Notes for Notes.

This issue marks my first as editor of the journal. The transition between editors has been a smooth one, due no doubt to the vast organizational abilities, and the close attention to detail that the immediate past editor, Linda Solow Blotner, brought to these pages. We owe Linda a great debt of gratitude for the style and elegance she brought to our journal over the past four years. Nonetheless, as with any transition, a certain amount of change is inherent. In future issues, look for the inauguration of a video review column to be edited by Leslie Andersen. This annual column will make its first appearance in the March 2005 issue (vol. 61, no. 3). In consultation with the other Notes editors, the frequency of some of our columns will change over the next year. Because of the need for timeliness of reviews of digital media, as well as the lack of pertinent review sources for musical digital media, this column, edited by Alec McLane, will continue to appear in every issue. In order to accommodate the new video review column, the sound recordings column, edited by Rick Anderson, will appear twice a year, in the December and June issues. We will begin this transition with the current volume, so that with volume 62 (2005-6) the new configuration of columns will be complete. No matter the extent of the change, our readers will still find within these pages information pertinent to the field, and to the profession. Of course, transitions also bring about the need to say farewell to devoted members of the Notes staff. With this issue, Brad Short completes his term as compiler of our annual music price index column. With the untimely passing of Calvin Elliker, previous compiler of the column, Brad stepped in without hesitation to continue presenting this important information to our readers. We will miss Brad's vital contribution to the journal, and will announce his successor in a future issue. Also with this issue, David Gilbert completes his term as editor of the "Book Reviews" column. As with his illustrious predecessors, David has put his own stamp on this column, and has provided the readership with elegant reviews of our most important literature. We will miss David's keen eye, eloquent voice, and the careful thought he put into his work for the journal. With the March 2005 issue, Philip Vandermeer will take up the reins of editing the book reviews for our journal. We know that he will carry on the longstanding tradition of Notes reviewing, and we look forward to working with him for many years to come.

Notes is pleased to announce the appointment of a new assistant editor. Martin D. Jenkins, Music and Humanities Librarian at Wright State University, has been appointed as the new assistant editor for electronic vendors for the journal. In this crucial position, Marty will, in consultation with the Notes editor and the MLA business office, oversee the association's contracts with the various electronic vendors of our journal, including, but not limited to, quality control issues, electronic format supplied to the vendors, timeliness and format of postings, monitoring of royalty statements (in conjunction with the treasurer/executive secretary), and negotiations of new contracts (this last in consultation with the Notes editor, the business office and the chair of the Publications Committee). This position keeps the Notes editor and MLA business office informed of all issues that surround and affect the electronic transmission of the journal, including any copyright violations that may result from said transmission. We are excited that Marty has agreed to take on this responsibility for the journal, and know that he will do an excellent job for us. He will continue to produce the journal's annual index until a suitable replacement can be found.

The Music Library Association has received a grant of $379,000 from the Mellon Foundation to support the development of the database entitled Index to Printed Music: Collections and Series (IPM). This three-year grant will enable the project to complete the indexing of the music listed in the bibliography Collected Editions, Historical Series & Sets & Monuments of Music: A Bibliography (Berkeley: Fallen Leaf Press, 1997) by George R. Hill and Norris L. Stephens, and to add additional titles to the bibliography and complete their indexing. IPM is a project of the not-for-profit organization named the James Adrian Music Company, of which George R. Hill is president. Other major participants in the work include Zdravko Blazekovic, Joseph M. Boonin, James P. Cassaro, Mary W. Davidson, Elizabeth A. Davis, Paul R. Emmons, Barbara A. Renton, Gordon S. Rowley, and Norris L. Stephens. It is expected that the number of index entries will more than double in the next three years. At present, the Web publication of some 133,000 existing index entries is available by subscription through NISC. Visit www.nisc.com or send email to sales@nisc.com for further information.

The University of Cincinnati College--Conservatory of Music (CCM), in partnership with the campus's University Libraries, has been selected as the final home for the Dale Warland Singers (DWS) score library and archives, which comprise one of the largest collections of contemporary choral works in the United States. CCM was chosen after a six-month review of proposals received from eight public and private institutions. "I am very happy with the selection of CCM as the final home for the Dale Warland Singers' collection," said Dale Warland. "For more than 25 years, CCM has managed one of the top choral conducting programs in the country. Its willingness to integrate our collection into their teaching programs, and, just as important, make it accessible to other professional choruses, is great news for everyone." The DWS collection includes its score library (multiple copies of more than eleven hundred choral works and arrangements); first edition copies of all 270 works commissioned by the Dale Warland Singers; valuable papers including all organizational and artistic records; and a media library which includes more than 300 audio and video recordings of the ensemble's performances. This score library and archives collection is an invaluable resource for students of the choral genre as well as the public at large. Many works first commissioned and premiered by DWS have now become standards of the repertoire, performed by professional and college choirs across the nation.

The Association for Recorded Sound Collections (ARSC) will hold its annual meeting at the Radisson Hotel on Town Lake in Austin, Texas, 30 March-2 April 2005. David Hunter (Music Librarian and Curator of the Historical Music Recordings Collection, University of Texas at Austin) is coordinating local arrangements, and Louise Spear (Grammy Foundation) is the program chair. For further information see the ARSC Web site at www.arsc-audio.org. That weekend also will see the spring edition of the semiannual Austin Record Convention, which bills itself at its Web site (www.austinrecords.com) as "the largest sale of recorded music in the USA." Information on the audio collection of the University of Texas at Austin can be found via the Web page of the Fine Arts Library, www.lib.utexas.edu/fal.

The Association has recently lost several members and friends. We now offer here remembrances of our colleagues.

Susanne (Susi) Bell (1923-2004), music librarian at the Gaylord Music Library of Washington University, St. Louis, from 1983 until her retirement in 1993, died on 28 April 2004 in Boston, where she lived for the last several years. Bell was born in Vienna where she began her musical studies in piano. To escape the bombings in the Austrian capital during World War II, she and her mother went to Salzburg. After the war, Bell worked in that city as a translator for the administration of the U.S. occupation zone. There she met Gail Bell, an army officer. Their marriage brought her to St. Louis where her husband held an executive position with Schnucks Supermarkets. At Washington University, Bell earned a bachelor's degree in library science, and a master's degree in musicology, studying with fellow Austrian and noted musicologist Paul A. Pisk (1893-1990). Bell worked as head cataloger and bibliographer in the Gaylord Music Library where she became its assistant music librarian in 1973. In 1983, she became its head. During her tenure, Bell was responsible for enhancing Gaylord's collection of materials on Austrian and German topics, enlarging its resources on opera, and bringing computers into the library. She was also instrumental in acquiring a significant collection of manuscripts of film music scores from Ronald Stein. Upon Paul A. Pisk's death in 1990, Bell secured a large portion of his library for the Gaylord Library collection. Colleagues and friends remember her vibrant personality, wry sense of humor, and her passion for the music, art, film, and literature of Vienna.

SUE TAYLOR

Washington University

James B. Coover (1925-2004), head of the Music Library at the University of Buffalo from 1967 until his retirement in 1999, passed away unexpectedly on 28 May 2004. His esteemed colleague, Carol June Bradley, will remember Mr. Coover in greater detail in a future issue of this journal. Here we offer remarks given by James P. Cassaro at a MLA New York State/Ontario Chapter meeting in 1999 on the occasion of his retirement:

 Jim Coover epitomizes for us the "gentleman scholar." Armed with a
 keen wit and a sharp eye, Coover's interests run the gamut from the
 sacred to the profane, from the hallowed halls of the Renaissance to
 the smoke-filled halls of jazz. A noted authority on musical
 lexicography, the music trade, and the care and handling of musical
 ephemera. Jim's career has taken him from the "Rocky Mountain high" of
 the University of Denver (where he obtained his library degree in
 1953), to the faux gothic arches of Vassar College (where he was music
 librarian from 1953 to 1967), to finally the cool steel and glass
 structures of a modern state university system (as professor of music
 and director of the music library at the University at Buffalo). He
 has made each of these transitions with style, elegance, and a
 smoothness worthy of the best jazz riff. Those who have basked in the
 light of his guidance have gone on to become heads of distinguished
 music library collections, scholars, writers, and active contributors
 to the fields of both knowledge and librarianship. Mr. Coover will
 remain for us a constant source of inspiration, a model to which we
 aspire, and an icon of the age of modern music librarianship.

Lawrence A. Galison (1929-2004), director of the music publishing firm Edwin F. Kalmus, passed away in his sleep on 3 June 2004. Galison became a major figure in the American music publishing community through marriage to Joan Kalmus, the daughter of the company's founder, Edwin F. Kalmus. As its director, Galison single-handedly raised the quality and breadth of the Kalmus catalog from a basic repertoire collection of diazo reproductions to a vast, comprehensive resource of the world's orchestral literature. Under his leadership, the firm instituted the publication of critical editions, which included not only reprints of European originals, but editions created by a number of librarians of major symphony orchestras in the U.S. and abroad. Additionally, he supplemented the Kalmus catalog with non-orchestral music that included a vast amount of repertoire--especially study and vocal scores. Mr. Galison's name was not widely known outside of the American music publishing community, or even among many mainstream music firms. However, without his efforts, American music libraries and orchestras would have entered the new millennium much poorer and less well-equipped than they actually are today. With his passing, the music library world has lost not only an important colleague, but a true friend.

JOSEPH M. BOONIN

Walnut Creek, California

Dorman Smith (1941-2004), a long-time member of the Association, passed away peacefully on 7 May 2004 after a gallant battle with ALS (Lou Gehrig's disease). Dorman served MLA on various committees, including chair of the Local Arrangements Committee for the 1990 annual conference in Tucson, Arizona. He was also active in the Mountain-Plains Chapter of MLA, serving as its chair (1984-86). Dorman began his career as curator of the music collection at Dartmouth College (1967-69), and also served as music librarian at SUNY-Stony Brook (1974-76), and the University of Arizona (1981-91). He held administrative positions in the libraries at Lawrence University, Central Michigan University, and Aurora University, where he retired as library director in 2001. He continued to attend the national conferences of MLA throughout his career, and greatly assisted his wife, Susan Hitchens, in her activities as MLA convention manager (1995-2000). Born in Rochester, New York, in 1941, Dorman grew up in Marin County, California. He attended the University of California, Berkeley, and graduated with the B.A. (1965) and M.A. (1967) in music history, and received the M.L.S. from Simmons College in Boston in 1970. His publications include Guitar and Lute Music in Periodicals: An Index, with Laurie Eagleson (Berkeley: Fallen Leaf Press, 1990), the 3d edition of the National Flute Association's Music Library Catalog (Tucson, AZ: The Association, 1985), and "A Bibliography of Writings by James R. Anthony," in Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony (ed. by John Hajdu Heyer, 319-22 [Cambridge: Cambridge University Press, 1988]). After retiring in 2002, Dorman returned to Tucson to enjoy retirement with his family, children, and grandchildren. He continued to be active in the local music community, serving on the boards of the Catalina Chamber Orchestra and the Arizona Early Music Society, and singing in his church choir.

SUSAN HITCHENS

Tucson, Arizona

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Publication:	Notes
Geographic Code:	1USA
Date:	Dec 1, 2004
Words:	2263
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