Music Reference for the General Reference Librarian Jean Wald

ABSTRACT. This article serves as a resource for reference librarians in undergraduate academic libraries who are not specialists in music, but occasionally answer reference questions about music. The emphasis is on standard musical reference works, several relevant databases, and select Websites which have proven durable, all emphasizing Western art music (“classical music”). It is not meant in any way to advocate replacing music specialists. [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-HAWORTH. E-mail address: Website: © 2004 by The Haworth Press, Inc. All rights reserved.]

KEYWORDS. General reference, music reference

Music is another planet. —Alphonse Daudet Outside large research libraries with subject specialists or separate subject-specific libraries, it is necessary to tackle reference inquiries outside the scope of one’s usual assignment and expertise. I encountered this in a previous position when assigned to prepare not only a list of appropriate reference materials but a full hour-and-a-half bibliographic instruction session on the stock market. I can assure the reader Jean Wald is Music Librarian at Stetson University, DeLand, FL 32723. Music Reference Services Quarterly, Vol. 9(1) 2004 http://www.haworthpress.com/web/MUSIC © 2004 by The Haworth Press, Inc. All rights reserved. Digital Object Identifier: 10.1300/J116v09n01_02

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that, as a librarian with two degrees in music and little interest in the world of business, I was terrified at the prospect and felt very inadequate for the task. After a full week of frantically reading on the subject and identifying and searching appropriate reference tools, I presented the session to the professor’s satisfaction. Fortunately, the professor was available to help answer his students’ questions, the ideal situation in any collaborative venture. Since many disciplines have specialized vocabularies, it can be a daunting experience, or at least a confusing and unnerving one, to be asked a reference question for which one has little background or knowledge. The Music Library Association’s definition of music librarian is “a librarian qualified to specialize in music. A broad musical background is essential, for music of any style, medium, or era can find a place in a library. Aptitude and training in both music and librarianship are necessary.”1 Undergraduate academic libraries, however, often lack subject specialists. The American Library Association reports approximately twenty-five thousand academic librarians in nearly four thousand academic institutions.2 More than thirteen hundred of these institutions have music departments or schools of music, but a very small number (216) of librarians are listed as Music Librarians in the College Music Society’s Directory of Music Faculties in Colleges and Universities, U.S. and Canada.3 According to the Treasure/Executive Secretary of the Music Library Association, there are nearly nine hundred personal members of the organization in the United States.4 As this number probably includes most of the music librarians listed by CMS, one might conclude that hundreds of academic institutions have no music librarian to assist faculty and students with reference and research. There are two basic types of inquiries relating to music: first, finding the music itself, either a score or recording of a musical composition; second, finding information about music. The first type of question is usually a direct one such as “Do you have a score of Beethoven’s Eroica Symphony?” The second type may cover as many questions as one can imagine, for example, inquiries concerning composers, performers, editors, arrangers, analysis or interpretation of musical works, style periods of Western music history, music of non-Western cultures, technical exercises for voices or instruments, instruction manuals and method books, information about instruments, manuscripts, dramatic works involving music, and the best websites for buying out-of-print compact discs. Music reference sources can generally be grouped as in other disciplines: dictionaries, encyclopedias, bibliographies, directories,

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histories, and chronologies. However, when faced with an unfamiliar vocabulary, one might understandably have a moment of panic. Students appreciate honesty, so if answering a query takes longer than expected, there is no harm in asking for a bit of extra time to investigate the answer. As most performers will attest, some performance anxiety is normal and can actually be beneficial in sharpening one’s wits! That anxiety also indicates that the goal is to give the best service possible to the patron. And remember–students sometimes experience anxiety when approaching the reference desk. DISCOVERING THE VOCABULARY OF MUSIC For the librarian who is relatively unfamiliar with musical terminology, scanning The New Harvard Dictionary of Music, an edition of which will be found in many academic libraries, would be a useful exercise.5 However, since this is a dictionary by musicians for musicians, a good general place to begin is The Essentials of Music, a website that introduces basic vocabulary using short, non-technical definitions.6 This is a cooperative effort of Sony and W.W. Norton, built around their Essential Classics CD series. There are also brief dictionaries in print which are less specialized than the Harvard, such as The Grove Concise Dictionary of Music, which is also available on the Web via the Gramophone site.7 It comes as a surprise to musicians to learn that not all their terms of art are recognized even in the best music cataloging. For instance, singers will ask for Lieder, mélodies, canciones, or art songs; however, the Library of Congress Subject Headings which are used by the majority of academic music libraries lumps all of these together under the heading songs, which includes both art music (“classical”) and popular music such as songs from Broadway shows. Even the classification scheme reflects this, intermingling both opera and Broadway musicals in one classification number (M1500 for full scores; M1503 for pianovocal scores). A student might ask “What is the meaning of the word schnell on this page of music?” To look in a specific language dictionary, you would need to know that the word is German; however, if you have a copy of Grigg’s Music Translation Dictionary you can simply look up the word in its alphabetic sequence in the index, see the designation “414GER,” turn back to that entry, and find that the English translation is fast.8 Grigg includes thirteen hundred musical terms in thirteen languages.

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Many foreign words encountered in music will be Italian, German, or French, so even without a multi-language resource for music you can probably find the answer in one of the standard foreign language dictionaries. There are other multi-lingual music dictionaries, but if your library lacks these another source is Babelfish; a free version of the Babelfish translation site is available through Altavista.9 Although the site is useful, it can result in some amusing translations of musical terms and titles. For example, Bach’s Die Kunst der Fuge returns the startling translation Art of the Joint, rather than the usual English version, The Art of Fugue, as it is known to musicians. PRONOUNCING MUSICAL TERMS, NAMES, AND TITLES Depending on one’s own language background, one may or may not be acquainted with standard pronunciations of musical terms, names, and titles. We librarians always want to get it right when on public display at the reference desk and there are sources that can help. Both Klee As in Clay and The Well-Tempered Announcer: A Pronunciation Guide to Classical Music are useful, although they are far from comprehensive.10 A fine website exists, however, devoted exclusively to music and musicians, Pronouncing Dictionary of Music and Musicians.11 Created for a radio station in Iowa, it is now available on the Web. At more than two thousand pages, it would be unwieldy in print, but is wonderful for quick online access. Now in its second edition, the current thirty thousand entries are arranged alphabetically and use a pronunciation system devised by a staff member, rather than the familiar International Phonetic Alphabet. An extensive introduction provides background and explanation of the system and the website allows one to download and view without charge. One way around the need to pronounce an unfamiliar name is, of course, to ask the patron to spell the name or term so you can write it down before searching. It is also quite possible that the patron may not be pronouncing the term or name correctly and might be pleased to find an authoritative source. The Pronouncing Dictionary is available both as pdf and WordPerfect files. FINDING THE MUSIC: SCORES The term score as found in a general dictionary has many non-musical meanings, but in music refers to the “written or printed piece of music

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with all the vocal and instrumental parts arranged on staves, one under the other,” “a written or printed copy of such a piece of music,” “the music itself,” or “the music played as background to or part of a movie, play or musical comedy.”12 As found in libraries via descriptive cataloging, the definition is almost identical to the first example cited above with the addition “. . . so that the parts may be read simultaneously.”13 In other words, printed music. A score that is intended to be played by several instruments simultaneously may be present as score and parts. This indicates that the item contains both the full score written out for all parts, one under the other, plus separate sheets for each individual instrument, for example, notes for the first violin printed separately for use by the single player and so on. Some other subcategories for scores are miniature score, study score, chorus score, and vocal score. For example, a miniature score is one that has either the text or the notation or both in reduced size, usually used for study purposes rather than performance. Shelving practices will vary; the commonly held small ones (18-20 cm.) are often kept separate from larger scores so that they are easier to find and shelve. In addition, most libraries keep their oversized materials in a separate location, often including scores. The common reference to all printed music as sheet music is somewhat erroneous. The dictionary definition of sheet music is “. . . usually a single composition, printed on unbound sheets of paper.”14 Not only library patrons, but online catalogs of publishers and sellers of scores often use the term sheet music for any printed music, adding to the terminology confusion. Some libraries have extensive collections of sheet music which, for practical reasons, will be housed in boxes and often are accessible only through a printed list or card file. Recently, however, the catalogs of some interesting collections have been mounted online, some with scanned images of the cover and pages of music.15 FINDING THE MUSIC: SOUND RECORDINGS Search techniques for locating recorded music are the same as those for scores. Except for recordings of large works, such as operas, symphonies, and similar genres, most sound recordings include more than one composition per physical item, and many are collections or anthologies. In addition to composer, title, and contents fields, the bibliographic record may include added entries for composers and titles of all the works on the item, plus added entries for names of others who have

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responsibility for the work: soloists, conductors, librettists, arrangers, and others. Some online catalogs may allow limiting a search by specific formats, such as compact disc, but if not, using the phrase “sound recording” might be a sufficient addition to the keyword search, for example, “bach and passion and sound recording”; however, this works only if the system indexes the subfield h in the title field of the bibliographic record. DETERMINING TITLES IN MUSIC In most bibliographic records, the descriptive cataloging for music includes at least two types of titles: uniform title and title proper. While the uniform titles are standardized by the rules of cataloging, the title proper is the title selected for the title page and may vary a great deal with the publisher or format of the work. The purpose, of course, of uniform titles is to bring all manifestations of a work under one heading. The high failure rate of new students trying to locate standard repertoire in the card catalog was one of the crucial factors that prompted music librarians at Indiana University to devise a program for explaining uniform titles to music students.16 Their system is well designed for self-instruction.17 Uniform titles are explained by dividing them into three main categories: form, distinctive, and collective, plus “descriptions of those additions to titles that help distinguish among different editions and formats of the same work . . ..”18 Although uniform titles are constructed by catalogers to create a logical arrangement of a composer’s works, it is not necessary to know the rules for their creation. In general, it is sufficient to remember a few trigger terms as guides for keyword searching: form (usually plural, such as symphonies), instrument(s), language, thematic catalog number (e.g., BWV for Bach), key, libretto or text, arrangement, or selection. For example, if a user needs a vocal score of Handel’s Messiah, you could enter “handel and messiah and vocal score” as keywords or browse the title “messiah” and look for the subheadings for type of score. Although keyword will often retrieve some irrelevant results, browse searches for music may result in missing the work needed. Students should be cautioned that it is better to find everything with keyword and put up with some irrelevant hits than to miss the work by being too specific or by relying on browsing.

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Transliterated titles sometimes look very different from their English counterparts. A student might ask, “Why can’t I find The Nutcracker in the catalog?” Depending on the catalog display, Nutcracker might not be in the initial browse list under the composer’s name, Tchaikovsky. The uniform title for Nutcracker is Shchelkunchik. Patrons searching the online catalog often tend to be very “correct” and carefully enter the composer’s name in the author field and the title in the title field. In so doing, one might miss many other examples of the work which are entered only as contents notes. For a very well-known work such as this, a keyword search using the composer’s last name and the common English title is usually sufficient, for example, “tchaikovsky and nutcracker.” While there are several reference books devoted to locating titles of music, there is no single comprehensive source. In fact, title is not a cut-and-dried concept, but this may not be obvious to a user, especially if searching for a commonly known title. For instance, the “Jupiter” symphony has the uniform title Symphonies, K. 551, C Major, but is often known and cited by its nickname. A cross-reference may or may not exist for a common title or nickname. Some titles are given in English versions rather than exact translations, such as Oùva la jeune Indoue? which is known by the English title, Bell song.19 Seemingly simple questions such as “Do you have a song by Purcell called Sound the Trumpet?” or “Do you have Schubert’s Mignon?” may lead you to extended research in order to identify which Sound the Trumpet and which Mignon is intended. In the first case, there are at least two; in the second case, nine. In both cases, ask the patron, “Which one?” but be prepared to receive the reply, “The famous one!” Probably because of the potential for confusion in identifying titles in vocal music (languages, translations, versions or nicknames, texts used in multiple genres), several websites have been developed to collect these titles into searchable form. The Lied and Art Song Texts Page provides information about thousands of art songs and other types of vocal pieces in fifteen languages via an easily searchable database. The Aria Database contains information about more than a thousand arias from the operatic literature. In addition to the texts and translations, there are also sound files of the music in MIDI format.20 Berkowitz’s Popular Titles and Subtitles of Musical Compositions covers mostly nicknames and subtitles, such as Rachmaninoff’s Crème de menthe variations and Rorem’s Eagles.21 Two old and well-known music reference titles, Barlow and Morgenstern’s Dictionary of Opera and Song Themes (earlier edition

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titled Dictionary of Vocal Themes) and their earlier Dictionary of Musical Themes both include some nicknames in the indexes.22 Pallay’s Cross Index Title Guide to Classical Music, part of the Music Reference Collection from Greenwood Press, provides a guide to finding the “true identity” of a particular work, including multiple nicknames for some titles.23 For example, Copland’s Music for Radio, also called Saga of the Prairie and later retitled Prairie Journal, is listed in all three places with the other two titles apparent in each. An arrow in each entry points to the “correct” title as it is probably found in library catalogs. Cross-references in the online catalog may also direct the user to the correct entry, if the work exists as a main entry. However, if the correct title doesn’t appear in a title field and one of the alternative titles appears only in a contents note, the user still may not find it without further searching and guidance by a librarian. USING COLLECTED WORKS EDITIONS Many individual works are not retrievable simply by searching the online catalog. If your library includes collected works or complete works editions of major composers, investigate these before deciding the needed piece of music is not available. Some libraries choose to include analytics of these sets and some do not; therefore, before assuming your library definitely doesn’t own a particular score, check the complete editions. The easiest way to do this is to consult the works list under the composer’s name in the Grove’s article, either online or in print, and, where it is spelled out for a particular composer, find the exact information for locating the work in the larger set. For example, take a look at the Grove’s article for Johann Sebastian Bach. Under the works list at the end of the article, look for an organ work titled OrgelBüchlein.24 In the first column is the Bach catalog number for this work, BWV 599-644, which is a collection of organ pieces based on chorale tunes, followed by the titles, dates of composition, and location in the two editions of Bach’s works: first, the BG, for Bach-Gesellschaft and the second, NBA, for Neue Bach Ausgabe.25 Scholarly editions of complete works of prolific composers are published in volumes over a period of time and your library may own only part of any given set if that edition is still in publication or if the library’s subscription has been fairly recent. As scholarship progresses, some composers’ works have even appeared in more than one edition,

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as in the Bach example. A hundred years separates the two complete editions. Users often overlook the complete works editions entirely unless prompted by a professor or librarian; even then, they are perplexed in trying to discover which volume contains the score they need, since the individual volumes contain tables of contents but often no listing for the entire set. Just locating the correct volume is a challenge. Adding to the difficulty is that complete works editions may include, in addition to volumes, series, parts, and critical reports.26 Note that most libraries do not allow these expensive volumes to circulate. In addition to collected editions of individual composers, there are also collections which bring together works by many different composers, based on criteria such as nationality and style period. Circulation policies will vary. USING THEMATIC CATALOGS It is important to know that many composers’ works have been codified by scholars into a kind of bibliography called a thematic catalog (also called a thematic index in AACR2).27 Thematic catalogs contain lists of the composer’s works, arranged in a logical order, either by work number (commonly, opus) or by categories (usually genres) and include the musical notation of a few notes at the beginning of each work and some explanatory material. Although the work number is often opus (Latin for work), it may also be a designation that represents the name of the compiler of the thematic catalog. For example, Mozart’s works are listed by K. numbers, Schubert’s by D. numbers, and Purcell’s works by Z. numbers.28 These catalog numbers may be used as keywords for locating specific works in online catalogs, for example, “lute and bwv 998.” To find the guitar arrangement of this work, enter “guitar and bwv 998.” FINDING PERSONAL AND CORPORATE NAMES Fortunately, most online systems ignore the omission of capitalization or diacritics in searching, but the transliteration of non-Roman alphabets can result in many possible spellings, depending on the system used. For example, the Russian name, Tchaikovsky, has thirty-five cross-references for alternative spellings in English and other languages. Whether these are included in the online catalog depends on the automated

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system and the procedures followed by the technical services librarians. For example, a student with a German edition of one of Tchaikovsky’s works might ask, “I tried looking up other pieces by Tschaikowsky, but nothing comes up in our catalog. Don’t we have more pieces by him?” The student may have tried a search with the spelling on the score and retrieved nothing, or may have simply missed the cross-reference to the preferred form; in either case, he or she needs to be directed to the correct entry. If complete cross-references are not available in the online catalog, the Library of Congress’s authority records are on the Web as a permanent free service.29 FINDING TITLES WHICH ARE PART OF LARGER WORKS OR ANTHOLOGIES In searching for an item published in an anthology, either printed or recorded, one must use keyword searching if available for the pertinent fields of the bibliographic record, i.e., title fields or contents notes. There are several caveats, however, that one must understand: 1) detailed contents of published anthologies are not always included in bibliographic records; 2) keyword searching of contents notes often retrieves irrelevant as well as relevant citations or records; and 3) excerpts of larger works are available to the student if the library owns printed or recorded manifestations of the larger work, even though the bibliographic record for the larger work may not explicitly indicate contents . . . Even an apparently simple query often requires the use of several information sources, including printed sources (e.g., composer works lists), that allow the user to determine opus number or thematic catalog numbers before initiating a keyword search.30 Fortunately, many libraries now participate in OCLC’s Bibliographic Notification Service, which notifies them when bibliographic records held by their institutions are updated or enhanced in the national utility. Subscribers to the service may then enhance their catalog records to the benefit of their users. FINDING INFORMATION ABOUT MUSIC Reference collections in music will likely include an edition of the Harvard Dictionary of Music and probably an edition of The Grove

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Dictionary of Music and Musicians or The New Grove Dictionary of Music and Musicians.31 The Harvard, a single-volume work, includes music terminology, abbreviations, and some musical examples, but not biographical material or lists of musical compositions. The Grove’s current print edition has 29 volumes and is considered the “bible” of musical information in English, including biographies of composers, extensive lists of their works, articles on periods of music (e.g., Baroque), genres (e.g., oratorio), forms of composition (e.g., sonata form), music of specific countries, and subjects related to music (e.g., music printing and publishing). Many libraries are now also subscribing to Grove’s in electronic form.32 In addition, there may be other encyclopedic works, such as The Garland Encyclopedia of World Music, All Music Guide to Jazz: The Definitive Guide to Jazz Music, and many titles published by Oxford University Press.33 Specialized sources exist for finding repertoire lists for both instruments and voice, such as Guide to the Pianist’s Repertoire and Music for the Voice.34 For finding journal articles, the Music Index is the most widespread index, appearing in both print and electronic forms.35 While it attempts to index more titles than other music databases, its indexing is less current than the other two, which are RILM Abstracts of Music Literature (RILM) (both print and electronic) and International Index to Music Periodicals (IIMP) (electronic only). According to Alan Green, RILM has the advantage of having the best international coverage although it indexes fewer titles. Green’s detailed analysis reveals much less overlap of titles covered by these three databases than might be expected.36 Even if one’s reference collection lacks specific music databases, many others which are not specific to music research often include articles on music. Some examples are WilsonWeb, EbscoHost Academic, ProQuest Complete, and Arts and Humanities Citation Index for general topics; Newsbank and ProQuest Newspapers, especially for information on current musicians; Medline, PsycARTICLES, and PsycINFO, for medical and behavioral aspects of music; and the business databases, such as ABI/Inform Complete for information on the business of music. A NOTE ABOUT OPAC SEARCHING Most of the automated catalogs found in academic libraries support keyword searching in addition to browse searching; however, authority control procedures vary. Some libraries are able to keep up with changes in authority records on a daily basis while others choose to update them

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on a less-regular basis, monthly, quarterly, or even annually. Some may choose not to do authority work at all. Although browse searching is adequate or even preferred for some disciplines, it isn’t usually the best technique for retrieving music. There are simply too many similar titles and subject headings are only useful to the well-trained user. As Stephen Luttmann says in his article about cataloging jazz for the non-musician, subject headings are “keyword fodder” unless the patron is trained to use them.37 In bibliographic instruction sessions subject headings are best explained as links from an on-target result to other items under the same subject heading. For instance, “Where could I find translations of song texts?” In one online catalog, the keyword search “song texts and translations” limited to the format “books” results in nine hits. Clicking on the bibliographic record for one of them, The Ring of Words: An Anthology of Song Texts reveals the subject heading “Songs–Texts”; clicking on that heading leads the user to another fifty-two items, including English translations of texts in Old English, German, French, Italian, Spanish, medieval Latin, and Russian.38 Due to the use of uniform titles, it is useful to remember to try the plural form of a genre term such as symphony. Even better is the use of a truncation character to pick up plurals and other endings if the online system has this feature, for example, “symphon$ and beethoven.” To determine which fields in the bibliographic record are keywordsearchable, check with the technical services librarians. For example, it can be disconcerting to search for the name of an editor who is well known to pianists and discover that the portion of the field containing that information is not indexed. ADDITIONAL WEBSITES Knowing that many patrons will already have consulted search engines in pursuit of information on music topics, having a few stable websites already bookmarked would be helpful. A good starting place is Indiana University’s Worldwide Internet Music Resources with links to musicians, composers, groups, performance, genres (not just classical), research, journals, commercial music, and miscellaneous topics.39 Duke University’s DW3 Classical Music Resources is an extensive collection of Web resources, linking to mostly non-commercial sites in many languages.40 The best site for finding contemporary composers’ and musicians’ birth and death dates, Washington University’s Gaylord

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Music Library’s Necrology page, is highly regarded as the most current source: “The goal is to report what appears in the current music media as it arrives in Gaylord Music Library. We attempt to maintain this file daily.”41 The site includes alternative spellings as well as conflicting dates and sources for each. CONCLUSION While the world of reference has evolved from that of print sources in a physical building to a multi-layered explosion of knowledge in forms both material and electronic, in locations close and remote, the successful experience of helping a patron locate needed information never ceases to be satisfying. When faced with difficult questions, Reference librarians learn to take a question away to work on, to persuade the user that the information requested simply does not exist in a convenient format (“Is there a list of all the opera performances there have ever been?”), or to refer questions on an unfamiliar subject to someone else who may know the answer. The knowledge that you can delay or refer a question, or say that it is unanswerable as posed, goes a long way to overcoming anxiety.42 And while the universe of musical information is vast, the basics of reference work remain the same in all disciplines: know the sources, ask the right questions to derive the exact needs of the patrons, and lead them to the answers. This essay seeks to serve as a beginning guide for the non-musician reference librarian. REFERENCES 1. Music Library Association, “Music Librarianship.” Accessed September 30, 2004, www.musiclibraryassoc.org/isit/isit.htm. 2. American Library Association, “Fact Sheet 2: Number Employed in Libraries.” Accessed September 30, 2004, www.ala.org/ala/alalibrary/libraryfactsheet/ alalibraryfactsheet2.htm; American Library Association. “Fact Sheet 1: Number of Libraries in the United States.” Accessed September 30, 2004, www.ala.org/ala/ alalibrary/libraryfactsheet/alalibraryfactsheet1.htm. 3. Geoffrey G. Chew, “Music Departments Worldwide: United States of America.” Royal Holloway College. University of London, Accessed September 30, 2004, www. sun.rhbnc.ac.uk/Music/Links/Musdepts/usa.html; College Music Society, Directory of

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Music Faculties in Colleges and Universities, U.S. and Canada (Missoula, MT: College Music Society, 2002-2003). 4. Nancy Nuzzo, E-mail to the author, March 10, 2004. 5. Don Michael Randel, The New Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1986). 6. Sony Classical & Norton, W.W., “Essentials of Music.” Accessed September 30, 2004, www.essentialsofmusic.com. 7. The Grove Concise Dictionary of Music. Oxford University Press, 1994. Accessed September 30, 2004, www.gramophone.co.uk. 8. Carolyn Doub Grigg, Music Translation Dictionary: An English– Czech–Danish–Dutch–French–German–Hungarian–Italian–Portuguese–Russian– Spanish–Swedish Vocabulary of Musical Terms (Westport, Conn.: Greenwood Press, 1978), 284. 9. Altavista.com, “Babelfish.” Accessed September 30, 2004, www.babelfish. altavista.com. 10. Wilfred J. McKonkey, comp., Klee as in Clay: A Pronunciation Guide (Lanham, MD: Hamilton Press, 1986); Robert A. Fradkin, The Well-Tempered Announcer: A Pronunciation Guide to Classical Music (Bloomington: Indiana Univ. Press, 1996). 11. Charles A. Black, ed., “Pronouncing Dictionary of Music and Musicians.” (Ames, Iowa: WOI Radio, Iowa State University). Accessed September 30, 2004, www.woi.org/pron/default.htm. 12. Webster’s Encyclopedic Unabridged Dictionary of the English Language (New York: Gramercy Books, 1989), 1280. 13. Canadian Library Association and American Library Association, Anglo-American Cataloguing Rules, 2d ed., 2002 rev. (Ottowa: Canadian Library Association; Chicago: American Library Association, 2002), Appendix D-7. 14. Webster’s, 1312. 15. Library of Congress, “American Memory: Historic American sheet music, 1850-1920.” Accessed September 30, 2004, memory.loc.gov/ammem/award97/ ncdhtml/hasmhome.html; The Johns Hopkins University. Milton S. Eisenhower Library, “The Lester S. Levy Sheet Music Collection.” Accessed September 30, 2004, www.levysheetmusic.mse.jhu.edu. 16. Michael Fling, “Bibliographic Instruction on Microcomputers: Part I,” in Foundations in Music Bibliography, ed. Richard D. Greene (New York: Haworth Press, 1993), 157-63. 17. Indiana University. School of Music. Cook Music Library, “Making the Most of the Music Library: Using Uniform Titles.” Accessed September 30, 2004, www.music. indiana.edu/collections/uniform/intro.html. 18. Fling, “Bibliographic Instruction on Microcomputers: Part I.” 19. Julian Hodgson, comp., Music Titles in Translation: A Checklist of Musical Compositions (London: Clive Bingley; Hamden, CT: Linnet Books, 1976), 241. 20. Ezust, Emily, “The Lied and Art Song Texts Page.” Accessed September 30, 2004, www.recmusic.org/lieder; Glaubitz, Robert. “The Aria Database.” Accessed September 30, 2004, www.aria-database.com. 21. Freda Pastor Berkowitz, Popular Titles and Subtitles of Musical Compositions, 2nd ed. (Metuchen, NJ: Scarecrow Press, 1976), 28, 38. 22. Harold Barlow and Sam Morgenstern, A Dictionary of Opera and Song Themes: Including Cantatas, Oratorios, Lieder, and Art Songs, rev. ed. (New York: Crown Pub-

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lishers, 1976); Harold Barlow and Sam Morgenstern, A Dictionary of Musical Themes (New York: Crown Publishers, 1948). 23. Steven G. Pallay, Cross Index Title Guide to Classical Music (New York: Greenwood Press, 1987). 24. Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 2d ed., 29 vols. (New York: Grove, 2001), 2: 365. 25. Johann Sebastian Bach, Werke [Works]. (Leipzig: Bach-Gesellschaft, 1851-1899), xxv/2, 3: 159; Johann Sebastian Bach, Neue Ausgabe sämtlicher Werke [New Edition Collected Works], Johann-Sebastian-Bach-Institut, Göttingen, & BachArchiv, Leipzig, eds. (Kassel: Bärenreiter), IV/1: 3. 26. David Lasocki, “Music Reference as a Calling: An Essay,” Notes 56, no. 3 (March): 879-93. 27. Canadian Library Association, Anglo-American Cataloguing Rules. 28. Ludwig Köchel, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts [Chronological Thematic Catalog of the Collected Musical Works of Wolfgang Amadeus Mozart], 7th ed. (Wiesbaden: Breitkopf & Härtel); Otto Erich Deutsch, Franz Schubert, Verzeichnis seiner Werke in chronologischer Folge [Catalog of His Works in Chronological Order] (Munich: Deutscher Taschenbuch Verlag, 1965); Franklin B. Zimmerman, Henry Purcell: A Guide to Research. (New York: Garland Pub., 1989). 29. Library of Congress, “Library of Congress Authorities.” Accessed September 30, 2004, www.authorities.loc.gov. 30. Amanda Maple, Beth Christensen, and Kathleen Abromeit, “Information Literacy for Undergraduate Music Students: A Conceptual Framework,” Notes 52, no. 3 (March): 744-53. Accessed September 30, 2004, www.vnweb.hwwilsonweb.com/. 31. Randel, The New Harvard Dictionary of Music. (Cambridge, MA: Belknap Press of Harvard University Press, 1986); Sadie, The New Grove Dictionary of Music and Musicians. 32. Grove Music Online. Accessed September 30, 2004, www. grovemusic. com. 33. The Garland Encyclopedia of World Music. (New York: Garland Pub., 1997-2002); Vladimir Bogdanov, Chris Woodstra and Stephen Thomas Erlewine, All Music Guide to Jazz: The Definitive Guide to Jazz Music, 4th ed. (San Francisco, CA: Backbeat Books, 2002). 34. Maurice Hinson, Guide to the Pianist’s Repertoire, 2d ed., rev. and enl. (Bloomington: Indiana University Press, 1987); Sergius Kagen, Music for the Voice: A Descriptive List of Concert and Teaching Material, rev. ed. (Bloomington: Indiana University Press, 1968). 35. Music Index, Detroit: Information Coordinators, 2002. 36. Alan Green, “Keeping Up with the Times: Evaluating Currency of Indexing, Language Coverage and Subject Area Coverage in the Three Music Periodical Index Databases,” Music Reference Services Quarterly 8, no. 1 (2001): 53-68. 37. Stephen F. Luttmann, “Good Enough for Jazz: Or, Successful Music Cataloging for Non-musicians.” Colorado Libraries 25, no. 2 (Summer): 48-49. Accessed September 30, 2004, WilsonWeb database [cited as Luttman (sic)]. 38. Philip Miller, comp., The Ring of Words: An Anthology of Song Texts (New York: W. W. Norton, 1973). 39. Indiana University. School of Music. Cook Music Library, “Worldwide Internet Music Resources.” Accessed September 30, 2004, www.music.indiana.edu/ music_ resources.

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MUSIC REFERENCE SERVICES QUARTERLY

40. Duke University Libraries, “DW3 Classical Music Resources.” Accessed September 30, 2004, www.lib.duke.edu/dw3. 41. Washington University Libraries. Gaylord Music Library, “Necrology.” Accessed September 30, 2004, library.wustl.edu/units/music/necro. 42. Lasocki, “Music Reference as a Calling: An Essay,” 889.

Received: 11/04/04 Revised: 11/23/04 Accepted: 01/03/05