’s success at cooperative collection development in dividing up the world of contemporary composers. Keller’s emphasis on the issues of media can also be illustrated by the urgency felt by many in the music library field for the need to digitize the huge mass of noncommercial analog recording formats in our collections before the playback machinery for cylinders, tapes, discs and wires becomes completely unavailable. This urgency propelled not a few music librarians—myself included—to learn the basics of technology needed to perform these exacting tasks and at least stick our toes into to the burgeoning new field of data curation. For Keller, this perceived need to move into the digital world also pro-

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pelled his move from Yale to Stanford: “The move from Yale to Stanford was made in part to be able to take part in building digital libraries and digital environments in which scholars might work and teach.”6 Paula Matthews, former music librarian at Bates College and then Princeton University, alludes to the experience of the ensemble musician and its relevance to library administrative work: It is certainly true in organizational cultures that the people who do good work are most often asked to do other work, and often outside their fields. I believe that music librarians are unusually blessed with flexible and creative minds, in my experience, are open to trying new things, and are not necessarily risk averse. Perhaps this has something cognitively to do with musical experiences, but I also believe the mode of music making is one of the very best explanations for teamwork and collaboration. I have often used the metaphor of an orchestra or rock band when trying to describe the importance of working together: in an orchestra, there is—when it works—a shared sense of creating, let’s say, the best performance of the Brahms 4th that the group can manage. So, even if everyone thinks the oboe player is crazy . . . or that they play better than the principal in their section or that the conductor is a jerk . . . [they have a] shared desire and vision and want to create something extraordinary, [so] they put all that aside for the good of the performance, the composer, and the audience.7

This is an important point, since rarely are music librarians not also performing musicians or musical scholars. While this ensemble sense may be hard to quantify or define, Keller and Walker also mentioned it as a relevant skill for library leadership. Diane Parr Walker, a former music librarian at the University of Virginia, observes that the independent physical spaces inhabited by music librarians often required practicing a broad range of skills: One factor may be that music librarians often work in or run branch libraries and get to participate in many operational activities that in larger settings are more separated. For example, as a music librarian, I managed a branch budget, did collection development, supervised staff and students, cataloged, developed policies, worked directly with faculty and students, taught, and answered reference questions. At that stage in my career, my colleagues in the main library were typically focused on only one or two of those aspects of librarianship.8

Walker’s observation that managing a branch library gives one exposure to a much broader range of library tasks is a theme that runs through the comments of all four librarians on this issue. How many of our library colleagues in other subject areas have the opportunity to manage a budget, hire and train student assistants, set up a range of policies, catalog, and do some of the everyday librarian tasks of collection development and reference? While it may be arguable that these tasks are not identical to the analogous ones performed in the main library, there are certainly close enough to be relevant and in some cases—notably, cataloging—more difficult. Harriette Hemmasi, formerly music librarian at Rutgers University, points to the opportunities music librarians have to see the broader landscape through their relationships with faculty and students:

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Music librarians are required to view and deal with a comprehensive set of library issues as they relate to academia, including real, live faculty and students. Being called on to see and respond to this broad landscape makes a person more acutely aware of opportunities and also internal strengths and weaknesses that one might not otherwise encounter in a more sheltered, narrowly defined work life.9

Hemmasi’s view, similar to Walker’s, highlights the breadth of experience, but also notes that the experience often results in a deeper and more critical understanding of the larger academic library ecosystem. So, drawing on Keller, Matthews, Walker, and Hemmasi, we might summarize how four library directors who were themselves former music librarians see their music library backgrounds as preparation for administration. Music librarians, as early adopters of media technology, have been well prepared to face the problems of the future. Music librarians as skilled ensemble performers bring with them the ability to overcome personality issues to work effectively as leaders of a team. Music librarians as branch library managers have learned and used a broad range of library skills not often experienced by their nonmusic colleagues. Combining media technology and library tasks, while working closely with faculty and students, prepared music librarians to readily grasp the larger picture. WHAT’S THE ATTRACTION? So, why would anyone leave a job as a music librarian to pursue a different career as a library administrator? What’s the attraction? Why would one leave behind a community of likeminded musicians for an overwhelmingly complex set of cultural practices in the larger institution? Why take on managing numerous and diverse projects and ad hoc committees, hiring people whose expertise you don’t fully understand, and worrying about issues as diverse as signage, unspent acquisition funds, the endless stream of library data surveys, and a pile of annual performance appraisals? I know the most obvious of all the reasons I originally thought of was that once I left the music library, I’d never have to clear a jam in a photocopier again! While there are certainly many more weighty reasons—some of them personal and unique to the individual—there are also many common ones. Money, a bigger playing field, a seat at the table, and the chance to learn something new were all issues I considered in my decision, some of which were common to my respondents. MONEY AND PRESTIGE?

Yes, administrators do get paid more and I’m sure that a number of my colleagues on hearing of my candidacy to become an associate university librarian might well have wondered if I did it for the money. Allow me to disabuse them. Salaries of library administrators, while still nowhere near the levels of managers in corporate America, pay for a lot more than simply showing up and doing your job. They pay for a level of professional commitment that involves work-

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ing outside of the Monday-through-Friday, nine-to-five mindset. It means that you are almost always available to respond by e-mail, phone, or in person to a variety of unpredictable situations: to begin a phone tree at 5:00 a.m. in inclement weather, to handle an incident in the library on a weekend, or to attend numerous library fund-raising or academic events in the evenings. But of more significance to one’s well-being than these (which many music librarians do anyway), it means that finding the solution to a vexing library problem may rattle around in your consciousness at any time of the day or night. In her “exit interview,” conducted before an audience of senior staff at Brown University, I heard Brown University President Ruth Simmons observe that for her, in her career as an administrator, she was being paid to think about solving problems. This level of commitment means that the report the provost so desperately needs may be written in the wee hours or on an early Sunday morning when you aren’t dealing with other daily issues that constantly arrive at your office door. So while the salary and the prestige may certainly be attractive, it comes with expectations that may vary significantly from the type of work culture to which you may be accustomed. You do take your work home with you, both consciously and unconsciously. BIGGER PLAYING FIELD

No matter how large your music library is and how many staff you have, the range of issues you address almost certainly becomes larger and more varied in library administration. In fact, as Keller observes, the higher you get, the less of an administrator you may be: “Frankly, I am not an administrator. Among other roles, I am a leader, an advocate, a pastor, a planner, a negotiator, and a rainmaker. It is true that I sign a few forms now and again, but really I have an administrative staff to take care of those details.”10 You have the opportunity to become acquainted with other university administrators, department chairs, and senior faculty in every discipline. Instead of your horizons being focused on things like the end-user licenses of the recording industry, or the availability for sale of certain rental scores, you find yourself helping to craft and then defend a proposed open-access policy, or monitoring the predictions for price increases by the major e-journal packages, or trying to gauge the effect of Massive Open Online Courses (MOOCs) on future library services. By necessity, the library administrator becomes a player on the university level, looking not only at how the strategic direction of the university effects the library’s decisions, but also at how the university perceives the value of the library among its other academic support systems. A SEAT AT THE TABLE

Perhaps the most attractive part of library administration for me was a “seat at the table,” a chance to speak to and influence larger library issues. It is here where you see the big picture, the total needs of the community for various types of library resources and services and how to balance those needs against the resources you have at hand. As Walker offers, “It is incredibly

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energizing to be in a role that needs to see the bigger picture and try to make sense of where libraries need to be developing for the future and how specialized areas like music fit into the larger arena.”11 NEW KNOWLEDGE

While the basic knowledge of music librarianship goes a long way towards preparing one for a larger role, there is certainly a lot of new information to absorb. You become a generalist with a capital G. Everything is relevant—from state, national, and international politics, to trends in higher education, to the editorials in the student daily newspaper, plus the whole gamut of knowledge and ideas. While the literature of librarianship by no means fades into the background, it is now only one of many sources. A simple RSS feed, some key Twitter feeds, and a few well-chosen e-mail lists can, in these days of an almost infinite supply of networked information, give one a daily “firehose” of trends, significant events, well-written opinion pieces, and strongly argued controversies that all feed the administrator’s internal database of what’s going on and who are the major players.12 SO WHY LEAVE MUSIC LIBRARIANSHIP? There are any number of reasons people leave the music library profession, and when they do, they sometimes leave librarianship as well. I left the music library partially because I had been a music librarian for over thirty years and, having had a taste of the generalities of administration, had decided I liked it. But of greater importance was that it would allow me to continue what I had done in the music library only in a much larger way. Keller put it this way: “I rose to leadership positions from being head of the music libraries at Cornell and Berkeley, also leadership roles, in order to tackle more generic aspects of librarianship and to take on vexing problems.”13 For me, it provided a whole new set of challenges and opportunities: it was a big opportunity to learn something new, to try out some of the things I’d begun to learn about scholarly communications, and to meet a lot of new faculty and administrators with whom I had previously very little in common. It’s still amazing to me how many faculty in all fields are happy to talk about music. In the music library, while I still enjoyed what I was doing, it was a field where I’d perhaps learned all I was interested in learning about. There were new areas to explore. It was time to leave behind many of the things I could do easily and bring my experience in music libraries with me. I began to recognize, significantly, that I was not a music librarian, but rather someone who worked as one, an attitude I certainly did not have twenty years ago. This freed to me to think of myself as someone capable of doing more and at a higher level. I was by no means leaving music behind. To this day I remain a sometimes-performing musician, even if it’s only the “hundreds of miles for tens of dollars” sort. This musical part of my life, with a few rare exceptions, pretty much remained separate from my career as a music librarian from the beginning. Walker, in a similar—although more nostalgic—vein noted,

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I chose music librarianship as a means of ensuring that I could keep engagement with music in my daily life. I managed to do that in one way or another until my current job as a university librarian. Now I don’t have the time, so I now engage with music only as a listener. However, this role is incredibly rewarding, and I’m glad I’ve taken it on. And I remind myself occasionally of the line in Stravinsky’s Soldier’s Tale (as narrated by Sir John Gielgud on an LP that we recently found rereleased on CD): “You cannot add to what you now have what you once had.”14

Keller looks back on his career as a music librarian with pride: “Everything since departing Berkeley’s music library in a way has been an elaboration and improvement of skills established in music librarianship.”15 There are inevitable trade-offs. For Hemmasi, you leave behind the “bond that a music background creates among many of us: being closely connected with faculty and students.”16 Matthews, who as head of a major independent private library is no longer in academe, notes that she misses “the constant presence of young people—eighteen to twentyfive [years old]—who teach you something every day about how the future might look. And not just in terms of technology, but behaviors, attitudes, values habits, ways of living.”17 So if you think you might want to leave the music library to move into the library administration, you may find that you are especially well qualified to make the change, and while you may leave some things behind, the skills you learned as a music librarian and your engagement with music will, in some fashion, stay with you. ACKNOWLEDGEMENTS: My sincere appreciation to the four distinguished and very busy librarians who contributed to this article: Harriette Hemassi: music librarian, Rutgers University (1989–98); associate university librarian for technical and automated services, Rutgers University (1998–2000); executive associate dean of libraries, Indiana University (2000–2005); Joukowsky Family University Librarian, Brown University (2005–). Michael Keller: music librarian, Cornell University (1973–81); music librarian, University of California, Berkeley (1981–85); associate university librarian and director of collection development, Yale University (1986–94); university librarian, Stanford University, (1993–). Paula Matthews: student employee, Oberlin College Library (1968–72); children’s librarian, Iowa City Public Library (1972–74); Openbaremuziekbibliothek, Utrecht (1974–77); Yale Center for British Art (1977–79); Boston Public Library (1979); Columbia University Teachers’s College (1980–83); music and art librarian, Colby College (1983–86); music librarian, associate librarian, and acting college librarian, Bates College (1986–99); music librarian, Princeton University (1999–2008); Stanford Calderwood Director and Librarian of the Boston Athenæum (2008–13).

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Diane Parr Walker: visiting research associate, University of Illinois at Urbana-Champaign (1978–79); music cataloger and reference librarian, SUNY Buffalo (1979–84); music librarian, University of Virginia (1984–97); coordinator for humanities and social sciences branch libraries, University of Virginia (1993–97); associate university librarian for user services, University of Virginia (1997–2003); deputy university librarian, University of Virginia (2003–11); Edward H. Arnold University Librarian University of Notre Dame (2011–). NOTES Tom Scheinfeldt, Twitter post, May 18, 2013, 8:21 p.m., https://twitter.com/foundhistory. H. Stephen Wright, “Music Librarians as Library Administrators: Turning to the Dark Side?” in Careers in Music Librarianship II: Traditions and Transitions, ed. Paula Elliot and Linda Blair (Lanham, MD: Scarecrow Press / Music Library Association, 2004), 91–98. 3 Other former music librarians who are now library directors include Brian Doherty (dean of the library at New College of Florida), Catherine Dixon (library director at St. John’s College in Annapolis, MD), and Marjorie Hassen (college librarian at Bowdoin College in Brunswick, ME). 4 Wright, “Music Librarians,” 96. 5 Michael A. Keller, e-mail message to author, May 10, 2013. 6 Keller, e-mail. 7 Paula Matthews, e-mail message to author, May 9, 2013. 8 Diane Parr Walker, e-mail message to author, May 4, 2013. 9 Harriette Hemmasi, e-mail message to author, April 23, 2013. 10 Keller, e-mail. 11 Walker, e-mail. 12 Among the “feeds” I frequently read are the Chronicle of Higher Education (http://chronicle .com/section/Administration/16/; http://chronicle.com/section/Faculty; also its “Wired Campus” blog [http://chronicle.com/blogs/wiredcampus]); “Scholarly Communications@Duke” (http://blogs .library.duke.edu/scholcomm); “Attempting Elegance” (Jenica Rogers; http://www.attemptingelegance .com); “Gavia Libraria” (http://gavialib.com); and Twitter feeds from Eric Rumsey (@ericrumsey), DPLA (@dpla), Tom Scheinfeldt (@foundhistory), Dan Cohen (@dancohen), Dr. Alex Hope (@DrSustainable), Bethany Nowviskie (@nowviskie), Trevor Munoz (@trevormunoz), and many others. 13 Keller, e-mail. 14 Walker, e-mail. 15 Keller, e-mail. 16 Hemmasi, e-mail. 17 Matthews, e-mail. 1 2

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M

uch information about careers in music libraries focuses on training and education or early career challenges. Even the seasoned professional, however, is faced with adapting to changing cultures, developing agility with evolving technologies, and growing into new responsibilities. Furthermore, as one progresses in one’s career, the possibility of stepping into leadership positions begins to loom, challenging an adept librarian to develop new skill sets that are often not part of the traditional training and experience of a music librarian. Staying current becomes as important to the midcareer librarian as initial training and education are for the entrylevel librarian, but it often requires effort. Holling Smith-Borne and Mark Puente help address this conundrum with their compilation and discussion of avenues and methods for seeking professional development and leadership training opportunities. They highlight a number of opportunities and programs as well as emphasizing, where relevant, the particular appeal of a given approach to the music librarian. Their expertise in guiding peers to grow professionally will help experienced librarians find their feet in the complex middle stages of their careers.

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9 Staying Current: KEEPING SKILLS AND KNOWLEDGE RELEVANT IN A DYNAMIC PROFESSIONAL Landscape HOLLING SMITH-BORNE AND MARK A. PUENTE In a profession where assisting users with their information needs is first and foremost, music librarians recognize the necessity of remaining lifelong learners themselves in order to stay current with new developments in the field of music librarianship and to keep up with the evergrowing amount of available information. As the information needs of users become increasingly complex, music librarians need to be as savvy as the users that they serve. The professional development environment has changed considerably in the last decade, with everincreasing opportunities for staying current in a rapidly changing field. Continuing-education activities can be as diverse as following a Twitter feed to learn about new collections and resources, watching a webinar on a discovery layer, or attending a formal leadership-training course offered through a professional association. Because music librarianship requires a robust skill set, related disciplines can be mined to continue the education of music librarians regardless of where they are in their careers. Unless one is working at a very large institution, a music librarian is required to be a “jack of all trades”; a music librarian must have functional knowledge of all music library operations. Depending on the position, music librarians may need enhanced training in computer programming languages, foreign languages, project management, leadership, grant writing, preservation, social media, emerging technologies, database design and applications, instructional technology, cataloging, collection development, digital exhibits, publishing, and music copyright. In addition, the changing landscape of librarianship and uncertain economic times have created mergers and changes in job descriptions that require music librarians to take on new job responsibilities that are unfamiliar to them or in areas where their current skills are outdated. Continuing-education needs vary depending on where music librarians are in their careers and, to be effective, contain a mixture of formal and informal educational activities. Formal professional-development activities are organized, structured programs that are sponsored by educational or academic institutions and professional associations, whereas informal activities are learning opportunities that are “self-initiated, independently conducted, and integrated into individuals’ daily work.”1 Informal activities typically occur opportunistically and without strict timetables. Many factors affect the level and kinds of continuing-education activities that library, information, and archives professionals can undertake, and include learning style, convenience, and institutional support in the form of release time and financial assistance. Indeed, there is an ever-expanding number of both formal and informal continuing-education activities that a music librarian can elect to participate in, but quantity does not equal quality. 165

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It may be helpful during an institution’s budget-planning process to meet with a library administrator, supervisor, or mentor to create a “continuing-education plan” that includes both formal and informal continuing-education opportunities. In recent years, there has been an explosion of online continuing-education opportunities. A wide array of activities should be considered, such as face-to-face instruction, online courses, web conferencing, seminars, social networking, workshop or conference attendance, and leadership programs. Save space in the plan for last-minute online opportunities that are recommended by colleagues or that feature a speaker that you know to be an expert in the field. An informed supervisor will encourage a “blended learning” model that gives the librarian the opportunity to connect his or her learning objectives and career interests with available continuing-education opportunities that complement the learning style and schedule of the librarian. Even in lean budget times, there are inexpensive and free opportunities that can be pursued until funds are available to take advantage of more costly programs. At some institutions, music librarians may be “on their own” for professional development and continuing education, so maximizing value while minimizing time and expense is critical. A variety of options are available to help librarians stay current in the field of music librarianship. CREDIT AND NONCREDIT COURSES Often library and information science programs at universities will offer library science courses for the non-degree-seeking student. Kent State University, for example, offers online library science courses through their Office of Continuing and Distance Education2 as does the University of Buffalo’s Department of Library and Information Studies, Graduate School of Education.3 Library school curriculums are constantly changing to meet the demands of our profession. Music librarians may wish to take a course on a topic that didn’t exist when they were in library school. While first priority for class enrollment is typically given to matriculating students, MLS holders wishing to update their professional competencies may audit these courses. See the Music Library Association’s “Directory of Library School Offerings in Music Librarianship”4 to find a library school that offers continuing-education programs. For those employed at academic institutions, campus courses can often be audited free of charge or taken at a reduced tuition rate. Courses vary by institution, but librarians may find useful courses in foreign languages, computer programming, management, or music. Several members of the Music Library Association (MLA) offer courses on specific topics that can help build a music librarian’s expertise in a particular area. Alice Carli, conservator at the Sibley Music Library, offers a week-long summer institute on music preservation. The focus of the course is hands-on experience, in both repair techniques and preservation strategies, with particular emphasis on matching preservation decisions to your library’s mission. The institute includes lectures on administration, workflow organization, digitization, and special materials. Visit the Eastman Summer Institute website for more information.5 The best way to find out about these courses is to watch for announcements on MLA’s electronic discussion list, MLA-L.6

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There is a constant stream of new software applications and new versions of software that can make a music librarian’s job more productive and efficient. Often an investment of an hour or two learning these programs or staying current with a product’s enhancements can make one’s job easier in the long term. Individuals or institutions can purchase monthly or annual subscriptions to online software training courses, depending on need and interest. Lynda.com is one such service offering video courses on diverse software programs such as Audacity, Finale, Perl, and Oracle. LearnKey,7 for a fee, provides self-paced online training courses in categories such as “Computer Fundamentals,” “Database Technologies,” “Office Productivity,” and “Leadership & Management.” Two companies specialize in on-demand video tutorials for software products for both individuals and institutions: VTC Computer Software Training8 and Atomic Learning.9 For those music librarians who need a quick answer to a specific software issue or problem, Think Tutorial10 is a free database of simple (typically one page) tutorials. Indeed, there are many software companies that find it advantageous to offer free online training courses for institutions or individuals who are considering or have already purchased their products. Most of these courses include videos, software documentation, and slide presentations to assist with learning their products. Microsoft 11 and Adobe12 are two examples of companies that offer these online learning tools. LEADERSHIP TRAINING PROGRAMS Formal leadership-development programs are another way that music librarians are engaging in professional training to aid in their own advancement as well as to contend better with the changing landscape of the profession. Leadership-training programs are offered by a wide range of entities to include professional library associations on national, regional, or state levels, library consortia, and sometimes institutional or campus efforts. They are quite diverse in their designs, methodologies, and intended audiences. Although many colleges and universities offer formal degree or certificate programs throughout the United States and Canada, many of these may be inaccessible to working music library professionals due to workloads or tuition costs. A cursory investigation reveals many shorter and less expensive options for developing and honing both leadership-development and management skills and techniques, open to almost any music library professional. Leadership-training opportunities that are not aligned with formal degree or certification programs tend to fall into two broad categories with respect to design: the “institute” model— that is, a short-term, immersive experience offered during a contiguous span of a week to ten days—and the “fellowship” model, which may be spread out over a course of twelve to eighteen months, usually with the same class or cohort. The latter methodology will often consist of a series of institutes at regular intervals throughout the fellowship experience. Among leadership-development programs, two of the longest standing are the Association of College and Research Libraries (ACRL) Harvard Leadership Institute for Academic Librarians and the Senior Fellows Program of the University of California, Los Angeles. Offered

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in collaboration with the Harvard University Graduate School of Education, the ACRL Harvard Leadership Institute takes an active-learning approach that bridges theory to practice with extensive use of case studies to foster cohort brainstorming and peer modeling. The program curriculum employs a “transformational” learning experience that analyzes real-life leadership challenges against a theoretical framework to examine decision-making strategies and leadership behavior. The training opportunity has been offered annually since 1997, and its intended audience is senior-level administrators in academic environments who, on a daily basis, must lead organizations through a “rapidly shifting landscape” of fewer resources, changing user expectations, and emerging technologies. Participation in the ACRL Harvard Leadership Institute is by competitive application process with admissions occurring on a “rolling basis.”13 The Senior Fellows Program at the University of California, Los Angeles, is the oldest executive leadership development program in academic librarianship, having been established in 1982 by the (then) Council on Library Resources (CLR). The focus for this program is on the development of existing senior-level leaders in academic and research libraries or those identified as having the potential to lead those types of organizations.14 Participation is open by nomination or competitive application process for this biennial, three-week, residential training opportunity. The fifteen participants selected for each class engage in and are exposed to “lectures, group discussions, guest speakers, case studies, and field trips” during the program. The focus of the curriculum is on topics such as the changing landscape of academia, public policy issues in the digital information age, organizational changes in academic libraries, and the strategic role of special collections in research-intensive organizations.15 Music librarians with aspirations of directing academic and research libraries would find considerable value in the content and, particularly, in the networking opportunities and professional relationships that grow organically out of this immersive experience. Opportunities for informal peer mentoring and networking are often cited as among the most valuable components of the program.16 In addition, the guidance provided by the program director, Beverly Lynch, is considered to be of particular value and something that extends the rewards of the program well beyond the three-week residency training.17 Also targeting current leaders in academic environments, the Leading Change Institute (LCI) is a collaborative project between the Council on Library and Information Resources (CLIR) and EDUCAUSE. Initiated in 2012, the LCI is the successor to the Frye Institute (established in 1999) and employs a unique approach to leadership development by training chief information officers or other information technology professionals along with higher education administrators and library leaders. Guidelines for this annual program suggest that applicants have a minimum of seven years of experience in a higher education environment to be considered for participation. Music librarians, in particular, could gain valuable insight into the major strategic priorities of institutions of higher education and the attributes that render leaders effective in the current dynamic, often ambiguous landscape of academe. Participants of the LCI are exposed to leaders of higher-education associations, campus administrators, foundation execu-

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tives, and other thought leaders. Participants engage in lectures, breakout sessions, and other collaborative exercises where they apply newly acquired skills and knowledge to develop solutions to challenges in the modern information environment. The LCI also employs a cohort mentor model where participants take advantage of informal mentor opportunities from past LCI (Frye Institute) participants as well as leaders and members from CLIR and EDUCAUSE.18 For new or aspiring middle managers in music libraries, the Triangle Research Library Network (TRLN) has offered a management training institute irregularly since 2007. Although, approximately 50 percent of the program participants are library staff from the TRLN—Duke University, North Carolina Central University, North Carolina State University, and the University of North Carolina—the program accepts applications and enrolls practitioners from throughout the United States and Canada. The program is marketed as an “experiential learning” opportunity with a particular focus on resource management in an academic library context. The TRLN Management Academy uses an institute model (in-person, five-day event) and the curriculum includes discussions on topics such as organizational change, resource planning and allocation, and explorations of management strengths.19 Where the focus for many leadership development programs is on cultivating senior-level management and leadership, the TRLN Management Academy is focused on “business functions and roles” in light of increasingly digital resources and research outputs.20 Faculty for the TRLN Management Academy include numerous Research Triangle academics (instructional faculty) who are experts in topics such as organizational and change management. Also serving as faculty are program consultants and the deans and directors of the TRLN libraries. The TRLN Management Academy provides a unique opportunity for music librarians to develop resource-management (to include human resources) and change-management skills. The Association of Research Libraries (ARL) offers several leadership-development programs suitable for library and information professionals across the continuum—from master of library and information science (MLIS) students to high-level administrators in research and academic libraries and archives organizations. Students in ARL’s numerous diversity recruitment programs attend a three-day leadership symposium during their scholarship year. The event is held during the midwinter meeting of the American Library Association (ALA). The program curriculum is focused on the major strategic areas of ARL, as well as on self-identity and strategies for securing professional positions in academic and research environments.21 A number of music library professionals have also taken advantage of midcareer training offered through one of ARL’s diversity programs, the Leadership and Career Development Program (LCDP), ARL’s longest standing program. The curriculum has evolved a great deal over the past sixteen years and seven iterations. An eighteen-month fellowship program, the current design includes explorations of effective leadership behaviors (facilitated mainly through a 360° assessment) and discussions on emotional intelligence, change management, power and influence, and many other topics.22 This approach is perhaps the most comprehensive, since in

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addition to several in-person learning experiences, the ARL LCDP also includes a careercoaching component and an expectation that the fellows will complete a research project during the course of the program. At the upper end of the spectrum is ARL’s Research Libraries Leadership Fellows (RLLF) program, an executive leadership-development program that addresses the need to develop senior-level library professionals. The recruitment focus here is on associate or assistant library deans, directors, or university librarians of large, complex research organizations. This eighteenmonth, multi-dimensional program focuses on curriculum related to CEO level of engagement— that is, strategic priorities of higher education and the political as well as functional responsibilities of library directors. RLLF participants are exposed to topics such as fundraising and development, workplace climate, transformational change, technology in higher education, institutional and external collaborations, and many others.23 Program faculty include sitting ARL directors, campus provosts, CIOs, and similarly positioned administrators in higher education. Much like the LCI of EDUCAUSE and CLIR, ARL RLLF participants also engage in discussions with heads of higher-education associations, foundation executives, and other thought leaders. Fellows are also encouraged to explore individual leadership strengths and target areas for improvement. These issues are explored, largely, through a formal assessment process that is complemented by individual, personalized career coaching provided by program consultants. Last of all, ALA is offering one of the newest initiatives for leadership training, with its inaugural offering having launched in August of 2013. Open to all professional categories of the library and information science profession, the ALA Leadership Institute: Leading to the Future offers a four-day, intensive immersion into leadership theory and practical management techniques. Admission into the program is by competitive application process, and, for the initial offering, forty participants were selected. The program is fairly unique in that it is geared toward midcareer librarians, who, “ready for the next step toward effective leadership will be selected based on demonstrated leadership potential, professional achievement, and community or campus involvement.”24 While no formal data exist to track the extent to which music librarians are transitioning into leadership positions in academic and research libraries, perusing alumni lists of many of these programs (when available) provides evidence of some level of participation by music library personnel. This cursory review only touches on a small percentage of opportunities that exist to develop leadership and management skills. Many other organizations, such as state library associations and consortia, also offer training to various audiences utilizing diverse methodologies. As with many resources, comprehensive published lists of these programs are often out of date as quickly as they go to press.25 Although many music librarians may have local or campus resources at their disposal, few of those opportunities address issues and priorities that are specific to library and information environments. Seeking out developmental opportunities that were designed to address leadership and management issues specifically within those contexts can be particularly helpful to music librarians who are part of a complex information ecosystem.

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MASSIVE OPEN ONLINE COURSES Massive open online courses (MOOCs) are offered by a variety of universities, including large research institutions, through a learning management system (LMS) such as Coursera and Udacity. These classes are open access and free, attracting thousands of students from all over the world. In addition to video lectures and assignments, MOOCs provide interactive user forums that build networks for the students, professors, and teaching assistants who are participating. Typically these courses do not offer academic credit, although this may change in the future. Coursera is a popular LMS offering classes music librarians may find useful in categories such as “Information, Tech, and Design,” “Metadata,” and “Music, Film, and Audio.” Udacity offers computer science courses, such as web development and programming languages. Course offerings are always changing and expanding in this rapidly growing field. LIBRARY CONSORTIA Regional library consortia offer a variety of educational opportunities for music librarians and library staff, often in the form of online workshops or self-paced courses. Lyrasis,26 a nonprofit membership organization, offers several “training tracks” including Cataloging and Technical Services, Disaster Prevention and Response, eResources, and Social Networking. Amigos Library Services27 is another consortium with a robust continuing-education program offering workshops, such as Cataloging with RDA, PHP Basics, and JavaScript Basics. PROFESSIONAL ASSOCIATION CONFERENCES AND PRECONFERENCE WORKSHOPS Music librarians find that membership in professional organizations and attending annual and regional conferences are crucial for their professional development and provide endless benefits. Networking with other music librarians to lend support and discuss common issues is essential to the development of a music librarian. Connecting with other music librarians is one of the best ways to find out more about music librarianship, learn about emerging technologies and products, or develop ways to troubleshoot problems. In addition to membership in MLA, the International Association of Music Libraries, Archives and Documentation Centres (IAML), or the Music OCLC Users Group (MOUG), music librarians can benefit from joining organizations such as the American Musicological Society, ALA, Public Library Association (PLA), Art Libraries Society of North America, Association for Recorded Sound Collections, Society for American Music, Online Audiovisual Catalogers, International Federation of Library Associations and Institutions, Special Libraries Association (SLA), and LOEX. Members in these organizations have access to in-person instructional opportunities (such as preconference workshops), e-mail lists, subscriptions to journals and newsletters, membership directories, and many networking opportunities with people who are engaged in the fields of librarianship and related disciplines. Attending conferences organized by these associations is

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important for sharing information on “hot topics,” solving problems that are commonly faced by members, and providing professional support. MLA has held preconference workshops on diverse topics, such as RDA training for music catalogers, music digitization, and information literacy. Don’t forget that many of the conferences that you cannot attend in person may offer live streaming of presentations during the conference and make handouts, slides, and recordings available on their websites after. SLA offers continuing-education opportunities for members through a portal, CLICK U (Continuous Learning to Improve Career Knowledge), that contains archived webinars (some have fees), podcasts, and discounts for library science courses and online degree programs through their partner universities.28 In 2008, the Education Committee of MLA, in conjunction with MOUG, created the Educational Outreach Program (EOP) to teach music librarianship skills to nonmusic specialists, support staff, and library students. The EOP began with three workshops—on music collection development/acquisitions, sound recordings cataloging, and music reference—and now also includes video recordings cataloging and music scores cataloging. While primarily targeted to nonmusic specialists, the workshops can also be of benefit to practicing music librarians wishing to improve and update their skills. EOP workshops are offered in conjunction with MLA chapter meetings, meetings of other library associations, or as stand-alone sessions, and will soon be offered as webinars. Upcoming workshops are listed on the “Education and Employment” section of MLA’s website.29 WEBINARS AND WEBCASTS There is a plethora of webinars focused on library topics. Selecting high-quality webinars can be a daunting task, as anyone who has signed up and paid for a less-than-helpful webinar can attest. Investigate the presenter’s credentials carefully and ask colleagues for recommendations before paying for pricey webinars that may not address the learning objectives as advertised. OCLC’s WebJunction30 maintains a list of upcoming library webinars, hosts free live training events, and provides free access to archived webinars. Webjunction offers over three hundred fifty self-paced online courses on a wide range of topics. Archived webinar topics range from assisting patrons with mobile devices to incubating leadership in your library. Online courses include Microsoft Office products, library management, web development, and emerging technologies. These courses are available for free to librarians and library staff who are members of one of the eighteen state library associations that sponsor these courses. A music librarian’s institution may already belong to associations and organizations, such as ACRL or PLA, that offer both fee-based and free webinars and other online learning opportunities. Stay abreast of the memberships that your library holds in these organizations and check for professional-development opportunities on their websites. Venders frequently offer complimentary informational webinars (both live and prerecorded) for libraries who subscribe— or are considering subscribing—to their products. It may be of benefit to attend these webinars with colleagues from your institution and engage in conversations about the merits of the products that are offered. Duraspace,31 the organization that offers open-source repository products

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such as Fedora and DSpace, hosts a series of digital preservation webinars that are both high quality and free, including the recent “Managing and Preserving Audio and Video in Your Digital Repository.” Institutions such as the Library of Congress and Smithsonian Libraries also provide free webcasts that can help a music librarian maintain awareness of collections that can be helpful to music library users. Online video sites like YouTube and Vimeo offer channels, or collections of videos, posted by individuals and organizations such as the Library of Congress,32 the New York Public Library,33 and ALA.34 The Library of Congress YouTube channel, in addition to highlighting their collections, offers book author presentations, musical performances, and National Book Festival proceedings. The New York Public Library channel offers a wide variety of topics from author presentations to guest speakers on the future of libraries. ALA’s channel includes author interviews, conference proceedings, and presentations by celebrities on the importance of libraries. SOCIAL MEDIA Listening to podcasts, reading and contributing to blogs, and joining social networks may help a music librarian stay abreast of current trends and “hot topics” in the field of librarianship. InfoPeople35 offers blogs, podcasts, and webinars (including free archived webinars) that are focused on trends and current issues faced by librarians. Started as the training arm of the California State Library, InfoPeople provides a quick and easy way to find blogs of interest to librarians arranged by categories such as “Keeping Up,” “Interesting Libraries,” and “Leadership.” PODCASTS

Podcasts are a convenient way to absorb information while doing tasks that don’t require one’s complete concentration. Flapcast.com, though not focused specifically on librarianship, is an application that keeps your preferred podcasts in the cloud so you can listen from any computer. National Public Radio podcasts and a number of technology-related podcasts can be found at Flapcast.com. BLOGS

There is an endless number of blogs on library topics, so it may be helpful to start with a search engine like Technorati that focuses solely on blogs. It is imperative to find well-focused blogs by reputable authors on topics that are relevant to one’s job responsibilities. “Librariansblog”36 is a good place to find quality blogs on library topics. Music librarians may find particularly helpful blogs that focus on technology, gadgets, and integrating technology into learning, such as “Nspired2”37 by the Kaneb Center at the University of Notre Dame, or “Educational Technology,”38 edited by Ray Schroeder at the University of Illinois at Springfield. Also helpful to those engaged with information literacy is Sheila Webber’s “Information Literacy Weblog.”39 Most vendors who offer products intended for libraries maintain a blog to keep their users

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informed about new enhancements to their products. Naxos offers “The Naxos Blog,”40 Alexander Street Press offers “Word on the Street,”41 RILM offers “Bibliolore: The RILM Blog,”42 and AudioVisual Preservation Solutions maintains a blog on preservation topics.43 Twitter is a good source for up-to-the-minute news about events, product updates, and new resources. Search for organizations, libraries, individuals, and vendors to “follow,” such as @CILIPInfo (Chartered Institute of Library and Information Professionals), @SLAhq (Special Libraries Association), @ALALibrary (American Library Association), @IFLA (International Federation of Associations and Institutions), @loex_library (educational clearinghouse for library instruction and information literacy information), #infolit (information literacy topic), #cataloging (cataloging topic), @Folkways (Smithsonian Folkways), or @yalemusiclib (Yale University Music Library). Conference attendees will often “live tweet” meetings; following these discussions can be a good way to stay connected even when attendance isn’t possible. Many people and organizations connect their blogs, Facebook posts, and Twitter accounts, so following any one service will provide links to the others. An RSS feed reader can be a useful tool in keeping up with blog subscriptions. Readers such as Feedly44 and Reeder45 run in a browser or on a mobile device, update automatically when new posts are added, and enable posts to be organized by date, tags, and folders. SOCIAL NETWORKS

Many music librarians belong to social networks where they create, share, and exchange ideas on library topics. With their emphasis on interactivity and community building, these networks can provide opportunities to poll one’s peers on how they solved a particular problem in their library or simply serve as a bank of ideas on how to meet the needs of music library users. Facebook46 and LinkedIn47 both contain groups of music librarians. ELECTRONIC DISCUSSION LISTS

Although electronic discussion lists have been around for a very long time, they can still be a useful resource. Lists that have a long history of active membership also have archives filled with many years’ worth of good advice and information. Because discussion lists are often focused on a very specific subject, they are a good way to network with peers, to learn about educational opportunities, and to gain recommendations and reviews of speakers and resources. Lists of discussion lists can be found on many organization websites; some lists of interest include MLA-L,48 for music librarians; AUTOCAT,49 for discussions of cataloging and authority control; and PUBLIB,50 for public libraries and librarianship. READING PROFESSIONAL LITERATURE There is no substitute for reading professional literature in the field of music librarianship. Important titles include MLA’s Basic Manual Series, Technical Reports, and journal Notes, as

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well as the journal of IAML, Fontes Artis Musicae. In addition to these and other journals on music librarianship (such as Music Reference Services Quarterly and Music Cataloging Bulletin) those focused on other relevant subjects (such as Library Hi Tech News, Library Administration & Management, Public Libraries, Library Journal, Choice, or Computers in Libraries) may prove useful, depending on one’s position responsibilities (see Appendix A for more suggestions). There is a very large number of journals, newsletters, bulletins, and newspapers that are helpful to music librarians as they increase their range of knowledge in the fields of musicology, technology, leadership, preservation, and every other area of relevance to a career in music librarianship. CONCLUSION Technology and media have changed the environment for continuing education for music librarians. Formal professional-development opportunities remain important and should not be devalued because of time and financial constraints. Adding to the blend of continuing-education opportunities are self-directed online activities, such as reading blogs, engaging in social networking, and attending webinars and online courses. Online continuing-education demands patience and a commitment of time to participate fully in order to learn a new skill effectively or create a community of best practices. There is a significant and growing variety of professional development activities that can cater to the learning styles and education needs of music librarians. The scope and variety of these opportunities can quickly become overwhelming. We must practice what we preach to our library users and make use of our skills in information evaluation and management as we seek out the highest-quality educational opportunities to assist us in staying current in our profession.

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APPENDIX A: RECOMMENDED JOURNALS FOR CONTINUING EDUCATION In addition to the core journals in music librarianship, the following journals are recommended to stay current in specific areas of librarianship. This list is not intended to be comprehensive; it offers only recommendations of good starting points for further exploration of professional journal titles. ACADEMIC LIBRARIES

College & Research Libraries (American Library Association), peer reviewed Journal of Academic Librarianship (Elsevier), peer reviewed Portal: Libraries and the Academy (Johns Hopkins University Press), peer reviewed ARCHIVES AND PRESERVATION

American Archivist (Society of American Archivists), peer reviewed Archival Science (Springer), peer reviewed Association for Recorded Sound Collections Journal (ARSC), peer reviewed Journal of the Society of Archivists (Taylor & Francis), peer reviewed COLLECTIONS, ACQUISITIONS

Collection Management (Taylor & Francis), peer reviewed Journal of Electronic Resources Librarianship (Taylor & Francis), peer reviewed Library Collections, Acquisitions, and Technical Services (Elsevier), peer reviewed INFORMATION TECHNOLOGY

Computers in Libraries (Information Today), not peer reviewed D-Lib Magazine (Corporation for National Research Initiatives), not peer reviewed Information Technology and Libraries (American Library Association), peer reviewed Journal of Digital Information (JoDI) (University of Texas Libraries), open access, peer reviewed Library Hi Tech News (Emerald) Webology (Regional Information Center for Science and Technology), open access, peer reviewed INSTRUCTION, EDUCATION

Communications in Information Literacy, open access, peer reviewed Journal of Information Literacy (Chartered Institute of Library and Information Professionals), open access, peer reviewed

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LEADERSHIP AND MANAGEMENT

Journal of Library Administration (Taylor & Francis), peer reviewed Library Leadership and Management (American Library Association), mix of peer-reviewed and editor-reviewed articles Library Management (Emerald), peer reviewed PUBLIC LIBRARIES

Library Journal (Media Source), not peer reviewed Public Libraries (American Library Association), not peer reviewed Public Library Quarterly (Taylor & Francis), peer reviewed REFERENCE

Internet Reference Services Quarterly (Taylor & Francis), peer reviewed Reference and User Services Quarterly (American Library Association), peer reviewed Reference Services Review (Emerald), peer reviewed TECHNICAL SERVICES

Journal of Internet Cataloging (Taylor & Francis), peer reviewed Library Resources & Technical Services (LRTS) (American Library Association), peer reviewed Technical Services Quarterly (Taylor & Francis), peer reviewed TRENDS

The Annual Review of Information Science and Technology (ARIST) (American Society for Information Science), peer reviewed Information Science & Technology (Information Today), peer reviewed Charleston Advisor (Charleston Company), peer reviewed Information Today (Information Today), not peer reviewed Library Trends (Johns Hopkins University Press), peer reviewed New Library World (Emerald), peer reviewed

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NOTES 1 Jana Varlejs, “Librarians’ Self-Directed Continuing Professional Learning” (PhD diss., University of Wisconsin–Madison, 1996), 2. 2 “Office of Continuing and Distance Education,” Kent State University, last modified July 23, 2013, http://www.kent.edu/cde. 3 “Online Non-Matriculated Courses,” University of Buffalo, Graduate School of Education, accessed August 24, 2013, http://gse.buffalo.edu/lis. 4 Lisa Shiota, comp., “Directory of Library School Offerings in Music Librarianship,” 10th ed. (November 2013), http://www.musiclibraryassoc.org/?page=LibSchoolDirectoryI. 5 “Programs for College Students, Teachers & Professionals,” Eastman School of Music, accessed August 24, 2013, http://www.esm.rochester.edu/courses/age/adult. 6 “MLA-L: The Music Library Association Mailing List,” accessed August 24, 2013, http://www .musiclibraryassoc.org/?page=mlal. 7 LearnKey website, accessed August 24, 2013, http://www.learnkey.com. 8 Virtual Training Company website, accessed August 24, 2013, http://www.vtc.com. 9 Atomic Learning website, accessed August 24, 2013, http://www.atomiclearning.com. 10 “Think,” Prestance Group, accessed August 24, 2013, http://thinktutorial.com. 11 “Office,” Microsoft, accessed August 24, 2013, http://office.microsoft.com/en-us/trainingFX101782702.aspx. 12 “Adobe Help and Support,” Adobe Systems Inc., accessed August 24, 2013, http://helpx.adobe .com/support.html?promoid=KAWQK. 13 “Leadership Institute for Academic Librarians,” Harvard Graduate School of Education, accessed April 27, 2013, http://www.gse.harvard.edu/ppe/programs/higher-education/portfolio/leadershipacademic-librarians.html. 14 “Senior Fellows at UCLA,” University of California, Los Angeles, School of Information Studies, accessed June 8, 2013, http://is.gseis.ucla.edu/events/seniorfellows. 15 Juliet Rumble and Bonnie MacEwan, “The UCLA Senior Fellows Program,” Journal of Business & Finance Librarianship 13, no. 3 (2008): 271. 16 Ibid., 275. 17 Ibid., 284. 18 George F. Claffery Jr., “Frye Leadership Institute 2.0: Educating, Incubating, and Innovating Change,” EDUCAUSE Review 46, no. 6 (November/December 2011): 10–11, http://www.educause.edu /ero/article/frye-leadership-institute-20-educating-incubating-and-innovating-change. 19 “TRLN United: One Collection, One Community, 2010–2013 Initiatives,” Triangle Research Libraries Network, accessed August 24, 2013, http://www.trln.org/planning.htm. See under “Infrastructure Enhancements.” 20 Ibid. 21 “ARL Annual Leadership Symposium,” Association of Research Libraries, accessed April 27, 2013, http://www.arl.org/leadership-recruitment/arl-annual-leadership-symposium. 22 “Leadership and Career Development Program (LCDP),” Association of Research Libraries, accessed April 27, 2013, http://www.arl.org/leadership-recruitment/leadership-development/leadershipcareer-development-program.

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“ARL Leadership Fellows Program,” Association of Research Libraries, accessed April 27, 2013, http://www.arl.org/leadership-recruitment/leadership-development/research-library-leadership-fellowsprogram. 24 “Transforming Libraries,” American Library Association, accessed April 26, 2013, http://www .ala.org/transforminglibraries/ala-leadership-institute. 25 The American Library Association maintains a relatively up-to-date list on its website: http://www.ala.org/offices/hrdr/abouthrdr/hrdrliaisoncomm/otld/leadershiptraining. 26 Lyrasis website, accessed August 24, 2013, http://www.lyrasis.org. 27 Amigos Library Services website, accessed August 24, 2013, http://www.amigos.org. 28 “Professional Development and Learning with Click University,” Special Libraries Association, accessed August 24, 2013, http://www.sla.org/learn. 29 Music Library Association website, accessed August 24, 2013, http://www.musiclibraryassoc.org. 30 OCLC WebJunction website, accessed August 24, 2013, http://www.webjunction.org. 31 “Web Seminars,” DuraSpace, accessed August 24, 2013, http://www.duraspace.org /web_seminars. 32 “Library of Congress,” YouTube channel, accessed August 24, 2013, http://www.youtube.com /user/LibraryOfCongress. 33 “New York Public Library,” YouTube channel, accessed August 24, 2013, http://www.youtube .com/user/NewYorkPublicLibrary. 34 “American Library Association,” YouTube channel, accessed August 24, 2013, http://www .youtube.com/user/AmLibraryAssociation. 35 Infopeople, accessed August 24, 2013, http://www.infopeople.org. 36 “Librarian Blogs,” BlogNation, accessed August 24, 2013, http://www.librarianblogs.org. 37 NspireD2 (blog), Kaneb Center, University of Notre Dame, last modified August 21, 2013, http:// ltlatnd.wordpress.com. 38 Ray Schroeder, Educational Technology (blog), last modified August 25, 2013, http://people .uis.edu/rschr1/et. 39 Sheila Webber, Information Literacy Weblog, last modified August 23, 2013, http://informationliteracy.blogspot.com. 40 The Naxos Blog, last modified August 23, 2013, http://blog.naxos.com. 41 Word on the Street (blog), Alexander Street Press, last modified April 16, 2012, http://alexanderstreet.typepad.com. 42 Bibliolore: The RILM Blog, accessed August 24, 2013, http://bibliolore.org. 43 Blog, Audiovisual Preservation Solutions, last modified August 9, 2013, http://www.avpreserve .com/avpsresources/blog. 44 Feedly, accessed August 24, 2013, http://www.feedly.com. 45 Reeder, last modified April 1, 2013, http://reederapp.com. 46 Facebook, accessed August 24, 2013, http://www. facebook.com. 47 LinkedIn, accessed August 24, 2013, http://www.linkedin.com. 48 “MLA-L: The Music Library Association Mailing List,” accessed August 24, 2013, http://www .musiclibraryassoc.org/?page=mlal. 23

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“Subscribe or Unsubscribe to the AUTOCAT List,” accessed August 24, 2013, http://listserv .syr.edu/scripts/wa.exe?SUBED1=AUTOCAT&A=1. 50 “PubLib,” OCLC WebJunction, last modified March 21, 2013, http://www.webjunction.org /documents/webjunction/PubLib_Overview.html. 49

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ervice is an important part of the library world, and connecting with the “right” professional organizations is crucial for success in that sphere. Employers generally encourage professional membership, and through conference attendance and committee service one is able to gain further knowledge of the profession and its practices. Developing personal and professional networks within organizations is a tremendous asset for music librarians and allows one to reach out to others for advice, support, and friendship. Ruthann McTyre offers a thorough overview of the professional associations specific to music librarianship, as well as non–music-related library associations and music associations. She examines histories, recent activities, publications, and service opportunities, providing the new professional or seasoned librarian looking to branch out a holistic perspective of the environment. Additionally, she provides a number of ideas on how to engage in a professional organization.

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10 Professional Organizations and societies for music librarians RUTHANN BOLES MCTYRE Look at any job vacancy notice for a music librarian position and you are likely to see phrases like “participates in appropriate professional associations” or “active participation in professional associations.” It is an expectation for most music librarians—especially those at academic institutions—to participate in relevant professional associations. Such participation is important for a variety of reasons: it allows the librarian the opportunity to keep up with current issues and trends both in sessions at annual meetings and in face-to-face conversations with colleagues at those meetings, and to take an active role in development and growth for the good of the profession; it offers opportunities for junior colleagues to meet and be mentored by more seasoned colleagues and to talk with friends about the shared joys and frustrations we all experience in our work life. There is a definite restorative pleasure in sitting with other music librarians who understand the excitement of connecting a young performer or budding musicologist with “just what they were looking for” or the frustration of explaining again why we still need shelf space because we still rely so heavily on print resources or why that great new discovery tool won’t work for music. Plus, involvement in our associations can be a means of good public relations for our home institutions, as colleagues learn about exciting and forward-thinking programs that are in place back at home. Professional organizations offer opportunities for involvement at the state, regional, national, and international level and exist to enhance the advancement of the profession and related research as well as to provide a resource for their members, ensuring the future of said profession. Expected levels of participation will be different from job to job. Catalogers might look to one type while those in public service or administration would look to quite another. More and more, those who work with music collections also work in other subject areas and so might gain more benefit from going the generalist route, via the American Library Association (ALA) or state library associations. Those with responsibilities covering the fine arts might choose to participate in the work of our colleagues in dance, theater, or art library associations. Librarians from public libraries would probably want to participate in ALA—in particular the Public Library Association (PLA). Of course, if you are reading this chapter, you should definitely be a member of the Music Library Association! It is important to keep in mind that most of us were musicians long before we became music librarians and that we might already hold memberships in associations related to our fields of study. No problem. In fact, holding “dual citizenship” offers an opportunity to bring an added value to your memberships in both. If you find yourself in this situation, consider how 183

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you might be able to educate, for example, your church organist colleagues in the American Guild of Organists about how music librarians can be of assistance to them. It is also important to bear in mind that our professional organizations strive to meet our needs throughout our careers. Starting out, we build relationships with mentors and with our new colleagues. Those music librarians approaching midcareer may take advantage of the variety of career-development services. By that time, and on through the “seasoned professional” phase, one will always find a wealth of support from the membership. There are many instances where retired music librarians participate in leadership roles within the association, chairing committees, serving as officers, and so forth. One of the very rewarding aspects of participation in one’s professional organization is the lifetime of support it offers. Likewise, it keeps the practice of lifelong learning at the forefront of the association. The seasoned librarian is there to offer expertise and wisdom, while the more junior librarian keeps the rest of us engaged with cutting-edge technologies as well as future trends and practices. MUSIC-RELATED LIBRARY ORGANIZATIONS MUSIC LIBRARY ASSOCIATION

Music librarians are lucky because we have a wide variety of opportunities for involvement in organizations related to librarianship as well as those in our area of musical expertise. In the United States, the Music Library Association (MLA)1 is the flagship organization for music librarians. Founded in 1931, MLA boasts an international membership of librarians, music scholars, and professionals from the book and music trades. The association grew out of a need to address those issues specific to music libraries and music librarianship that were not being met within ALA. Eva Judd O’Meara, music librarian from Yale University and MLA’s first vicepresident, described MLA’s founding in the August 1936 issue of Library Journal: For it is generally admitted that the administration of a music collection presents a good many special problems, and that work with music is somewhat apart from the usual lines of library activity. Fortunately, a few of the more important music libraries have been in charge of specialists fitted by education and experience to deal with these problems, and to them, other librarians coming into this field with only general library experience, or with musical background and little library training at all, have turned for advice. However, except for a very informal round table meeting or two during ALA conferences, nothing had been done in the way of closer cooperation or of permanent organization before the meeting held at the Library of the Yale School of Music at the time of the conference of the American Library Association at Yale University. It was due to the energy and initiative of Dr. Carleton Sprague Smith, of the Music Division of the New York Public Library, that this gathering took place. Dr. Smith sent a circular letter to librarians and others likely to be interested, inviting their attendance and asking them to suggest topics for discussion. The response was very gratifying.2

MLA and its regional chapters offer music librarians opportunities to move the profession forward, mentor junior colleagues and future music librarians, and create a network of informa-

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tion and resources for all types of music and musicians. MLA offers career-services benefits, including a résumé and cover-letter review service, career-advisement services, and opportunities at the annual meetings to set up initial interviews for vacant positions. In partnership with the Association of Research Libraries (ARL), MLA sponsors the ARL/MLA Diversity Scholarship Program that provides generous support for graduate library school students from diverse backgrounds. Regional chapters exist to promote cooperation among libraries and librarians in a given geographic area and to provide a forum to discuss library issues that might be of a more local flavor or interest than those at national meetings. Regional chapters include Atlantic, Greater New York, Midwest, Mountain Plains, New England, New York State–Ontario, California, Pacific Northwest, Southeast, and Texas. MLA publishes Notes: Quarterly Journal of the Music Library Association, the premier journal in the field, noted for its timely articles and reviews. Additionally, MLA publishes a quarterly newsletter, the Music Cataloging Bulletin, and monographs in three series: Technical Reports, the Index and Bibliography Series, and the Basic Manual Series. MLA’s regional chapters offer great opportunities for getting involved professionally. These chapters meet at least once a year; some meet twice yearly. They provide the chance to meet colleagues in a more intimate and relaxed atmosphere and are often a good, local way to get involved with the association. Anyone who is embarking on a profession in music librarianship— or is simply curious about it—should definitely attend a chapter meeting for the opportunity to get a true feel for what music librarians do, what the current state of the profession is, and where it is headed. I encourage my own library school students to attend the annual chapter meeting and give them this assignment: walk up to anyone in the room and ask why they became a music librarian. Chances are the librarian will spend at least twenty minutes expounding on their pride in what we do and the rewards that come with being a music librarian. Music librarians are a closely knit, welcoming group who are always ready to bring new music librarians into the fold and to mentor them in their new endeavors. The administrative structure of the organization provides a picture of the wide-ranging world of music libraries, through its committees and round tables. MLA’s committees support the work and ongoing development of the association and the profession, while round tables offer opportunities to exchange ideas on a variety of topics that are not included in the work of committees. Members of MLA can find opportunities to become involved with other professional organizations either as liaisons or representatives to those organizations. A look at the current administrative structure of MLA offers up a hefty list, including: ALA, as either an official representative of MLA or as a member of MLA’s Bibliographic Control Committee, and serving in that capacity as a representative to relevant ALA and Association of College and Research Libraries (ACRL) committees; Music OCLC Users Group (MOUG); National Information Standards Organization (NISO); and Grove Music Online Advisory Panel. There are also two joint committees within the MLA structure that engage in some unique areas: the MLA/ American Musicological Society (AMS) Joint Committee on the Répertoire international des

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sources musicales (RISM) and the MLA/Music Publishers Association (MPA)/Major Orchestra Librarians’ Association (MOLA) Joint Committee. At the time of this writing, MLA liaisons to other organizations include ALA Dance Librarians Discussion Group, AMS, Art Libraries Society of North America (ARLIS/NA), Association for Recorded Sound Collections (ARSC), Association of Music Personnel in Public Radio, Canadian Association of Music Librarians (CAML), Chamber Music America, International Society for Music Information Retrieval (ISMIR), MLA-Japan, Online Audiovisual Catalogers (OLAC), Percussive Arts Society, Public Library Association (PLA), Society for American Music (SAM), Society for Ethnomusicology (SEM), and Society for Seventeenth-Century Music (SSCM). Why list this alphabet soup of other organizations? While it certainly is not close to being a comprehensive listing, it does exemplify the variety of “other” organizations to which one can belong that enrich the individual by continued involvement in his or her original area of expertise. It also serves as an example of the kind of outreach that is possible when music librarians participate in those organizations and serve as a reminder of the importance of music librarians and music libraries to their work. Music librarians are actively involved in many of these associations. Attend AMS, ARSC, MOUG, or OLAC—to name but a few—and you will find any number of music librarians participating in those groups as well. INTERNATIONAL ASSOCIATION OF MUSIC LIBRARIES, ARCHIVES AND DOCUMENTATION CENTRES

Besides MLA and its regional chapters, other organizations offer wonderful opportunities for participation. The International Association of Music Libraries, Archives and Documentation Centres (IAML)3 is the international professional society, offering support and opportunity similar to MLA’s at the global level. IAML was founded in Paris in July 1951, twenty years after MLA. The IAML website includes a fascinating history that sheds an interesting light on music librarianship in post–World War II Europe. MLA has recently become the American branch of IAML as a result of a merger of IAMLUS and MLA in 2011. The American branch is the newest of the twenty-five national branches.4 The merger provides the combined membership with a broader perspective of music librarianship around the world, and as a result will forge stronger relationships between US libraries and those in other parts of the world. IAML holds its annual meetings in the summer and offer members the opportunity to travel to various points around the globe, visit local music libraries, and take advantage of the sights. It also publishes a significant quarterly journal, Fontes artis musicae. IAML also publishes “Recent Publications in Music,” which is an annual international bibliography of music publications, available on the IAML website under the “Publications” tab. Perhaps the most important publications project in which IAML is involved is its cosponsorship of the “four Rs,” or the four major bibliographic projects for music scholars and librarians: Répertoire international des sources musicales (RISM)/International Inventory of Musical Sources, Répertoire international de littérature musicale (RILM)/International Inventory of

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Musical Literature, Répertoire international d’iconographie musicale (RIdIM)/International Inventory of Musical Iconography, and Répertoire international de la presse musical (RIPM)/ Retrospective Index to Music Periodicals. Given that these publications are international in scope, there are varying kinds of opportunities for involvement among them. Most notably for newer music librarians, RILM offers the chance to write abstracts for those items being added to the database. MUSIC LIBRARY STUDENT GROUP

Are you in library school? Are you thinking about music librarianship as a job path? Then you should join the Music Library Student Group (MLSG).5 This group was founded by two entrepreneurial library school students, Yi Hong Sim and Veronica Alzalde Wells, in 2009. MLSG already had an active web presence when the first in-person meeting was held at MLA’s annual meeting in San Diego in 2010. This, along with MLA of course, is a great place to start to develop lifelong friendships with colleagues who are working towards similar goals as music librarians. MLSG is represented in the MLA Administrative Structure through the Career Development and Services Committee, which offers guidance and assistance for those preparing to enter the job market. INTERNATIONAL SOCIETY FOR MUSIC INFORMATION RETRIEVAL

The International Society for Music Information Retrieval (ISMIR)6 had its first international symposium in 2000 in Plymouth, Massachusetts, and was later incorporated in Canada in 2008. Its primary purpose is to encourage the sharing of ideas among its members, whose interests and activities come from a shared focus on music information retrieval. Music librarians are particularly drawn to this area, since it is at the heart of metadata creation and is thus tied to the digital music libraries that we use all the time.7 MUSIC OCLC USERS GROUP

Music OCLC Users Group: the name says it all. This vital organization grew out of a task force organized by OCLC8 in 1977 to assist with OCLC’s implementation of MARC formats for music scores and sound recordings. As OCLC developed new services, notably in the realm of public services, MOUG9 took an equally active role in order to continue to have a very wellrespected voice in all things music related at OCLC. Today MOUG is still actively carrying the torch for music resources and related access issues, a prime example being the NACO (Name Authority Cooperative) Music Project, a joint effort of MOUG, OCLC, and the Library of Congress (LC) to contribute authority records to LC’s authority file. Although MOUG is not affiliated with MLA, the organization traditionally meets in conjunction with MLA at the annual meeting. Most MOUGers are also members of MLA. The group does, from time to time, meet with the Online Audiovisual Catalogers group (OLAC). MOUG also publishes a newsletter that is issued three times per year.

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ASSOCIATION FOR RECORDED SOUND COLLECTIONS

The Association for Recorded Sound Collections (ARSC)10 is dedicated to the study and preservation of sound recordings in all formats, from all periods, and in all genres. One of the delightful aspects of ARSC is that it brings together private collectors with professionals from the world of archives, museums, and libraries as well as record dealers, historians, and professionals from the recording industry. Music librarians who work with sound archives of any kind would find a home here. Annual conferences cover topics that appeal to both technical and cultural interests. As an example, the 2013 meeting held in Kansas City included presentations on Norwegian shellac, digital storage options for small audio archives, the history of jazz discography, and surveillance tapes from Alabama’s Civil Rights movement. Organized in 1966, ARSC offers annual conferences, a semiannual peer-reviewed journal (the ARSC Journal ), and the association’s newsletter, published three times yearly. MAJOR ORCHESTRA LIBRARIAN’S ASSOCIATION

The Major Orchestra Librarian’s Association (MOLA)11 exists to foster communication among professional performance librarians and to provide support and education for both orchestra librarians and performing arts organizations in general. MOLA works with the Music Publishers Association (MPA) and MLA as a joint committee that meets twice yearly to discuss shared concerns and issues. MOLA’s website offers a job list and an informative discussion about orchestra librarianship, along with access to their publications. MOLA holds an annual conference, and by the looks of the committee structure, there would be ample opportunity to serve the organization in any number of ways, including being a member of the MLA/MPA/ MOLA Joint Committee. NON–MUSIC-RELATED LIBRARY ORGANIZATIONS AMERICAN LIBRARY ASSOCIATION AND ITS DIVISIONS

Of course ALA12 is the largest and oldest library association there is. ALA includes eleven membership divisions, some of which offer venues for subject specialists for involvement and, I might add, offer opportunities to educate our library colleagues about how music librarians can provide leadership in a variety of areas—for example, copyright or cataloging issues, to name but two. Consider joining the Association of College and Research Libraries (ACRL) if you are an academic librarian or the Public Library Association (PLA) if you are a public librarian, or perhaps ALCTS (Association for Library Collections and Technical Services) or RUSA (Reference and User Services Association). These groups offer fantastic opportunities for the cross-pollination of ideas. Such groups offer further opportunities for involvement, not only through committee membership but also by contributing to their publications or presenting at their annual meetings. Music catalogers have always played important roles in the general cataloging world and

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always will. A sterling example is the work taken on by both MLA and ALA as we enter the world of Resource Description and Access (RDA). Music cataloging habitually presents challenges to the cataloger, so if something works for music, as a rule it will work for everything else. Music librarians who work in public services have equally as much to offer these colleagues in the area of educational outreach. Consider looking into membership in the ACRL Arts Section or doing a presentation or an article on music resources for the generalist librarians. ALA also offers fifty-seven state and regional chapters. In recent years, some of MLA’s regional chapters have exhibited at the state or regional level, providing information about MLA and its benefits of membership. ART LIBRARIES SOCIETY OF NORTH AMERICA

The Art Libraries Society of North America (ARLIS/NA)13 was founded in 1972 as a means to provide better cooperation and communication across the art librarian community. ARLIS/NA meets annually and supports eighteen chapters, covering the North American continent. Art Documentation is the official bulletin, published in the spring and fall. One of their various other publications is ARLIS/NA Reviews. DANCE LIBRARIANS DISCUSSION GROUP

The Dance Librarians Discussion Group14 falls under the ACRL Arts umbrella. The group exists to provide a forum for the exchange of ideas and to discuss relevant issues. The group also devotes its energies to development and support of projects that will improve access to dance materials and encourage programs and activities that relate to dance. Those of us who work in a more general fine arts or humanities library might want to consider joining other arts-based library groups, such as this one or the Theatre Library Association. THEATRE LIBRARY ASSOCIATION

The Theatre Library Association (TLA),15 founded in 1937, is just a bit younger than MLA. By clicking on the “Members” link and then the “Get Involved” link on the website, one can see what opportunities are available to members for participation in the work of the organization. TLA’s primary publication, Broadside, is issued three times per year. It began publication in 1940 and, as of summer 2006, has become an online publication. Performing Arts Resources is the association’s monograph series. TLA has an e-mail distribution list ([email protected] .edu) and also offers the TLA Promptbook, which provides e-mail alerts for the membership. ONLINE AUDIOVISUAL CATALOGERS

The Online Audiovisual Catalogers group (OLAC)16 was founded in 1980 and became an ALA affiliate in 2008. OLAC is an organization for catalogers concerned with all types of nonprint materials, including a wide range of digital resources as well as more “traditional” formats:

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video and sound recordings, websites, maps, multimedia, graphic materials, and realia. Through conferences, workshops, publications (including the OLAC Newsletter), and the e-mail distribution list OLAC-L, catalogers share information and advice on cataloging audiovisual resources. The organization does hold conferences, both on their own and in conjunction with other groups, specifically MOUG. Checking the “Conferences & Events” link on their website will provide a listing of past conferences. RELEVANT MUSIC ORGANIZATIONS AMERICAN MUSICOLOGICAL SOCIETY

The American Musicological Society (AMS)17 was founded in 1934 to advance research in the various fields of music as a branch of learning and scholarship. Many music librarians come from strong musicology backgrounds, and of course the two areas make a natural pairing. Keeping lines of communication wide open between music librarians and researchers allows music librarians to stay on the front line of what is occurring in the world of music scholarship and enables us to craft our services and collections accordingly. It also allows us to show these colleagues what we do for and with them. There are opportunities for service within AMS’s committee structure and of course through publication in its journal, the Journal of the American Musicological Society, commonly known as JAMS. Music librarians have served as committee chairs, and there is opportunity to serve both organizations as a member of the AMS/MLA Joint Committee on RISM. SOCIETY FOR AMERICAN MUSIC

Founded in 1975, the Society for American Music (SAM) was initially named the Sonneck Society in honor of Oscar G. T. Sonneck, who was an early chief of the Music Division at the Library of Congress and one of the early scholars of American music. SAM18 is a constituent member of the American Council of Learned Societies,19 as are AMS and the Society for Music Theory. SAM holds annual conferences, publishes its quarterly Journal along with its Bulletin. At this writing, music librarian Judy Tsou (University of Washington) is serving as presidentelect of the association, demonstrating the strong involvement music librarians have with this organization. SO NOW WHAT? I could go on and on listing any number of relevant organizations, but by now it should be apparent that there are countless opportunities for membership in library or music-based associations. The question you might have is, How do I get involved once I am a member? Using MLA as a model, let’s look at ways to get yourself known. First of all, when you go to your first meeting, don’t be shy. You will never find a more open and friendly group of colleagues than those who come to MLA meetings, either nationally

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or regionally. Music librarians are excited about our chosen profession and we want to make sure it stays relevant and active through the care and nurture of new music librarians. The first-timers’ reception is a great kick-off to the meeting. You get the chance to meet and chat with MLA’s officers and with other first-timers. Be sure to look around the room— these people just might end up being lifelong friends. At the national level, MLA offers first-time attendees the chance to sign up for the mentoring program, through which they are assigned a mentor for the meeting. Your mentor will meet you at the first-time attendees reception, go to the big opening reception with you, and see that you meet many of your new friends and colleagues. The two of you might also meet throughout the week and will hopefully stay in touch after the meeting is over. Look at the program and decide what committees or roundtables are of interest to you. Unless otherwise noted in the meeting program, committee meetings are open to all attendees. Sit in on their business meetings to see what their current focus is. If there are vacancies for new members, speak up and put your name in the applicant pool. There is no promise that you will be selected, but you have made your presence known—as well as your willingness to get to work. Roundtables offer a great opportunity for meeting other MLAers with your same areas of interest. Get to the poster sessions. It is an informal way to meet others and learn about a colleague’s research or “how we did it” at someone’s home institution. Definitely go to the “Get Involved” session. This is a fun way to meet a lot of people in a “speed dating” environment as you move from table to table, learning about the work of particular committees or groups within the association that are looking for new members. Spend free time in the exhibits and meet with the vendors. There is so much to learn in the exhibits area, and the vendors are there to speak with us, their clients. You can learn quite a lot from conversations with them, and it is important to start building those relationships. Have you wondered how approval plans work? Here is a golden opportunity to learn about them. Be sure to take advantage of the planned coffee breaks that are nearly always staged in the exhibits area. First of all, it usually means free food. It is also another opportunity to chat with other members. Again, don’t be shy. Strike up a conversation over a cup of coffee and make a new friend. So, you are saying to yourself that this all sounds great but there are budget issues to consider. MLA provides some opportunities for funding assistance. MLA offers a “reduced for work” registration for the annual conference. Not only will you pay a lower registration rate, but you will work at the registration desk, where you will get the chance to meet many other MLA members. Apply for the Kevin Freeman Travel Grant, which supports travel and hotel expenses for the annual meeting. Grants include conference registration and a cash award of up to $750. Calls for applications are issued in the spring, with awards announced in October. Likewise, some regional chapters offer scholarship opportunities for their own meetings. Be sure to check your chapter’s website to see if they offer such programs.

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These are some ideas to encourage readers to join MLA and, as time and resources permit, other professional organizations. I hope that by reading this chapter you have been introduced to some interesting possibilities that will enrich your professional life and, in return, encourage you to return the favor by getting involved and helping our associations to continue to enrich the lives of our future music librarians. NOTES Music Library Association website, accessed April 30, 2013, http://www.musiclibraryassoc.org. Eva Judd O’Meara, “The Music Library Association,” Library Journal 61 (August 1936): 571–73. 3 International Association of Music Libraries, Archives and Documentation Centres website, accessed April 30, 2013, http://www.iaml.info. 4 For a full account of this historical event, written by Judy Tsou, see “Notes for NOTES,” Notes 68, no. 1 (September 2011): 63–66. 5 Music Library Student Group website, accessed April 30, 2013, http://www.musiclibrarystudents .org. 6 International Society for Music Information Retrieval website, accessed April 30, 2013, http://www.ismir.net. 7 See Richard Smiraglia, “Musical Works and Information Retrieval,” Notes 58, no. 4 (June 2002): 747–64. 8 “OCLC is a worldwide library membership organization established in 1967. It was founded by a small group of libraries whose leaders believed that by working together, they could find practical solutions for sharing records and reducing information costs. Over the years OCLC has partnered with like-minded organizations from across the globe to become the largest research and library services enterprise in the world.” From “What is OCLC?,” accessed April 30, 2013, http://www.oclc.org/content/dam/oclc /services/brochures/211510ukb_what_is_oclc.pdf. 9 Music OCLC Users Group website, accessed April 30, 2013, http://www.musicoclcusers.org. 10 Association for Recorded Sound Collections website, accessed April 30, 2013, http://www.arscaudio.org. 11 Major Orchestra Librarian’s Association website, accessed August 27, 2013, http://mola-inc.org. 12 American Library Association website, accessed April 30, 2013, http://www.ala.org. 13 Art Libraries Society of North America website, accessed April 30, 2013, http://www.arlisna.org. 14 ACRL/Arts Dance Librarians Discussion Group website, accessed August 27, 2013, http://www.ala.org/acrl/arts/acr-artdgdance. 15 Theatre Library Association website, accessed April 30, 2013, http://tla-online.org. 16 Online Audiovisual Catalogers Group website, accessed April 30, 2013, http://www.olacinc.org. 17 American Musicological Association website, accessed April 30, 2013, http://www.ams-net.org. 18 Society for American Music website, accessed April 30, 2013, http://american-music.org. 19 American Council of Learned Societies website, accessed April 30, 2013, http://www.acls.org. 1 2

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o matter how thoroughly a topic has been covered, there will always be an infinite number of additional resources that provide a different perspective on the subject. Lisa Shiota has gathered here a number of books, articles, and websites that will help the eager reader discover new places to find additional information on work in music libraries, from fundraising and copyright to reference work and cataloging. For those readers who have found their appetite for information about careers in music librarianship stimulated by the preceding chapters, Shiota’s bibliography will provide guidance to explore further facets.

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11 Selected Resources LISA SHIOTA This annotated list of books, articles, and web pages provides resources for current and future music librarians. Entries include works on general music librarianship, the education of music librarians, and job duties. Where applicable, resources that supply information in a broader context outside of music have been included. This list was compiled from searches of the following databases: Library Literature, Music Index, International Index to Music Periodicals, and OCLC’s WorldCat. For the sake of currency, the focus is on resources published since 2000 (the cut-off date of the “Selected Resources” list in Careers in Music Librarianship II). Exceptions include seminal works in the field and topics on which no further writing has since been published. GENERAL RESOURCES ON MUSIC LIBRARIANSHIP Bradley, Carol June. American Music Librarianship: A Research and Information Guide. New York: Routledge, 2005. The definitive resource for writings that chronicle the history of music librarianship in the United States. Includes significant sections on music libraries and librarians. Bryant, E. T., and Guy A. Marco. Music Librarianship: A Practical Guide. 2nd ed. Metuchen, NJ: Scarecrow Press, 1985. This comprehensive study on music librarianship was ground breaking for its time. It is dated, but still worth reading, especially for the section on library administration. Cassaro, James P., ed. Music, Libraries, and the Academy: Essays in Honor of Lenore Coral. Middleton, WI: A-R Editions, 2007. In Section 2, Cassaro discusses music libraries and collections. Particularly relevant to music librarianship are the essays “Music Libraries of Tomorrow: Virtual or Concrete, Harmony or Discord?” by Linda Solow Blotner, and “Academic Music Librarianship: ‘Back to the Future?’ ” by Mary Wallace Davidson. Clark, Joe C. “Job Trends in Music Librarianship: A Nine-Year Analysis of the Music Library Association’s Job List.” Notes 69, no. 1 (September 2012): 44–58. An analysis of professional and nonprofessional job postings on the Music Library Association Job Placement Service Job Openings page (http://musiclibraryassoc.org /?page=JobList).

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———. “What Employers Want: Entry-Level Qualifications for Music Librarians.” Notes 69, no. 3 (March 2013): 472–93. A continuation of the study of job postings begun by previous article. In addition to the MLIS degree, employers are most often looking for specific experience and skills pertinent to the position. Griscom, Richard, and Amanda Maple, eds. Music Librarianship at the Turn of the Century. MLA Technical Reports, 27. Lanham, MD: Scarecrow Press, 2000. A thoughtful and thought-provoking set of essays about the changes seen in various aspects of music librarianship, as well as ideas for the twenty-first century. These essays were originally published in Notes 56, no. 3 (March 2000). Mann, Alfred, ed. Modern Music Librarianship: Essays in Honor of Ruth Watanabe. Stuyvesant, NY: Pendragon Press, 1989. Offers a snapshot of music librarianship of the time. Of note are the articles “Music Library Administration and Organization” by Mary Wallace Davidson, and “The Scholar and the American Music Library” by Ruth Watanabe. Music Library Association. “Career Resources in Music Librarianship.” http:// musiclibraryassoc.org/?page=CareerResources (accessed May 17, 2013). Includes links to general resources for résumé and cover letters, interviewing techniques, tenure and faculty status for librarians, and so forth. ———. “MLA-L: The Music Library Association Mailing List.” http://musiclibraryassoc.org /?page=mlal (accessed May 17, 2013). This e-mail distribution list is used by music librarians and anyone interested in music librarianship. Asking questions of music librarians on the list is often a valuable resource when other resources have been exhausted. Ochs, Michael, ed. Music Librarianship in America. Cambridge, MA: Harvard University, 1991. Consists of papers delivered at the eponymous symposium held in 1989. Notable points of view are expressed by respected librarians, musicologists, ethnomusicologists, critics, and composers, among others. EDUCATION FOR MUSIC LIBRARIANSHIP Music Library Association. “Directory of Library School Offerings in Music Librarianship.” 10th ed., complied by Lisa Shiota. November 2013. http://musiclibraryassoc.org /?page=LibSchoolDirectoryI (accessed May 17, 2013) A list of universities and colleges in the United States and Canada that offer courses and programs in music librarianship, including dual-degree programs in musicology and librarianship.

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———. “Music Librarianship.” http://musiclibraryassoc.org/?page=MusicLibrarianship (accessed May 17, 2013). Answers basic questions about music librarianship. Embedded in the page is a document, “Core Competencies and Music Librarians” created by the Music Library Association’s Career Development and Services Committee. Oates, Jennifer. “Music Librarianship Education: Problems and Solutions.” Music Reference Services Quarterly 8, no. 3 (2004): 1–24. An excellent outline for resources in music librarianship, particularly suitable for independent or supplemental study. Wagstaff, John. “Spreading the Message: Teaching Music Librarianship by Distance Learning.” Fontes artis musicae 58 no. 2 (2011): 165–76. Discusses music librarianship courses in US library school programs and the possibilities for teaching such a course online. WORK OF MUSIC LIBRARIANS ARCHIVES AND PRESERVATION General Resources

Society of American Archivists. “So You Want to Be an Archivist: An Overview of the Archives Profession.” http://www2.archivists.org/profession (accessed July 12, 2013). A good introduction to the field of archival work. Music Resources

Carli, Alice. Binding and Care of Printed Music. Lanham, MD: MLA Basic Manual Series, 2. Lanham, MD: Scarecrow Press, 2003. A guide to the preservation and conservation of music scores. Music Library Association. “Music Preservation Resources.” http://committees.musiclibraryassoc .org/Preservation/HomePage (accessed July 12, 2013). Compiled by MLA’s Preservation Committee, this set of webpages has both general resources on preservation and resources specific to music materials. Shepard, John. “Preservation.” Notes: Quarterly Journal of the Music Library Association 56, no. 3 (March 2000): 574–80. Discusses issues unique to preserving music in its various formats.

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AUDIO/VIDEO

Colvin, Jenny. “For Your Consideration: Models for Digital Music Distribution in Libraries.” Music Reference Services Quarterly 13, nos. 1–2 (2010): 35–38. Suggests that librarians encourage digital music providers to consider other means of distribution, such as access via handheld devices and pay-per-view pricing models. Farrington, Jim. Audio and Video Equipment Basics for Libraries. MLA Basic Manual Series, 5. Lanham, MD: Scarecrow Press, 2006. Discusses space, equipment, and maintenance issues for audio and video playback. Phinney, Scott. “Can’t I Just Listen to That Online? Evaluating Electronic Access to Audio for Music Libraries.” Music Reference Services Quarterly 9, no. 2 (2005): 1–33. Compares usage of online audio reserves to physical sound recording reserves as reported by undergraduate students in music classes. CATALOGING AND CLASSIFICATION General Resources

RDA Toolkit. http://www.rdatoolkit.org (accessed July 14, 2013). Resource Description and Access (RDA) replaced the Anglo-American Cataloging Rules (AACR) as the new cataloging standard in 2013. Although the Toolkit is accessible via subscription, a free trial is available. Also freely available are links to Toolkit webinars, RDA cataloging examples, and the blog. Includes links to training documents from participating institutions. Society of American Archivists. Describing Archives: A Content Standard (DACS). 2nd ed. Chicago: Society of American Archivists, 2013. Freely available at http://files.archivists .org/pubs/DACS2E-2013.pdf. The standard used for archival records. Music Resources

Glennan, Kathryn P. “The Development of Resource Description & Access and Its Impact on Music Materials.” Notes 68, no. 3 (March 2012): 526–34. Provides a concise history of Resource Description and Access (RDA), how it is used with music resources, and issues remaining to be resolved. Koth, Michelle. “A Brief Overview of Some of the Changes from AACR2 to RDA.” Yale University Music Library. http://www.library.yale.edu/cataloging/music/rdaoverview.htm (accessed May 17, 2013). A good outline of significant differences between the two cataloging standards as they relate to music.

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———. Uniform Titles for Music. MLA Technical Reports, 31. Lanham, MD: Scarecrow Press, 2008. A comprehensive guide to creating uniform titles in music cataloging. McKnight, Mark. Music Classification Systems. MLA Basic Manual Series, 1. Lanham, MD: Scarecrow Press, 2002. Provides a good introduction to the Dewey Decimal Classification, the Library of Congress Classification, and the Alpha-Numeric System for Classification of Recordings systems as they pertain to music. Ringwood, Alan, ed. Music Cataloging Bulletin. http://musiclibraryassoc.org/?page= musiccatbulletin (accessed July 12, 2013). Lists changes by the Library of Congress (LC) in their Classification and Subject Headings. It contains a question-and-answer forum for catalogers and is a means to communicate with LC concerning questions and suggestions. MCB is an online-only subscription resource, available through the Music Library Association. Issues prior to January 2004 were also available in print. Schultz, Lois, and Sarah Shaw, eds. Cataloging Sheet Music: Guidelines for Use with AACR2 and the MARC Format. MLA Technical Reports, 28. Lanham, MD: Scarecrow Press, 2003. A helpful resource for cataloging published music, with numerous examples. Smiraglia, Richard P. Shelflisting Music: Guidelines for Use with the Library of Congress Classification: M. 2nd ed. MLA Technical Reports, 30. Lanham, MD: Scarecrow Press, 2008. A concise resource on creating call numbers for music, using the Library of Congress classification. Vellucci, Sherry L. “Music Metadata and Authority Control in an International Context.” Notes 57, no. 3 (March 2001): 541–54. Provides an introduction to metadata standards and how they can be applied to music. Weitz, Jay. Cataloger’s Judgment: Music Cataloging Questions and Answers from the Music OCLC Users Group Newsletter. Westport, CT: Libraries Unlimited, 2004. A compilation of questions about music cataloging received and answered by the author from 1989. Questions are indexed by topic, AACR2 rule numbers, and OCLC MARC fields. COLLECTION DEVELOPMENT

Davis, Elizabeth, coord. ed. A Basic Music Library: Essential Scores and Sound Recordings. 3rd ed. Chicago: American Library Association, 1997. The quintessential guide for building and developing a music collection. The “Scores” section includes orchestral and chamber music scores, instrumental performing

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editions (parts), fake books, and vocal music. The “Sound Recordings” section covers Western classical music and popular and traditional music throughout the world. A fourth edition is forthcoming. Fling, R. Michael. Guide to Developing a Library Music Collection. Chicago: American Library Association, 2008. A good overview of the history of music libraries and librarianship, with resources for printed music, sound recordings, books, and periodicals. Also includes a list of relevant professional organizations. Provides strategies for building collections, creating collection development policies, and selecting materials. ———. Library Acquisition of Music. MLA Basic Manual Series, 4. Lanham, MD: Scarecrow Press, 2004. Focuses more specifically on the acquisitions and ordering processes than on collection development. Features resources for both print and recorded music publishers, rentals, vendors, and out-of-print dealers. Luttmann, Stephen. “Selection of Music Materials.” In Selecting Materials for Library Collections, edited by Audrey Fenner, 11–25. New York: Haworth Press, 2004. Lists basic resources for music materials. Maple, Amanda, and Jean Morrow. Guide to Writing Collection Development Policies for Music. MLA Technical Reports, 26. Lanham, MD: Scarecrow Press, 2001. Includes a sample collection development policy outline with numerous examples of policies used by various libraries. COPYRIGHT General Resources

Association of Research Libraries. “Code of Best Practices in Fair Use for Academic and Research Libraries.” http://www.arl.org/focus-areas/copyright-ip/fair-use/code-ofbest-practices (accessed July 12, 2013). Coordinated by the Association of Research Libraries and American University’s Center for Social Media and Washington College of Law, and based on interviews with academic and research librarians, the “Code” is an outline of the fair-use doctrine for copyrighted works, specifically applied to situations involving libraries. Library Copyright Alliance website. http://www.librarycopyrightalliance.org (accessed July 14, 2013). The Library Copyright Alliance (LCA) consists of the American Library Association, the Association of Research Libraries, and the Association of College and Research Libraries. Their mission is “to foster global access and fair use of information for creativity,

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research, and education” and to represent the greater library community concerning matters on copyright. The LCA site has links to current statements and amici curiae on relevant cases. Music Resources

Brooks, Tim. “The Association for Recorded Sound Collections and the Movement to Reform Copyright in the United States.” Popular Music and Society 35, no. 5 (December 2012): 683–89. A critical read. Outlines the history of US copyright laws as they pertain to recordings and the Association for Recorded Sound Collections’ recommendations to amend those laws to reasonably allow for preservation and public access. McBride, Jerry L. “Copying by Libraries in the United States: Reviewing Section 108 of the US Copyright Laws.” Fontes Artis Musicae 55, no. 2 (April/June 2008): 363–76. Recommendations given by music libraries for amending Title 17, Section 108 of the United States Copyright Law, which deals with the conditions in which libraries and archives may copy copyrighted works. Music Library Association. “Copyright for Music Librarians.” http://copyright.musiclibraryassoc .org (accessed May 17, 2013). Contains information on the US copyright laws as they pertain to music. Includes summaries of pertinent court decisions and official statements by the Music Library Association. FUNDRAISING AND DEVELOPMENT General Resources

Dowlin, Ken. Getting the Money: How to Succeed in Fundraising for Public and Nonprofit Libraries. Westport, CT: Libraries Unlimited, 2009. Goes into great detail concerning doing research on the community, cultivating relationships, branding, and developing strategies for fundraising. Worth a read for staff in all types of libraries. Reed, Sally Gardner. Making the Case for Your Library: A How-to-Do-It Manual. New York: Neal-Schuman Publishers, 2001. A public relations manual for crafting the message, promoting the cause, and convincing donors to invest in a library’s future. Music Resources

Conway, Ashlie Keylon. “The Music Librarian as Development Officer: Raising Funds for Special Collections.” Music Reference Services Quarterly 11, no. 3–4 (2008): 203–28.

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Provides an in-depth literature review of resources for fundraising for libraries and suggests strategies such as grant-writing and friends groups that can be applied specifically for music libraries. Heath, Kristin, and Terra Merkey. “Gifts 101: A Systematic Approach for Gifts of Music.” Music Reference Services Quarterly 14, no. 4 (2011): 183–202. A well-thought-out article about how libraries should handle music donations. Appendixes include sample gift and collection development policies and forms. Munstedt, Peter. Money for the Asking: Fundraising in Music Libraries. MLA Basic Manual Series, 7. Middleton, WI: A-R Editions / Music Library Association, 2012. An important book for current times, dealing with all aspects of fundraising, including public and private events, grants, and gifts. Appendixes include case studies and donation information from selected music libraries. Ritter, Marian. “The Friends of the Music Library at Western Washington University.” Music Reference Services Quarterly 9, no. 2 (2005): 55–60. A good case study on how to develop a friends group specifically for a music library. Shows how appeals to music lovers can gain strong financial, social, and political support. PERFORMANCE LIBRARIES

Girsberger, Russ. A Manual for the Performance Library. MLA Basic Manual Series, 6. Lanham, MD: Scarecrow Press, 2006. The essential guide for working in a library that supports bands, orchestras, opera companies, dance companies, and the like. Outlines job qualifications, acquisitions, cataloging, and processing, and preparing music for rehearsals and performance. Girsberger, Russ, and Laurie Lake. The Music Performance Library: A Practical Guide for Orchestra, Band, and Opera Librarians. Galesville, MD: Meredith Music, 2011. A more concise version of Girsberger’s Manual, with an emphasis on the duties of the first-time ensemble librarian, recommended equipment, and proper communication with ensembles, conductors, and composers. Major Orchestra Librarians’ Association. “The Orchestra Librarian: A Career Introduction.” http://www.mola-inc.org/page/Career (accessed May 17, 2013). Outlines job responsibilities for orchestra and other ensemble librarians. Schnackenberg, Karen. “Walking in Two Worlds: A Librarian’s Perspective.” Harmony: Forum of the Symphony Orchestra Institute 16 (October 2003): 123–31. Shares thoughts on how the library is part of the greater whole of an organization, and how working with other departments, such as administration and development, creates a stronger organization overall. A relevant article for all librarians, regardless of affiliation.

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REFERENCE, RESEARCH, AND INSTRUCTION General Resources

Association of College and Research Libraries. “Information Literacy Resources.” http://www .ala.org/acrl/issues/infolit (accessed July 12, 2013). Includes resources and standards for teaching information literacy to college students. Cassell, Kay Ann, and Uma Hiremath. Reference and Information Services: An Introduction. Chicago: Neal-Schuman, 2013. An excellent introduction to providing general library reference services that is worthy reading for any type of librarian. Music Resources

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 (2013): 1–17. Suggests ways to provide assistance to field researchers that can easily be applied to helping any researcher in music. Cary, Paul, and Laurie J. Sampsel. “Information Literacy Instructional Objectives for Undergraduate Music Students: A Project of the Music Library Association, Bibliographic Instruction Subcommittee.” Notes 62, no. 3 (March 2006): 663–79. These objectives are based on those developed by the Association of College and Research Libraries, with music-specific goals added. Geary, Gregg S., Laura M. Snyder, and Kathleen A. Abromeit. Music Library Instruction. MLA Basic Manual Series, 3. Lanham, MD: Scarecrow Press, 2004. A good introductory resource for music librarians who teach music classes. Presents plans on how to teach nonmusic majors and graduate music students, as well as how to train student assistants in a music library. Green, Alan, and Michael J. Duffy IV. Basic Music Reference: A Guide for Non-Specialist Librarians, Library Assistants, and Student Employees. MLA Basic Manual Series, 8. Middleton, WI: Music Library Association / A-R Editions, 2012. A good resource for music specialists and nonspecialists alike. Covers the essential tools used to answer frequently asked reference questions. Lasocki, David. “Music Reference as a Calling: An Essay.” Notes 56, no. 4 (June 2000): 879–93. A reflective account on working at a reference desk in a music library. Describes how to answer questions with poise and aplomb.

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About the Contributors JOE C. CLARK is head of the Performing Arts Library at Kent State University. He previously served as the digital and audiovisual media librarian at the University of Maryland, Baltimore County. His passion for music librarianship began upon enrolling at Arizona State University and discovering the field. While at Arizona State University he earned an MA in ethnomusicology and also received an MA in library science from the University of Arizona. He also holds a BA in music from the University of Utah. In addition to service activities in the American Library Association, the Association for College and Research Libraries, and the Music Library Association, he enjoys researching employment and retention trends in librarianship, collection development, and American vernacular music. When not working or conducting research, he enjoys spicy foods, cycling, and playing the guitar. SUSANNAH CLEVELAND is the head librarian at the Music Library and Sound Recordings Archives and chair of Archival Collections and Branches at Bowling Green State University. Her first music library experience was as an undergraduate student assistant in the Music Library at Baylor University (under fellow contributor, Ruthann Boles McTyre!). She caught the music library bug and went on to the University of North Texas, where she received her MM in musicology and MS in library and information Science while working full time as a library assistant in the music library there and learning from UNT’s amazing music librarians. Following the completion of graduate school, she became the music recordings and digital resources librarian at UNT, a position she held until leaving for BGSU. She has served as the Music Library Association’s placement officer and participated in MLA’s Résumé and Cover Letter Review Service as well as having been a member of the Career Development and Services Committee. She has also served on more search committees than she knew could exist. PAULA ELLIOT retired in 2007 from a long career as music and humanities librarian, mostly at Washington State University. A still-active member of the Music Library Association, she has served on several committees over the years, focusing on development, reference and public services, and personnel issues. She also served on the MLA board of directors. Frequently published, she edited and contributed to Careers in Music Librarianship II: Traditions and Transitions (a now-antique volume that takes its place in the historical record of her beloved profession). She is a big booster for the new generation of music librarians and a compassionate colleague to those still on the sweaty side of retirement. RUTHANN BOLES MCTYRE is the Andrew W. Mellon Music Library Director of the Irving S. Gilmore Music Library at Yale University. Ruthann started her music library journey during her graduate school days at Southern Methodist University, where she received a master’s degree in 204

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vocal performance and worked in the music library. Previously she had begun her college days as a music education major at Butler University, transferring as a junior to SMU, where she completed her undergraduate degree in music education. Following completion of graduate school, Ruthann stayed on working part time in the music library at SMU, teaching private voice instruction, and holding down two singing jobs (church on Sundays and temple on Fridays), living the dream of being a working musician. Eventually she succumbed to the realization that music librarianship made her happy (and employed), so she went up the road to the University of North Texas and earned her MLS (thank you, Morris Martin!). Ruthann’s professional career first led her to the University of North Carolina at Chapel Hill’s music library, then on to Baylor University, the University of Iowa, and Yale. A past president of the Music Library Association, Ruthann is a firm believer in the value of participation in professional organizations, not only for the educational and professional advantages, but more important, for the joy of being a part of some of the coolest, most wonderful friends a person could ever have. Since 2010, JENNIFER OTTERVIK has been head of the Friedheim Library and Archives at the Peabody Institute of the Johns Hopkins University, where she also teaches bibliography. Previously, from 1995 to 2010 she was head of the Music Library at the University of South Carolina, where she taught music librarianship, and bibliography and research. In 2000, she became the first librarian at the University of South Carolina to be awarded early tenure. From 2002 to 2010, she was coeditor and then editor of Music Reference Services Quarterly. In 2009, she earned nomination for the university’s Graduate Professor of the Year. A member of MLA since 1993, Jennifer has served on numerous committees and was appointed placement officer from 2003 to 2007. She was recipient of MLA’s Gerboth Award in 1997 and “Best of Chapters” (SEMLA) in 2000. She attended the University of North Texas, earning a BA, MLS, and an MM in musicology. Currently the deputy director, operations and e-licensing, of OhioLINK, AMY PAWLOWSKI is responsible for planning, managing, and coordinating the daily operations of OhioLINK and is responsible for negotiating and acquiring academic licensed e-resources for the consortium. Prior to this, she was the web applications manager at the Cleveland Public Library, where she managed the development, implementation, and maintenance of web-based library services for the library and the CLEVNET consortium. Amy has held several different positions in the library field, including manager of partner services for OverDrive Inc., where she assisted libraries with training, marketing, outreach, and collection development for their digital library platform. She has also worked as archivist for the Cleveland Orchestra, librarian for the orchestra Red, technology and information literacy librarian for Cuyahoga Community College, and public services coordinator for the Hartt School Performing Arts Library at the University of Hartford.

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MARK A. PUENTE is the director of diversity and leadership programs at the Association of Research Libraries (ARL), a position he’s held since March 2009. After a long career as a private voice teacher in San Antonio, he transitioned into libraries, completing MLIS studies at the University of Arizona. His first professional position was as a research assistant professor/minority resident librarian/music librarian at the University of Tennessee, Knoxville, where he spent a significant amount of his time working in the George F. DeVine Music Library. Following that experience, he was the coordinator of digital projects and special/gift collections at the Music and Performing Arts Library at the University of Illinois at Urbana-Champaign. At ARL, Puente directs all aspects of the association’s diversity and leadership development programs and serves as the staff liaison to the ARL Committee on Diversity and Leadership. Puente is also responsible for ARL’s career resources and services, designs and directs the annual ARL Leadership Symposium, and leads the planning of the National Diversity in Libraries Conference offered biennially. Puente has been actively involved with diversity and leadership issues since the beginning of his library career. He is also a graduate of the Minnesota Institute for Early Career Librarians (MIECL) and the ACRL/Harvard Leadership Institute. He has participated in and led a number of leadership training programs and often serves as a consultant to libraries seeking to improve diversity recruitment and climate issues. NED QUIST is the associate university librarian for research and outreach at the Brown University Libraries. He has also served as the performing arts librarian at Brown and as the music librarian at the Peabody Conservatory of Music. He holds a BA from Colgate University, an MLS from Catholic University, and an MM in music history from the Peabody Conservatory of Music. When he’s not busy “administratin’,” Ned sings with a folk music group “The WrongHeaded Cormorants” and plays with the contra dance band “White Squall.” When he’s at home he can often be found in his basement transforming expensive pieces of hardwood into sawdust and an occasional piece of Arts & Crafts style furniture. MISTI SHAW is the music and performing arts librarian at DePauw University with the rank of associate professor and was formerly the sabbatical replacement music librarian at St. Olaf College. In addition to managing a branch music library, she teaches an integrated, sequential music library instruction program for the DePauw School of Music and enjoys collaborating with faculty to create effective library assignments. Shaw serves as editor of the Music Library Association’s Newsletter, for which she pens a quarterly column profiling music librarians in all related lines of work. She holds an MA in music from the University of Missouri–Kansas City Conservatory of Music and a MS in library and information science from the University of North Texas. LISA SHIOTA is a reference specialist in the Music Division of the Library of Congress. Previously, she was catalog librarian at the Curtis Institute of Music in Philadelphia and a part-

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time general reference librarian at Temple University. She has a bachelor of music degree from the Peabody Institute of the Johns Hopkins University, a master of music degree from the University of Michigan, a master of science degree in library and information science from Drexel University, and is working on a post-graduate certificate in digital libraries, also at Drexel. Lisa credits Jane Gottlieb and Betsy Walker for suggesting the idea of becoming a professional music librarian when she was working as an administrative assistant. She is an active member of the Music Library Association and has served as the coordinator of MLA’s Career Advisory Service since its inception in 2010. When not in the library, Lisa enjoys eating, bicycling, playing clarinet in chamber ensembles and orchestras, and learning Japanese taiko drumming. LINDY SMITH spends her days as the research services archivist at the Ohio State University Archives, where she takes every possible opportunity to bring music into a usually nonmusical position. One recent example includes working a record player into an exhibit about football history. Prior to this position, she worked as a student in a number of musical and nonmusical libraries and archives, including the Music Library and Sound Recordings Archives at Bowling Green State University, the Frederick and Elizabeth Ludwig Fennell Music Library at Interlochen Center for the Arts, and the Music and Performing Arts Library, Sousa Archives and Center for American Music, and Student Life and Culture Archives at the University of Illinois at Urbana-Champaign. She holds degrees from BGSU (BM, music history and literature) and UIUC (MSLIS, graduate certificate in special collections, and MM, historical musicology). For more on her entrée into music librarianship, read her chapter! HOLLING SMITH-BORNE has been the director of the Anne Potter Wilson Music Library at Vanderbilt University since 2006. He earned a BM in piano performance from Bowling Green State University and an MLIS from the University of Michigan, where he specialized in music librarianship. Music librarianship found him while he was working as a student employee at the Music Library and Sound Recordings Archives at Bowling Green State University, filing the last of the catalog cards and inputting MARC coding for the music catalogers. Prior to working at Vanderbilt University, he was the coordinator of the music library at DePauw University for eight years and the music and fine arts librarian at Butler University for five years. He has chaired the Education Committee and the Social Responsibilities Roundtable for MLA and was elected to a term as member-at-large of MLA’s board of directors. He cofounded MLA’s Educational Outreach Program, where he continues to serve as an instructor for the collection development workshop. As an active pianist, he primarily accompanies choirs and opera singers, but you may occasionally see him performing with a tuba or euphonium player. JOHN WAGSTAFF has been head of the Music & Performing Arts Library at the University of Illinois at Urbana-Champaign since January 2005. Prior to that he held positions in UK music libraries at the University of Oxford, the University of London, and the BBC. He has taught

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music librarianship at the University of Illinois for several years, first as a classroom-based course and more recently as an online class. In addition he has given a number of presentations and written a number of articles on music library education topics. He was one of the founding members of the MLA’s Music Librarianship Educators’ Roundtable and is currently its coordinator.

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Index

A academic libraries/librarians, 1, 58–59, 111–34, 139, 151; applying for work in, 96–97; continuing education, 168–69, 176, 188; ecosystem, 158; preferred qualifications, 76; training, 28, 40; working in, 3–4, 6, 8, 145 Alexander Street Press, 174; job posting, 39, 47n44 Allen, C. G., Manual of European Languages for Librarians, 78 American Association of University Professors (AAUP), 114, 132; “Statement on Collective Bargaining,” 132; “Joint Statement on Faculty Status of College and University Librarians,” 113–14, 133; “Statement of Principles on Academic Freedom and Tenure,” 114, 122 American Guild of Organists, 184 American Library Association (ALA), 38, 78–80, 82, 84, 86, 114, 126, 128, 169–71, 173–74, 183–85, 188–89; ALA Leadership Institute, 170; ARTSGuide, 84; Dance Librarians’ Discussion Group, 186, 189; TechSource, 79. See also Association for Library Collections and Technical Services; Association of College and Research Libraries; Public Libraries Association; Reference and User Services Association American Musicological Society (AMS), 114, 132, 171, 186, 190; Journal of the American Musicological Society (JAMS), 190; Music Library Association/American Musicological Society Joint Committee on the Répertoire international des sources musicales, 185–86, 190 Anderson, Gillian, “Putting the Experience of the World at the Nation’s Command: Music at the Library of Congress, 1800–1917,” 41 Angell, Richard, 27 application materials, 52, 60, 62– 64, 69–70, 81, 83, 93, 95–105, 108; cover letter, 70, 77, 81, 93, 97, 99–101, 103, 109, 196; curriculum vitae, 85, 97–99, 100, 102, 121, 151; résumé, 37, 58, 61, 64–65, 77, 81–82, 84, 89, 93, 97–99, 109, 146, 151, 196

Archer-Capuzzo, Sonia, 34 archives, 4, 9–11, 58, 145–46; digital, 15, 81; education and training, 30, 63; job opportunities in, 89, 142–43; literature, 197–98, 201; professional development, 169, 176, 188; and reference work, 6, 7 Archivists’ Toolkit, 79 Arizona State University, 204 ARLIS/NA Reviews. See Art Libraries Society of North America (ARLIS/NA) Arnold, Donna, 6–7 ARSC Journal. See Association of Recorded Sound Collections (ARSC) Art Documentation. See Art Libraries Society of North America (ARLIS/NA) Art Libraries Society of North America (ARLIS/NA), 171, 186, 189; Art Documentation, 189; ARLIS/ NA Reviews, 189 Askey, Dale, 120 assistantships, 53, 54 (fig.2), 66, 76, 102 Association of American Colleges, 114; “Joint Statement on Faculty Status of College and University Librarians,” 113–14, 133 Association of American Colleges and Universities, 114 Association of American Library Schools, 131 Association of College and Research Libraries (ACRL) 82, 83, 84–85, 113–14, 116, 128, 129, 131–32, 167–68, 172, 185, 188, 200, 203, 206; ACRL Harvard Leadership Institute, 84, 167–68, 206; Arts Section, 82–85, 189; Committee on Academic Status, 114; C&RL News, 128; “Joint Statement on Faculty Status of College and University Librarians,” 113–14, 133; “Standards for Faculty Status for College and University Librarians,” 114–16, 128, 131 Association for Library Collections and Technical Services (ALCTS), 188 Association of Music Personnel in Public Radio, 186 Association of Recorded Sound Collections (ARSC), 24, 79, 171, 186, 188, 201; ARSC Journal, 176, 188

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Association of Research Libraries (ARL), 108, 114, 169, 185, 200, 206; ARL/MLA Diversity and Inclusion Initiative, 185; Leadership and Career Development Program (LCDP), 169–70; Research Libraries Leadership Fellows (RLLF), 170 Atomic Learning, 167 Audacity (computer program), 167 audio collections and care, 17, 59, 79, 146, 188, 198 audiovisual equipment, 198 AudioVisual Preservation Services, 174 AUTOCAT, 174 B bargaining. See compensation; unions Bates College, 157, 161 Baylor University, 204–5 British Broadcasting Corporation (BBC), 207 benefits. See compensation Belgian Royal Conservatory, 26 Benson, Jim, 148 bibliographic instruction. See library instruction blogs, 70, 173–75 Bloomington, Indiana, 26 Borrow Direct Music Group, 156 Boston Athenæum, 155–56, 161 Boston Public Library, 25, 161 Bowdoin College, 162n3 Bowling Green State University, 204, 207 branch music libraries, 3–4, 6, 34, 117, 157 Britten, Benjamin, 11 broadcast libraries. See radio libraries Bradley, Carol June, 28; 45n35; “The Music Library Association: The Founding Generation and Its Work,” 41; “Classifying and Cataloging Music in American Libraries: A Historical Overview,” 42 Brooks, Tim, “Copyright and Historical Sound Recordings: Recent Efforts to Change U.S. Law,” 43 Brown University, 38, 155–56, 159, 161, 206 Butler University, 205, 207 C California State Library, 173 California State University in Fresno, 123 Canadian Association of Music Librarians (CAML), 186 Case Western Reserve University, 28 Careers in Music Librarianship, 1st ed. ix, 23, 40, 53, 69, 71

Careers in Music Librarianship, 2nd ed., vii, ix, 25, 28, 30, 47n41, 69, 71, 156, 195, 204 Carli, Alice, Binding and Care of Printed Music, 197; preservation course, 79, 166 Carnegie Classification of Institutions of Higher Education, 128 cataloging, 13–15; continuing education, 28, 171–72, 174; digital materials, 80; education for/ coursework in, 26–28, 30–34, 36, 47n44, 76, 78; experience, 64, 78; literature, 42, 119, 175, 177, 185, 198–99, 202; non-print media, 28, 189–90; organizations, 18–90; as a portion of duties, 4, 17, 59, 148, 157, 165; positions, 7, 10, 78, 80, 122, 129, 144, 146; role of, 156; standards, 31, 44n5, 78, 146; and the tenure process, 122, 129, 131, 134, 137n55. See also metadata Catholic University of America, 33, 35, 206 Chamber Music America, 186 Chamberlain, Gladys, 44n11 Chartered Institute of Library and Information Professionals (CILIP), 174, 176 Chicago Public Library, 27 Christensen, Beth, “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries: A Progress Report,” 42 Choice, 175 The Chronicle of Higher Education, 89, 126, 162n12 Clark, Joe C., “What Employers Want: Entry-Level Qualifications for Music Librarians,” 39–40, 47n46, 55, 58, 59, 90n2; “Job Trends in Music Librarianship: A Nine-Year Analysis of the Music Library Association’s Job List,” 47n40, 53, 141 classification, education, 26, 30, 32–34; literature, 42, 119, 198–99. See also cataloging classified staff. See paraprofessional positions in music libraries Clercx-Lejeune, Suzanne, 26 Cleveland Orchestra, 205 Cleveland Public Library, 145, 148, 205 Cleveland, Susannah, “Variation on a Traditional Theme: The Question of Racial and Ethnic Diversity in MLA,” 41; “Survey of Music-Library Personnel Characteristics, 2009,” 41, 58, 115, 126–27 CLICK U (Continuous Learning to Improve Career Knowledge), 172 Colby College, 161 Colgate University, 206

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INDEX

collection development/management, 11–13; in archives, 9; continuing education, 28, 172; cooperative, 156; as a core competency, 25; education in, 30–34, 78; literature, 41, 176, 199–200, 202; as a portion of duties, 59, 157, 165 collective bargaining. See unions Columbia College Chicago, 145 Columbia University, 27–28, 44, 130 (fig. 4), 161 Colvin, Jenny, 12–13 compensation, benefits, 103–4; negotiation of, 63, 81, 93, 103–4, 107–9, 127; salary 107–8, 119, 123, 153, 158–59 Computers in Libraries, 175 conference presentations. See scholarly presentations conservation, education for, 30, 31–32, 34; literature on, 197. See also preservation content management systems, 79 continuing education, 77, 119–20, 163–77 Conway, Ashley Keylon, “The Music Librarian as Development Officer: Raising Funds for Special Collections,” 43 copyright law, 30, 32, 42–43, 79–80, 200–1 core competencies for music librarianship, 21, 25, 30–33, 36, 40, 197 Cornell University, 114, 156, 160–61; Digital Preservation Management Workshops, 79 Council on Library Information Resources (CLIR), 168–69, 170 Council on Library Resources (CLR), 168 cover letter. See application materials Cuervo, Adriana, 10–11 curriculum vitae. See application materials Curtis Institute of Music, 206 Cuyahoga Community College, 205 CV. See application materials D Dalby, Michael, 145 Dalmau, Michelle, “The IN Harmony Project: Developing a Flexible Metadata Model for the Description and Discovery of Sheet Music,” 43 Dartmouth University, 129, 130 (fig. 4) Dederick, Emma, 9–10, 18–19 Depauw University, 8, 206, 207 DePew, John N., 126 desired qualifications. See qualifications for music library positions development. See fundraising

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digitization, 17–18, 79, 147, 166, 172 “Directory of Library School Offerings in Music Librarianship.” See under Music Library Association diversity, 41, 96, 100, 127, 169, 185, 206. See also ARL/MLA Diversity and Inclusion Initiative discussion lists, 166, 174 Dixon, Catherine, 162n3 Doherty, Brian, 162n3 Dominican University, 33, 35 Dougan, Kirstin, “Music to Our Eyes: Google Books, Google Scholar, and the Open Content Alliance,” 42 Drexel University, 156, 207 Duggan, Mary Kay, 40, 53, 58–59 Duke University, 130 (fig. 4), 169 DuMont, Mary, “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries: A Progress Report,” 42 Duraspace, 172–73 E Eastman School of Music, 79, 148, 166. See also University of Rochester education for music librarianship, 3, 21–48, 53–55, 62–64, 76–77, 79, 196–97 EDUCAUSE, 168–70 Edwin Mellen Press, 120 Electronic Frontier Foundation (EFF), 79 Encoded Archival Description (EAD), 10, 79 ensemble librarians, education of 36–37; job postings for, 86, 47n40; job prospects for, 62; literature for, 29, 202; volunteer opportunities, 142; work of, 4, 39. See also Major Orchestra Librarians’ Association F Facebook. See social media faculty status, 59, 82, 111, 113–34, 196 Fedora, 173–74 Feedly, 174 Fenske, David, 156 Fields, Mary Alice, “Virtual Reference in the Music Library,” 42 Finale (computer program), 167 Flapcast.com, 173 Flickr. See social media Fling, R. Michael, “Tips on Acquiring Music,” 42 Florida State College, 27

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Fontes Artis Musicae. See under International Association of Music Libraries, Archives, and Documentation Centres (IAML) foreign languages. See language skills needed for music librarianship Free Library of Philadelphia, 6 Frye Institute. See Leading Change Institute fundraising, 29, 34, 39, 79, 146, 165, 170, 201–2 Furman University, 12 G Girsberger, Russ, 4, 39, 47n40, 202 Google Translate, 78 Gordon, Rachel Singer, 91n24; Librarian’s Guide to Writing for Publication, 83 Gorman, Michael, 123 Gottlieb, Jane, “Reference Service for Performing Musicians: Understanding and Meeting Their Needs,” 42 Green, Alan, “Taking Note: Assessing the Performance of Reference Service in Academic Music Libraries: A Progress Report,” 42 Grove Music Online Advisory Panel, 185 Guitar Foundation Archives, 148 H H-Net: Humanities and Social Science Online, 85 Hahn, Trudi Bellardo, 83 Harvard University, 84, 130 (fig. 4), 167–68, 206 Hassen, Marjorie, 162n3 Haupt, Jon, 147, 150 Hauptman, Robert, 83 Heath, Kristin, “Gifts 101: A Systematic Approach for Gifts of Music,” 41 Heckmann, Harald, “Half a Century,” 41 Heigemeir, Ray, 5–6 Hemmasi, Harriette, 155–58, 161 Heyer, Anna Harriet, 27, 44n11, 45n12 Hoek, D.J, “The Download Dilemma: The Demise of the Compact Disc Signals an Uncertain Fate for Library Sound Recording Collections,” 43; “Licenses and Acquisitions: The Case of Digital Downloads,” 43 Hunter College, 27 Hursh, David, “Calling All Academic Music Library Reference Desks,” 42; “Calling All Academic Music Library Reference Desks: A Follow-up Study,” 42

I Ibironke, Lawal O., Library and Information Science in the 21st Century, 83 IMSLP/Petrucci Music Library, 16 Inch, Herbert, 27 Indiana University, 9, 16, 33–35, 130, 149, 161 InfoPeople, 173 International Association of Music Libraries, Archives, and Documentation Centres (IAML), 23–24, 30, 45n22, 46n37, 171, 175, 186–87; Fontes Artis Musicae, 40, 85, 175, 186 International Federation of Associations and Institutions (IFLA), 171, 174 International Index to Music Periodicals, 195 International Society for Music Information Retrieval (ISMIR), 186–87 instruction. See library instruction internships, 4, 23–24, 27, 35, 36–38, 40, 53–54 (fig.2), 56, 59–61, 64, 66, 77, 84 interview presentation, 63, 105–6 interviewing for employment, 62–64, 93, 104–7, 196 Iowa City Public Library, 161 J Jaeger, Paul T., 83 job advertisement. See job posting job announcement. See job posting job crafting, 143–44 job descriptions. See position descriptions job offers, 107–9 job posting, 70, 75–78, 80, 86, 89, 119, 152, 195–96 job searches, 49–65, 69–70, 86, 95–96, 109, 143 Johns Hopkins University. See Peabody Institute “Joint Statement on Faculty Status of College and University Librarians.” See under Association of College and Research Libraries (ACRL) Journal of Academic Librarianship, 83–84 Journal of the American Musicological Society (JAMS). See under American Musicological Society (AMS) Justice, Andrew, 17–18 K Kansas State University, 120 Kaspar, Wendi Arant, 83–84 Keller, Michael, 155–61 Kent State University, 70, 77, 166, 204 Kirsch, Erika, 4 Kinkeldey, Otto, 25–27, 44n6, 114

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Kulczak, Deborah E., “Lexicon of Love: Genre Description of Popular Music is Not as Simple as ABC,” 42 L LaBaugh, Ross, 123 Landstreet, Steve, 6 language skills needed for music librarianship, 13, 39, 47n44, 78, 87–88, 97 Lawton, Dorothy, 27, 44n11 Leach, Andy, 143, 145–46, 150; “One Day It’ll All Make Sense: Hip Hop and Rap Resources for Music Librarians,” 41 leadership development, 167–70 Leading Change Institute (LCI), 168–70 LearnKey, 167 Lennertz, Lora, “Lexicon of Love: Genre Description of Popular Music is Not as Simple as ABC,” 42 library administration, 153–61, 184; education for, 27, 30, 33–34, 166; literature, 175, 177, 195, 196, 202; as a portion of duties, 59 Library Administration & Management, 175 Library Hi Tech News, 175, 176 Library Literature, 195 library instruction, 8–9; continuing education for, 174, 176, 203; delivery of, 133; education for, 31, 79; evaluation of, 122; obtaining experience with, 64, 76, 78; as a portion of duties, 17, 59, 122; transferability of, 147 Library Journal, 28, 108, 175, 177, 184 Library of Congress, 27, 78, 89, 173, 187, 190, 199, 206 library user education. See library instruction library users. See music library patrons LinkedIn, 64, 174 LOEX (Library Orientation Exchange), 171, 174 Long Island University, 29 Luening, Otto, 26, 44n8 Lynda.com, 167 Lyrasis, 171 M Madan, Raj, 120–21 Major Orchestra Librarians’ Association (MOLA), 4, 23, 36, 47n39, 47n40, 86, 186, 188, 202; “The Orchestra Librarian: A Career Introduction,” 4 Manus, Sara J. Buetter, “Librarian in the Classroom: An Embedded Approach to Music Information Literacy for First-Year Undergraduates,” 41

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Maple, Amanda, Guide to Writing Collection Development Policies for Music, 32–33 Marley, Judith L., “Education for Music Librarianship within the United States: Needs and Opinions of Recent Graduate/Practitioners,” 41, 44n4 Martin, Morris, 205 Massachusetts Institute of Technology (MIT), 129–30 (fig. 4) Massive Open Online Courses, 133, 159, 171 Matthews, Paula, 155, 157–58, 161 McAnally, Arthur, “Status of the University Librarian in the Academic Community,” 120 McBride, Jerry, “The Effect of Orphan Works on Music Libraries: The 2005 U.S. Copyright Office Roundtables,” 42 McGill University, 4 McKnight, Mark, 29, 137n55 McMaster University, 120 McTyre, Ruthann, 204 Medical Library Association, 131 mentors and mentoring, 21, 24, 28, 36–38, 40, 46n37, 47n38, 51, 58, 63, 125, 146, 151, 166, 168, 169, 183–85, 191 Merkey, Terra, “Gifts 101: A Systematic Approach for Gifts of Music,” 41 metadata, 13–18, 36, 81, 119, 122, 171, 187, 199. See also cataloging Microsoft Office, 90n23, 172 Midwest Notebook, 84 Miller, Catherine Keyes, 44n8 Milton College, 128 minimum requirements. See qualifications for music library positions MLA-L (Music Library Association electronic discussion list), 23, 44n1, 52, 86, 166, 174 MLIS (Master’s of Library and Information Science), xin1, 21, 24, 26–27, 35–36, 39–40, 45n22, 49, 52–56, 62–63, 65–66, 71n4, 76–79, 81, 89, 98, 114, 125–26, 141, 169, 196, 206–7 MLS. See MLIS MOOCs. See Massive Open Online Courses Moody, Laura, 7 Morrow, Jean, 25, 35; Guide to Writing Collection Development Policies for Music, 32–33 MOUG. See Music OCLC Users’ Group Moriarty, John, 132–33 moving for a job, 59, 64–65, 68, 81, 103–4, 108, 147 Mullin, Casey, 15–16

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music librarians; core competencies for 21, 25, 30–33, 36, 40, 44n3, 197; definition and mission of, vii–viii, 3–19; education and training of, 23–48, 76–77, 196–97; general duties of, 3–19; general resources for, 195–96; history of profession, 25–28, 30–31, 33, 41, 44n4, 184, 186 Music Library Association (MLA); ARL/MLA Diversity and Inclusion Initiative, 185, 206; Basic Manual series, 29, 33, 119, 174, 185; Career Advisory Service, 69, 207; Career Development and Services Committee, 19n2, 44, 83, 187, 197, 204; “Core Competencies of Music Librarians,” 25, 30–33, 40, 44n3, 197; “Directory of Library School Offerings in Music Librarianship,” 28, 37, 76, 166, 196; Education and Outreach Program and Subcommittee, 28; Education Committee, 29, 83, 172, 207; Get Involved program at national meeting, 82, 191; Index and Bibliography Series, 185; Job List (see Placement Service); Kevin Freeman Travel Award, 191; mentoring program at national meeting, 46n37, 191; MLA/American Musicological Society Joint Committee on the Répertoire international des sources musicales, 185– 86, 190; MLA/Music Publishers Association / Major Orchestra Librarians’ Association Joint Committee, 185–86, 188; MLA Newsletter, 84; Music Cataloging Bulletin, 175, 185, 199; Music Librarianship Educators’ Round Table, 29, 36; Music Library Student Group (MLSG), 52, 69–70, 71n2, 187; Notes: Quarterly Journal of the Music Library Association, 26, 31, 40, 174–75, 185; Placement Service, 3, 47n40, 47n44, 53, 69, 75, 82, 86, 100, 195; Qualifications of a Music Librarian: A Report from the Committee on Professional Education of the Music Library Association, 26–27, 30; regional chapters, 82, 184–85, 191; reduced registration program at national meeting, 191; Résumé and Cover Letter Review Service, 69, 101, 185, 204; “Survey of Personnel Characteristics, 2009,” 115, 117–18, 132; Technical Reports Series, 119, 174, 185 Music Library Association of Japan, 186 music library patrons, 3, 5–8, 10–16, 18, 23, 25, 37, 45n20, 75, 145, 172, 203 music history. See musicology Music Index, 195 Music OCLC Users’ Group (MOUG), 156, 171–72, 185–87, 190, 199

Music Reference Services Quarterly, 29, 40, 85, 175, 205 musical theater, 11–12 musicology, 6, 11, 35, 45n22, 46n22, 46n34, 52, 59–60, 114, 126, 132, 175, 190, 196, 204–7 N Name Authority Cooperative Program (NACO), 121, 187 National Association of College and University Business Officers (NACUBO), 133 National Association of Schools of Music (NASM), 117, 123, 129, 132 National Endowment for the Humanities (NEH), 34, 79 National Information Standards Organization (NISO), 185 Naxos Music Library, “The Naxos Blog,” 174 negotiating. See compensation Nelson, Mac, “The Cello Music Cataloger as Program Builder,” 42 New College of Florida, 162n3 New England Conservatory, 27, 45n15 New York College of Music, 27 New York Public Library, 114, 173, 184 Newcomer, Nara L., “Calling All Academic Music Library Reference Desks: A Follow-up Study,” 42 nonprofit organizations, employment in, 79, 139, 145–46 North Carolina Central University, 169 North Carolina State University, 169 North Texas State College. See University of North Texas Northwestern University, 35 Notes: Quarterly Journal of the Music Library Association. See under Music Library Association Nspired2, 173 O O’Meara, Eva Judd, 184 Oates, Jennifer, 30 Oberlin College, 161 OCLC, 156, 171, 185, 187, 192n8, 195, 199; WebJunction, 172 Ohio State University, The, 52, 207 OhioLINK, 205 Online Audiovisual Catalogers (OLAC), 171, 186–87, 189–90; OLAC Newsletter, 190

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Openbaremuziekbibliothek, Utrecht, 161 Oracle (software platform), 167 orchestra libraries. See ensemble libraries outreach, 5–6, 8, 12, 28, 59, 79, 81, 83, 145, 172, 186, 189, 205–7 OverDrive, 205 P paraprofessional positions in music libraries, 55, 59, 63, 68, 111, 116–17, 125, 127, 172 Park, Betsy 129 pay rates. See compensation Peabody Institute, 205–7 Percussive Arts Society (PAS), 186 performance libraries. See ensemble libraries Phinney, Scott, “ ‘Can’t I Just Listen to That Online?’: Evaluating Electronic Access to Audio for Music Libraries,” 43 phone interviews, 55–56, 58, 62, 67, 70, 77, 81, 96, 104–5 Ponella, Phil, 148–50 position advertisement. See job posting position announcement. See job posting position descriptions, 28, 39, 55, 96, 98, 100, 143, 151, 165 poster sessions, 82, 85–86, 123, 191 practicum experiences, 21, 23–24, 27, 36–38, 40, 53, 56–57, 66, 77–78 preferred qualifications. See qualifications for music library positions preprofessional experience. See assistantships, internships, practicum experiences, and volunteering presentations. See interview presentations, library instruction, or scholarly presentations preservation, 1, 4, 7, 10, 12, 16–18, 30, 32, 34, 59, 76, 78–79, 81, 119, 122, 165–66, 173–76, 188, 201, 197 Procell, James, 14, 16 Princeton University, 130 (fig. 4), 157, 161 professional development and support, 40, 63, 69, 80, 82, 107–8, 115–16, 120, 127, 133, 149, 151–52, 163, 165–80, 191, 206 professional service, 59, 77, 81–83, 86, 113, 121–24, 181–92, 204 professional staff, 111–38. See also faculty status promotion. See rank and status PUBLIB, 174 Public Libraries, 175

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public libraries/librarians, 1, 25–26, 33–34, 39–40, 44n11, 58–59, 114, 128, 139, 148, 161, 174, 177, 183–84, 188, 205; applying for work in, 97; compared to work in an academic library, 145; professional activity in, 82; public services in, 6, 8; qualifications for, 27; training for, 28, 40 Public Library Association (PLA), 171, 183, 186, 188 public services, 1, 5–9, 11, 13, 17–18, 26, 33, 76–77, 117, 122, 137n55, 144, 148, 183, 187, 189, 204–5. See also library instruction; outreach; reference services publication as professional activity, 81–85, 97–100, 113, 121, 123–24, 181, 187–88, 190. See also research Puente, Mark, “Variation on a Traditional Theme: The Question of Racial and Ethnic Diversity in MLA,” 41; “Survey of Music-Library Personnel Characteristics, 2009,” 41, 58, 115, 126–27 Purdue University, 87, 132 Q qualifications for music library positions, 4, 21, 25–28, 30, 34, 38–40, 45n22, 47n46, 52–53, 55, 59, 62, 64, 73, 75–80, 82, 84, 86–87, 89, 90n3, 90n5, 93, 95, 97– 99, 111, 120–21, 124–26, 131, 139, 142–43, 151–52, 202. See also music librarians: education and training of Quist, Ned, 38–39, 37n41 R radio station libraries, 4, 89, 139, 143, 186 rank and promotion, 98, 111, 113, 115–18, 119–25, 129–33, 156, 206. See also faculty status, tenure RDA. See Resource Description and Access Recent Researches in Classical Music series, 12 recommendations for employment. See references for employment Reeder, 174 Reference and User Services Association (RUSA), 177, 188, reference services, 3–11, 15, 17, 23– 26, 28–29, 31–34, 37, 40, 42, 47n44, 59, 64, 68, 78, 81, 85, 144, 146–49, 157, 162, 172, 177, 188, 193, 203–7 references for employment, 58, 78, 81, 84, 97, 100–2, 119 relocation. See moving for a job Répertoire international d’iconographie musicale (RIdIM), 186–87

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Répertoire international de littérature musicale (RILM), 80, 174, 186–87; “Bibliolore: The RILM Blog,” 174; RILM Abstracts, 84 Répertoire international de la presse musicale (RIPM), 186–87 Répertoire international des sources musicales (RISM), 185–87, 190 required qualifications. See qualifications for music library positions research; as professional activity, 4, 52, 59, 82, 83–86, 108, 111–38, 143, 145, 169–70, 190–91, 203–4; assistance with. See reference services. See also publication; scholarly presentations Research Libraries Group Music Program Committee, 156 researchers. See music library patrons requirements. See qualifications for music library positions Resource Description and Access, 78, 171–72, 189, 198 résumé. See application materials retirement, 49, 109, 118–19, 204 Riggs, Robert, 129 Riley, Jenn, “The IN Harmony Project: Developing a Flexible Metadata Model for the Description and Discovery of Sheet Music,” 43 Ritter, Marian, “The Friends of the Music Library at Western Washington University,” 43, 202 Rock and Roll Hall of Fame and Museum Library and Archives, 7, 10, 143, 145 Rodriguez, Sandy, 16–17, 18 Rutgers University, 10, 29, 157, 161 S sabbaticals and other leaves of absence, 113, 115–16, 118–20, 124, 127–28 salary. See compensation San Jose State University, 34 Sandor, David, “Planning and Organizing the Move to your New Library,” 41 Sasser, Patricia Puckett, “Sounds of Silence: Investigating Institutional Knowledge of the Use and Users of Online Music Collections,” 43 Scheinfeldt, Tom, 155 scholarly presentations, 34, 38–39, 77, 79, 83, 85–86, 97, 99, 123, 172, 188–89, 208. See also interview presentation and library instruction Schroeder, Ray, “Educational Technology” blog, 173 Schuller, Robert H., 75

Senior Fellows Program. See University of California, Los Angeles Servicemen’s Readjustment Act (GI Bill), 114 shelving and storage of music materials, 3, 4, 12, 17, 33 Sim, Yi Hong, 187 Simmons, Ruth, 159 Simmons College, 27, 33–34, 45n12 skills needed for music librarianship, soft, 75–76–80, 87, 100. See also music librarians: core competencies for; qualifications for music library positions Skype. See video interviews Smith, Carleton Sprague, 184 Smith, Jeanne R., 77 Smith, Rose, 128 Smithsonian Libraries, 173–74 Social Cognitive Career Theory (SCCT), 141, 150 social media, 5, 8, 23, 79, 86, 89, 99, 144, 160, 165, 173–74 social network/ing, 166, 171, 173–75, 202 Society for American Music (SAM), 171, 186, 190; Journal, 190; Bulletin, 190 Society for Ethnomusicology (SEM), 186 Society for Seventeenth-Century Music (SSCM), 186 Sonoma County Library, 147 sound archives, 16, 17–18, 43, 79, 188 Southern Methodist University, 147, 204–5 space planning and use, 12, 32, 183, 198 Special Libraries Association (SLA), 131, 171, 174, career center, 89 St. John’s College, 162n3 St. Olaf College, 206 Staff. See paraprofessional positions in music libraries, faculty status Stanford University, 5, 15, 79, 129, 130 (fig. 4), 155, 156–57, 161 status of music librarians. See rank and promotion Stone, Scott, 9 SUNY Buffalo, 162 support staff. See paraprofessional positions in music libraries Sutton, Lynn, 130 Syracuse University, 156 Szymanski, Gerald, “Virtual Reference in the Music Library,” 42 T teaching in music libraries. See library instruction Temple University, 207

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tenure, 56, 59, 76, 82, 111–38, 196, 205 theater, 3, 85, 126, 183, 189 Theatre Libraries Association (TLA), 131, 189; Broadside, 189; Performing Arts Resources, 189; TLA Promptbook, 189 Think Tutorial, 167 Tiefenthaler, Jill, 130 Triangle Research Network (TRLN), 169 Tsou, Judy, 190 Twitter. See social media U unions, 132. See also American Association of University Professors (AAUP) University of Akron, 148 University of Buffalo, 34, 35–36, 166 University of California, Berkeley, 40, 53, 156, 160–61 University of California, Riverside, 29 University of California, Los Angeles, Senior Fellows Program, 167–68 University of Canterbury, New Zealand, 29 University of Chicago, 27, 130 (fig. 4) University of Hartford, 205 University of Illinois at Springfield, 173 University of Illinois at Urbana-Champaign, 10, 23, 28–29, 31, 34–35, 41, 44n5, 114, 162, 206–8 University of Iowa, 34, 205 University of London, 207 University of Louisville, 14, 16 University of Maryland, Baltimore County, 204 University of Michigan, 27, 207 University of Missouri-Kansas City, 16, 206 University of North Carolina at Chapel Hill, 33–34, 169, 205 University of North Texas, 6, 17, 27, 44n11, 204–6 University of Notre Dame, 155–56, 162 University of Oxford, 207 University of Pennsylvania, 130 (fig. 4) University of Pittsburgh, 29 University of Rochester, 148–49 University of South Carolina, 34, 205 University of Tennessee, Knoxville, 206 University of Texas at Austin, 29; “Copyright Crash Course,” 79 University of Utah, 204 University of Virginia, 90n5, 130, 155, 157, 162 University of Washington, Seattle, 34, 190 University of Wisconsin-Madison, 29

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US Bureau of Education, 27 US Bureau of Labor Statistics, 141 U.S. News and World Report, 129–30 (fig.4) user education. See library instruction V Vanderbilt University, 207 vanDuinkerken, Wyoma, 83–84 video collections and care, 11, 28, 31, 79, 84, 172–73, 189–90, 198 video interviews, 55–56, 58 (fig. 5), 62, 67, 104–5 Vimeo, 173 volunteering, 54 (fig. 2), 53, 56–57, 59–61, 62–64, 66, 77–79, 82, 84–85, 142–43, 147, 151 VTC Computer Software Training, 167 W Wagstaff, John, “The International Association of Music Libraries (IAML): Past, Present, and Future,” 41 Wake Forest University, 130 Walker, Diane Parr, 155–59, 160, 162 Wallace, Ruth, Care and Treatment of Music in a Library, 27 Washington State University, 204 Web-Based Information Science Education Consortium, 28–29 Webber, Sheila, “Information Literacy Weblog,” 173 webinars, 77, 79, 165, 172–73, 175, 198 websites for jobs, 69–70, 89. See also Music Library Association: Placement Service Weichlein, William, 27 Wells, Veronica Alzalde, 187 West Chester University, 119 Western Illinois University, 29 Wilde, Oscar, 95 Wittenborg, Karen, 130, 155–56 Wright, Stephen, 155–56 writing, developing ability, 77, 83–85, 87; as professional activity 125–26, 143, 147. See also publication Y Yale University, 129, 130 (fig. 4), 157, 161, 174, 184, 204–5 YouTube, 173 Z Zager, Dan, “Essential Partners in Collection Development: Vendors and Music Librarians,” 41

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M u s i c L i b ra r y A s s o c i a t i o n Te c h n i c a l R e p o r t s S e r i e s , Vo l u m e 3 3

Careers in Music Librarianship III: Reality and Reinvention

M u s i c L i b ra r y A s s o c i a t i o n Te c h n i c a l R e p o r t s S e r i e s , Vo l u m e 3 3 TR 33

Music librarianship—a profession that brings joy and satisfaction to many—is subject to constant change that requires, in turn, continual adaptation from its practitioners so that they become comfortable with new technologies and formats, changing standards, and fresh approaches. Relevant and solid training and education are crucial to success in this field, but they alone are insufficient to leaving graduates from programs in librarianship sometimes unemployed and with little feedback about the quality of their experience and education while their employed counterparts likewise have little knowledge of their skills’ relevance to the current job market. Knowledge of training, education, and current employer expectations for music librarians can help ease such concerns and pave the way for a successful career or career change. As with the two previous editions of Careers in Music Librarianship, this volume provides career resources and guidance for current and future librarians, as well as insights for mentors and educators working with these populations. With this volume, the contributors provide a selection of readings that can help people in and considering this profession to make realistic, informed, and strategic decisions about how to succeed in it. As the profession changes, so must the professionals within it, and everyone involved with music librarianship will benefit from the guidance offered in this exciting, new book.

About the Authors Susannah Cleveland is the Head Librarian at the Music Library and Sound Recordings Archives at Bowling Green State University where she is a frequent member of search committees. She has served as the Music Library Association’s Placement Officer and participated in MLA’s Résumé and Cover Letter Review Service. Joe C. Clark is currently Head of the Performing Arts Library at Kent State University. His research interests include librarian training and employment trends, collection management/resource sharing, library administration/management, and American vernacular music. He holds an MA in Ethnomusicology from Arizona State University, an MA in Information Resources and Library Science from the University of Arizona, and a BA in Music from the University of Utah.

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Careers in Music Librarianship III: Reality and Reinvention Cleveland & Clark

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Careers in Music Librarianship III: Reality and Reinvention Susannah Cleveland & Joe C. Clark

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