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Music Library
Collection Development Policy
(21 October 1998)
I. Introduction
A. Preface
1. This policy describes the collection development program of the University of Illinois Music Library and the goals for collecting in specific media as well as in specific subject areas. The policy is intended to be a straightforward description that can serve as a guide for new selectors as well as a statement of collecting practice for interested faculty, staff, and students.
2. The University of Illinois Music Library has two central missions: (1) to support the curricula of the School of Music and (2) to support and encourage faculty and graduate research.
B. The Music Library's users
1. The facilities of the Music Library are open to the public, and information services are available to anyone who visits, telephones, or writes the library. The library lends circulating materials to other institutions through the University Libraries' interlibrary-loan service.
2. The primary users of the UIUC Music Library are the faculty, staff, and students of the School of Music.
a. The UIUC School of Music offers the following degrees:
(1) Undergraduate: Bachelor of Music in Performance, Composition-Theory, Music History, and Open Studies; Bachelor of Science in Music Education.
(2) Graduate School: Master of Music in Choral Music, Composition, Instrumental Conducting, Musicology, Music Theory, Performance and Literature, Piano Pedagogy, and Vocal Accompanying and Coaching; Doctor of Musical Arts in Choral Music, Composition, Performance and Literature, and Vocal Accompanying and Coaching; Doctor of Philosophy in Musicology; Master of Science in Music Education; Advanced Certificate in Music Education; Doctor of Philosophy in Music Education; Doctor of Education in Music Education
b. Specialized research centers include: the Musicological Archives for Renaissance Manuscript Studies, the Center for Research in Music Education, the Hymn Tune Index.
3. Other identifiable categories of users include: UIUC students and faculty outside the School of Music; residents of the Champaign-Urbana area who are not affiliated with the university; and out-of-town researchers, who might use resources onsite, make written requests, or issue requests through their own interlibrary-loan departments. While the Music Library provides services to these users, we do not collect materials specifically in support of any needs beyond those of the School of Music.
4. Because the library's primary mission is to provide support for the curriculum and research of the School of Music, the needs of the students, staff, and faculty of the school receive priority over the needs of other user groups, and this priority is reflected in collection development decisions.
C. Restrictions.
1. The library collects as comprehensively as possible within the parameters stated below, but certain conditions beyond the control of the library might prevent the acquisition of a title that falls within the scope of this policy.
2. Some of these conditions are: budget reductions; availability; price increases; the addition of a new academic program requiring library support without additional funding.
D. Overview of library and its collections
1. On 16 February 1944, a branch music library consisting of a reserve collection of 250 titles opened on the second floor of Smith Memorial Hall. By this date, the University Library had already assembled a collection of about 15,000 volumes of printed music and books about music, and over thirty years music collections and services spread throughout Smith Hall. In August 1974, the Music Library moved into its present quarters in the North wing of the School of Music building, occupying 23,000 square feet of floor space over two floors.
2. The library's collections are particularly strong in reference materials, historical musicology and ethnomusicology monographs, music education dissertations on microfilm, and recordings of nineteenth- and early-twentieth-century music. The library collects selectively in the areas of music therapy, music business, and recent popular music.
3. Collection locations:
a. The majority of the library's holdings are located in the Music Library, north wing of Music Building, 1114 West Nevada St.
b. Ensembles collections (WGN and ethnic): Smith Memorial Hall, Room 306
c. Remote storage: University Press Building, 1325 S. Oak Street.
d. Approximately 14,000 music-related volumes are housed in the Main Library and the Undergraduate Library, and approximately XX titles are housed in the Rare Book and Special Collections Library to insure their security.
E. Criteria guiding selection decisions
1. Selectors assign top priority to materials directly related to curricular needs.
2. Selectors assign a high priority to materials related to the recognized research interests of School of Music faculty
3. Selectors may acquire materials that provide a comprehensive treatment of a particular topic that would usually fall outside the scope of ongoing collection development.
4. Selectors may acquire monographs and printed editions in areas not normally collected when the materials are acknowledged as the product of outstanding scholarship.
5. Selectors collect textual materials primarily in western European languages. Preference is given to English-language materials, but scholarly materials are acquired in German, French, Italian, and Spanish as well as in other languages whenever there are no comparable sources available in English and whenever texts in the original language are necessary for scholarship.
6. Music-related books produced by certain important publishers are acquired through an approval plan (see II.A.1 below).
F. Cooperative agreements.
1. The Music Library is not currently participating in any cooperative collection development or resource-sharing agreements.
G. Administration.
1. The Music Library's collection development program is under the direction of the Music Librarian.
2. Selection responsibilities are distributed among four librarians, according to format of material: the Music User Services Coordinator selects audio-visual media, the Music Catalog Coordinator selects scores, the Music Special Collections Coordinator selects books, and the Music Librarian selects book and music series, periodicals, electronic information resources, and dissertations. The selectors also make decisions on withdrawals and replacements.
3. The music librarian makes budget assignments, and each selector is responsible for monitoring the expenditures in his or her assigned area.
II. General policies and guidelines.
A. Materials by specific type/medium
1. Books. Acquired in English for all relevant subject areas. Books to support research are acquired in all major western European languages. The library system has book-approval plans established for all university-press books as well as a large number of domestic publishers. These approval-plans are supported through central funds. The Music Library selects most other books using approval slips supplied through the Academic Book Center (US Imprints), Harrassowitz (German-language), Aux amateurs (French) Casalini (Italian), and Puvill (Spanish). Faculty requests are welcome, and those related directly to curricular needs and research are given priority.
a. Textbooks. Selectively acquired in single copies for reference and to support the study of music pedagogy. The library does not attempt to meet individual student's instructional needs by acquiring multiple copies of assigned textbooks.
b. Paperback editions. Acquired only if a hardcover edition is not available.
2. Periodicals. Acquired for following subjects: musicology (no language restrictions), music theory (mostly English), music education (English), music performance (mostly English), and very selectively for popular music.
3. Newspapers. Not acquired.
4. Periodical indexes. Acquired comprehensively.
5. Juvenile materials. Not acquired, except as pedagogical examples in support of the music education curriculum.
6. Reprints. Acquired only if the original was not acquired or has restricted circulation.
7. Maps. Not acquired.
8. Dissertations. Musicology and music-theory dissertations are acquired for research purposes. The library is the repository for music-education dissertations on microfilm acquired through a blanket plan for the Center for Research in Music Education.
9. Microforms. Acquired for (1) materials that are unavailable in paper format; (2) materials that are considerably less expensive in microform; or (3) to conserve the shelf space that would be occupied by infrequently used paper materials. Included are: primary sources (manuscripts and early editions), out-of-print monographs, periodicals, and music editions; music-education dissertations.
10. Pamphlets. Not acquired actively, although the library maintains a subject file to which pamphlets might be added.
11. Photocopies. Only authorized photocopies supplied by the publisher are added to the collection.
12. Posters. Not acquired actively, although the library received a significant collection of posters as a part of the Lawrence King Collection.
13. Printed music. The Music Library's acquisitions priorities and guidelines for scores and parts are as follows:
a. Selection priorities:
(1) collected editions, complete works, historical sets, monuments of music, as comprehensively as possible.
(2) a single copy of as many contemporary compositions as possible, comprehensive for a given number of contemporary composers (through the Harrassowitz Approval Plan)
(3) newly edited, high-quality scholarly and performing editions of standard works (through Harrassowitz)
(4) facsimile editions of important manuscripts and early prints
(5) early editions and manuscripts as deemed appropriate to the collection (i.e., to build on strengths rather than to acquire on the basis of rarity.)
b. Guidelines for selection
(1) Scores for compositions involving ten or more parts
(2) Score and performing parts for compositions involving nine or fewer parts
(3) Study score is preferred to full orchestral score, if content is identical (otherwise, full orchestra score).
(4) Reprint editions are not purchased unless the library holds no other edition in an adequate condition for circulation
c. The selection process. Selection choices for scores are often made within the context of both short- and long-term collection analysis projects and with a view toward acquiring new editions, especially of works previously unpublished. Primary source materials for selection include new publisher lists, vender cards (paper and electronic), and vendor/distributor mailings representing many publishers, both foreign and domestic. Some of these distributors are European-American Retail Music, Educational Music Service, and Harrassowitz.
d. Budget. Given the cost of scores, long- and short-term plans are limited by the funds available for each fiscal year. The 6057 fund (Music Scores) is usually fully encumbered by the middle of the academic year. It is sometimes not possible to buy all new issues, and the library is not able to purchase everything that falls within the scope of the collection.
14. Rental materials. The library acquires no rental materials and does not fund the rental of printed music.
15. Sound recordings.
a. Purpose of the collection. The sound recording collection is considered a non-circulating reference collection from which recordings circulate only to School of Music faculty and graduate teaching assistants for teaching purposes. For this reason, no attempt is made to collect multiple copies of specific performances.
b. Selection priorities.
(1) All requests for materials related to the curriculum and research are filled.
(2) Western art music
(a) top priority is given to significant repertoire in all genres issued for the first time.
i) Operas: full operas are preferred over selections
ii) Song and aria collections: repertoire is favored over performer-center albums.
(b) high priority is given to the purchase of standard repertoire materials used in teaching. These items, in some cases, will duplicate specific performances previously issued on LP and currently in the Music Library’s collection.
(3) World music (i.e., art and vernacular traditions outside of western art music but excluding Anglo-American popular music): priority is given to well-documented recordings of indigenous traditions.
(4) Musical theater and musical film: significant releases are acquired as funds permit.
(5) Jazz: most jazz-recording purchases are retrospective boxed sets.
(6) American band music: significant releases are acquired as funds permit.
(7) Anglo-American popular music is purchased only on request.
c. Formats acquired. Because the library is not a sound-recording archive, it acquires sound recordings only in current formats.
(1) Compact discs. The medium of choice for newly issued sound recordings.
(2) LPs. Acquired only if the recording is not available on compact disc.
(3) Cassettes. Acquired only if the recording is not available on compact disc.
(4) 78s. Not acquired.
d. The selection process.
(1) Ongoing collection development is conducted through consulting a broad range of review journals, discographies, online sources, and vendor/distributor mailings representing many labels, both foreign and domestic
(2) H&B Recordings Directo or Tower Records are the vendors of choice for domestic issue recordings
(3) Other vendors used include Music Library Service Corporation, Audio Buff, Cadence, and Multicultural Media.
e. Standing orders. The Music Library has standing orders for the following six labels:
(1) Audio Buff: New World Records, CRI, Northeastern
(2) MLSC: CPO, Marco Polo, Hyperion
f. Collection assessment. Collection assessment projects of the recordings collection are undertaken by the selector as time permits. Projects may be centered on the recordings of a specific composer, a specific form or genre, or a specific culture
16. Videorecordings. Acquired in support of the curriculum of the School of Music (limited support for research). All at request.
a. Videotapes. VHS only.
b. Laserdiscs. On request, or if not available in VHS.
17. Electronic resources. Acquired as needed and as budget permits.
a. Network access to external databases. Preferred to CD-ROM access because of ease of use and campus-wide access.
b. CD-ROM products. Acquire index sources only.
c. Software. Not acquired.
18. Performing-ensemble music. The library acquires performance materials for ensembles up to ten players. Orchestral and choral music is acquired by the School of Music and housed in Smith Memorial Hall. The Band Department maintains its own band library. Other School of Music ensembles maintain their own music collections.
19. Rare books. Acquired selectively as the budget allows.
20. Manuscripts. Acquired selectively as the budget allows.
21. Realia. Not acquired.
22. Archival materials. Not acquired. Archival collections are deposited in the University Archives.
23. Research materials. To the extent the budget allows, the library acquires materials in support of faculty and doctoral research, including microfilms of primary sources.
B. Special categories of materials
1. Faculty publications. Acquired comprehensively, in all formats.
2. Reserve materials. Receive top priority for acquisition, in all formats
3. Replacements. If in print, acquired through the University Libraries' replacement fund. A subsequent edition, if available, is acquired if out of print.
4. Duplicate copies. Acquired only for printed materials as need demands.
5. Expensive purchases. Acquired mostly through NEH Challenge Grant
C. Gifts.
1. Acceptance.
a. The music librarian makes the decision on the acceptance of large gifts and handles the negotiations with the donor. Decisions concerning individual items within a body of donated materials are made by the appropriate selector.
b. Often, the relevance of donated materials to the library's collection cannot be determined until the materials are evaluated individually. The library reserves the right to determine the disposition of donated materials, and this right is made clear to the donor. Restrictions placed by the donor on the disposition of the donated materials may affect the library's ability to accept them.
c. Included among the broad categories of materials that are not added to the collection are:
(1) 78-rpm, 45-rpm, and LP recordings
(2) Field recordings
(3) Off-the-air broadcast recordings
(4) Cassette tapes, reel-to-reel tapes, 8-track-cartridge tapes, unless the recording was issued only in one of these formats
(5) Photocopies
2. Accessioning. Arrangements for transporting gift materials to the library are made by the head librarian.
3. Evaluating. The library cannot perform appraisals. Donors who require an appraisal for tax purposes are referred to a list of rare-book dealers in the C–U area. The donor makes arrangements for the appraisal and covers the appraisal fee.
4. Acknowledgment. The head librarian acknowledges all gifts. The University Librarian also acknowledges significant monetary gifts as well as significant gifts in kind.
5. Processing.
a. Upon receipt of a gift, the head librarian makes initial decisions based on the physical condition of individual items. Those in poor physical condition are either added to the inventory for the library sale or discarded. The head librarian sets aside materials of potential historical importance for review by the by the Special Collections librarian.
b. The materials eligible for addition to the collection are searched against our holdings by the LTA for acquisitions.
c. The appropriate selectors then review the materials and the searching reports to determine appropriate processing. This decision is made according to the collection development policies stated above. Individual items are usually processed in one of the following ways:
(1) Sent to Technical Services to be added to the collection
(2) Sent to remote storage for future processing
(3) Added to the inventory for the library sale
D. Preservation
1. Decisions on binding. Decisions on binding are made by the LTA in charge of acquisitions. Often decisions are made in consultation with selectors.
2. Conservation. There is currently no conservation program in place in the University Libraries. Conservation in the Music Library is done only on an informal basis. Materials flagged as needing preservation attention are first reviewed by the appropriate selector, who makes one of the following decisions:
a. Preservation. If the copy can be easily repaired, the selector refers the item to the clerk responsible for mending.
b. Replacement. If replacement would be more cost effective than preservation, the selector initiates an order for a replacement copy. The current copy is held until the replacement arrives.
c. Withdrawal. If preservation would be difficult or costly and there are a sufficient number of comparable editions in the library's holdings, the item may be withdrawn without replacement.
E. Weeding and withdrawal.
1. The selectors make decisions on weeding and other withdrawals.
III. Analysis of subject areas.
A. Musicology
1. Degrees supported: B.Mus. in music history, MMus. in musicology, Ph.D. in musicology (with specialization in the history of music, systematic musicology, or ethnomusicology)
2. Scope: textual materials are collected in all western European languages, with a particular focus on English and German; compact discs are acquired to support both curricular and research needs, with a particular focus on pre-1800 repertory; the library attempts to acquire all important critical editions and facsimiles. For ethnomusicology, compact discs and cassettes are acquired as a part of ongoing collection building for the broad range of world music.
B. Music theory and composition
1. Degrees supported: B.Mus. in music composition-theory, M.M. in music theory, and M.M. and D.M.A. in composition
2. Scope: books and journals in English on music theory, analysis, composition, and the use of computers and technology in music composition and music analysis; scores and recordings for a broad range of contemporary music.
C. Music education
1. Degrees supported: B.S., M.S., Advanced Certificate, Ph.D., and Ed.D.
2. Scope: textual materials in English; periodicals in English; microfilm copies of all U.S. doctoral dissertations in music education; collection of curricular materials for consultation
D. Other subject areas
1. Use of sound in technology. Selective acquisition of books in English on the application of sound in science, including acoustics, psychoacoustics, and music perception.
2. Business of music. Limited acquisition of books in English.
3. Popular music. Books in English on jazz and popular music; limited acquisition of artist biographies in English; limited acquisition of sound recordings; limited acquisition of periodicals in English.
4. Music therapy. Limited acquisition of books and periodicals in English.
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