CAML Review / Revue de l'ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux)

Behzadi, Houman

Pipe, Melissa

Doi, Carolyn

 CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 51 Spotlight on Music Collections: The CBC Montreal Radio Broadcasts Archive at the Marvin Duchow Music Library  In this edition of Spotlight on Music Collections, Houman Behzadi and Melissa Pipe discuss their work at the Marvin Duchow Music Library and the acquisition of archival music radio broadcast files from CBC Radio Montreal including programs, photos, sound recordings, and other ephemera. Spotlight on Music Collections aims to profile interesting or unique music collections and archives in Canada through the voices of those who work with them. If you have a suggestion for a collection or individual to be featured in a future edition of this column, please email: camlreview@caml-acbm.org.  Welcome! Can you each give a short introduction to your roles at the McGill Marvin Duchow Music library and the type of work that you do? HB: My name is Houman Behzadi, and I am Head Librarian of the Marvin Duchow Music Library, McGill University. In this capacity, I oversee the staff, operations, spaces, and services of the library. I am also quite involved in the life of music library professional associations. I currently serve as a Board Member-at-Large of the Music Library Association, Chair of the IAML Advocacy Committee, and Local Organizer for the CAML 2024 conference, which will take place June 12-13 at McGill University.  MP: My name is Melissa Pipe, and I am the Senior Documentation Technician in the Audiovisual Archives of the Marvin Duchow Music Library, McGill University. I oversee the library’s archival audiovisual collections, provide reference and service desk support, and am part of the library’s outreach team, which works on a number of initiatives including social media and exhibition curation. Can you describe the Montreal CBC Radio archive for the readers and how it came to be at the Marvin Duchow Music Library? HB & MP: In early 2022, the Marvin Duchow Music Library received the archive of several CBC Montreal music radio programs produced chiefly by Frances Wainright, Kelly Rice, and Robert Rowat. The collection’s most frequently represented programs are Music from Montreal, Quebec in Concert, Arts National and In Performance, all drawing from musical events in Montreal and surrounding areas. The bulk of the content in the archive ranges from the 1980s to the early 2010s. The archive is comprised of over 1000 individual broadcasts, each manifested by a folder containing textual materials (including background research, concert programs, production sheets, correspondence, and newspaper clippings) and, in many cases, sound recordings related to the broadcasts.  CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 52 IMAGE 1. FOLDER: MARCH 28, 1988, KREMER/ARGERICH. SHOWN HERE ARE PHOTOGRAPHS OF THE ARTISTS ON STAGE, A CONCERT PROGRAM, A MEMO FROM THE ORCHESTRE SYMPHONIQUE DE MONTRÉAL, AND AN INTERNAL CBC MEMO. PHOTO CREDIT: MARVIN DUCHOW MUSIC LIBRARY  What is significant to you about this archive? HB & MP: Archives of radio music broadcasts can provide unique insights into local artistic history, bearing witness to musical events of a given time and place. The study of broadcast materials documenting productions, collaborations, musical programs, and venues offers an overview of the curatorial work of radio producers and the dissemination of music to broad audiences. The breadth of this cultural heritage collection provides a narrative in conjunction with the Quebec musical scene at large, as well as offering a snapshot of many music organizations and concert series active in Montreal and other Quebec locations. Select source materials within the collection also document a chapter of McGill University’s artistic history, for example, a significant number of the broadcasts were recorded in the Schulich School of Music’s concert halls and feature many former  CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 53 and current faculty members. Furthermore, a review of the archive reveals McGill faculty members’ collaborations amongst each other as well as with non-McGill performing artists.  Do you each have a favourite item from the archive? Can you tell us what makes it interesting to you? HB: The Martha Argerich and Gidon Kremer 1988 performance at Salle Wilfrid-Pelletier was a delightful discovery for me (see Image 1). As a violin student, I used to gain inspiration from the collaborative work of these two giants of the performance world. Beyond that, the representation of the artistic life of the Schulich School of Music is of highest importance to me and to the mandates of the Marvin Duchow Music Library when it comes to preserving our local history.  MP: I can’t say that I have a particular favourite item from the archive; there is a lot to choose from!  From an institutional perspective, I find this fonds particularly rich in how it enhances our documentation of the Schulich School of Music’s history (see Image 2), providing insights into events, collaborations, and choice of repertoire. The “Début” series represented in the archive features young performers from years past, many of whom have gone on to have careers in music, among them alumni and faculty from the Schulich School of Music. What has been most challenging about working with the archive? HB & MP: As with many archival collections, the conceptual and physical organization of the materials can be approached in multiple ways. For this collection, we decided to maintain the original physical organization while imposing a taxonomy that aims to capture the essential information which will be needed to represent the contents on McGill’s Archival Collections Catalogue via AtoM (Access to Memory) in the future. In thinking about the archive, it became clear that the broadcast itself was the main overarching event, encompassing both the performances and the surrounding research and production work. The textual materials are organized in folders that are primarily labelled by performer or group. Within each folder, broadcasts are described at the item level to capture each individual instance and enhance discoverability. Our descriptive work follows the Rules for Archival Description (RAD), the standard used in McGill’s Archival Collections Catalogue. As the spreadsheet was being populated, a parallel controlled vocabulary list was created to have consistent entries for: 1) document types; 2) radio program titles; 3) events and concert series; and 4) performance venues. Given the growing list of item types and locations, the vocabulary needed to be reviewed regularly to ensure single entries for each entity, and to disambiguate places of performance (e.g., churches with two near-identical names could refer to two separate physical places, or one physical location could be referred to by both its French and English names).    CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 54 IMAGE 2. FOLDER: ARION ENSEMBLE. SHOWN HERE ARE CONCERT PROGRAMS AND CBC CUE SHEETS. ARION IS A MONTREAL-BASED BAROQUE ORCHESTRA FOUNDED IN 1981. IT HAS STRONG TIES WITH BOTH THE LOCAL MUSIC SCENE AND MCGILL AS THERE HAVE BEEN, AND CONTINUE TO BE, A NUMBER OF MCGILL FACULTY MEMBERS AND ALUMNI AMONG ITS MEMBERS. THE ARION FOLDER CONTAINS PROGRAM NOTES, PRODUCTION NOTES, CUE SHEETS, RADIO SCRIPTS, CLIPPINGS, BIOGRAPHIES, CORRESPONDENCES, AND PRESS RELEASES FOR OVER 20 CONCERTS HELD IN COLLABORATION WITH THE CBC. PHOTO CREDIT: MARVIN DUCHOW MUSIC LIBRARY.  Are there any plans to digitize the Archive? We are currently prioritizing transferring the audio recordings contained in the Archive for preservation purposes as most of them are on CDRs which are prone to deterioration. As for the textual documents, we’ll assess this at a later date according to our digitization priorities. How can readers learn more about the archive? HB & MP: The archive is currently in the process of being re-housed and the inventory will soon be ingested into McGill’s Archival Collections Catalogue. We look forward to making the collection discoverable by researchers at the library and beyond! In the meanwhile, if readers would like to  CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 55 obtain more information about the archive, we invite them to contact us at music.library@mcgill.ca. We will be happy to share insights into this rich and multi-faceted archive! In closing, we wish to acknowledge the significant contributions of our colleagues Anna Dysert, Manuel Lopez Tovar, and Sofie Tsatas to the description of the CBC Montreal Radio Music Broadcasts Archive.  IMAGE 3. FOLDER: ELLY AMELING. SHOWN HERE ARE AN ANNOTATED FOLDER, A CONCERT PROGRAM, A HEADSHOT, AND AN INTERNAL CBC MEMO. ELLY AMELING IS AN INTERNATIONALLY RENOWNED SINGER. THE FOLDER CONTAINS PROGRAM NOTES, A PHOTO OF THE SOLOIST, A CUE SHEET, MEMOS, A PRESS RELEASE, A RADIO SCRIPT, AND CLIPPINGS AROUND A RECITAL WHICH WAS HELD AT MCGILL’S POLLACK HALL, IN COLLABORATION WITH THE CBC.   PHOTO CREDIT: MARVIN DUCHOW MUSIC LIBRARY.  

English

Spotlight on Music Collections: The CBC Montreal Radio Broadcasts Archive at the Marvin Duchow Music Library

Lai, Katie

2023 SQACBM Annual Meeting Report

Tessier, Eugénie

 CAML REVIEW / REVUE DE L’ACBM 51, NO. 1 (JUNE /JUIN 2023)  PAGE 21 Yourcenar – Une île de la passion : La création d’un opéra par Hélène Dorion et Marie-Claire Blais, 2022, 160 pp. ISBN : 978-2-7619-5938-4. Recensé par Eugénie Tessier, Université d’Ottawa 1  Imaginé en amont de la « mise au monde » (p. 5) de l’opéra Yourcenar – Une île de passions2, coécrit par Hélène Dorion et Marie-Claire Blais puis mis en musique par Éric Champagne, ce livre documente les traces de sa création. Cet opéra en deux actes explore entre « vérité historique » (p. 96) et fiction la vie de la femme de lettres et académicienne Marguerite Yourcenar (née Marguerite Cleenewerck de Crayencour, 1903-1987). Rythmé par le récit de la carrière littéraire de cette autrice non conformiste, cet opéra de production québécoise jette principalement un regard sur ses relations avec Grace Frick et Jerry Wilson, « deux figures majeures et d’aspects opposés de sa vie » (p. 97). Bien que la figure de Yourcenar occupe un rôle central dans la démarche décrite par les membres de l’équipe de création dans ce livre, la structure de l’ouvrage permet d’entrevoir la façon dont l’articulation du thème de l’antagonisme, développé dans le livret de Dorion et Blais, traverse le récit pour se refléter à même les activités de création qui entourent la production de l’opéra.  Comme l’explique Dorion, la principale idéatrice de ce projet, l’opéra englobe un processus de production profondément multidisciplinaire qui requiert l’étroite collaboration de toute une équipe de créateur.ice.s. L’objectif du livre est ainsi d’offrir, à travers une incursion dans le processus créatif des membres de l’équipe de création, l’occasion de mettre l’accent sur les solitudes qui entoure le travail créateur, tout comme sur les dimensions profondément collaboratives propres à un exercice d’aussi longue haleine. En effet, le thème de l’antagonisme (ex. solitude/collaboration [p. 5], passé/présent [p. 18], intimité/célébrité [p. 90], espace réel/espace virtuel [p. 130]) vient ancrer l’approche discursive orientant l’imaginaire de l’opéra non seulement dans le livret qui le compose, mais aussi dans l’ouvrage qui en fait l’objet. Cette articulation très explicite d’une logique dualiste dans la cristallisation du sens porté par le projet est d’ailleurs directement inspirée de l’univers littéraire et biographique de Marguerite Yourcenar comme le suggèrent les librettistes : «    This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License   2 Issu d’un travail collaboratif d’abord entamé en 2016, cet opéra fut créé à Québec et à Montréal à l’été 2022 sous la coproduction de l’Opéra de Montréal, du Festival d’opéra de Québec et Les Violons du Roy.  CAML REVIEW / REVUE DE L’ACBM 51, NO. 1 (JUNE /JUIN 2023)  PAGE 22 Le chaos d’existence s’exprime à travers des dualités. Ce qui nous a frappées, Marie-Claire et moi [Hélène Dorion], ce sont les paradoxes nombreux chez Yourcenar » (p. 89). Selon Éric Champagne, cette dualité se reflèterait dans le travail des autrices elles-mêmes : « Je décèle dans le livret d’Hélène et de Marie-Claire cette admiration pour une femme qui a consacré sa vie à la littérature. J’y trouve aussi un écho tout personnel sur cet équilibre délicat entre une vie vouée à la création et une vie nourrie de passions. C’est une démonstration éloquente de cette dualité éternelle entre Éros et Thanatos, mais dans une optique nouvelle » (p. 118). Le livre se décline en trois parties. La première est constituée du livret de l’opéra dans son intégralité. La seconde partie de l’ouvrage offre la transcription d’un entretien mené par Pierre Vachon avec les librettistes, dans lequel les autrices discutent des rouages de leur collaboration, de leurs rapports à l’opéra et de la musicalité de leur approche littéraire respective. Enfin, la dernière partie du livre, intitulée « Processus créateur », rassemble les interventions de neuf membres de l’équipe de création (composition, mise en scène, scénographie, costumes, éclairage, interprétation). Ces (trop) brefs textes apportent un certain éclairage sur les démarches de recherche qui ont informé la création de l’opéra et permet d’exprimer dans certains cas les rapports subjectifs entretenus par ces artistes en relation aux divers aspects du projet. D’une certaine façon, ce livre se présente moins comme un ouvrage pédagogique ou documentaire, axé sur une approche systématique des processus de création (au sujet desquels je reste au bout du compte un peu sur ma faim), mais incarne plutôt, à travers la singularité des interventions, un acte de création en soi.  Je me permets au passage de regretter le fait que le matériel photographique qui documente les carnets de notes, les tapuscrits du livret, les croquis et les manuscrits musicaux de l’équipe de création ne trouve absolument aucun écho dans le texte. Ces images sont laissées à vivre d’elles-mêmes. L’ouvrage se serait trouvé grandement enrichi s’il avait tenu à faire dialoguer les pratiques de création auxquelles fait allusion l’équipe de création dans leurs interventions textuelles avec ces artefacts qui constituent une représentation matérielle de leurs pensées, qui en sont les archives physiques. À ce sujet, l’ancrage temporel du livre demeure lui-même assez surprenant puisque chacune des interventions qui nourrit cet ouvrage se situe à différents moments du processus de création. Alors qu’on retrouve le livret complet en début d’ouvrage, chacune des parties subséquentes du livre apporte un éclairage en quelque sorte anticipatoire sur « l’aboutissement » de l’opéra. Dans leur entretien avec Vachon, tenu en août 2021, Dorion et Blais anticipent par exemple la composition musicale d’Éric Champagne et présagent les ajustements qui devront être apportés au livret en collaboration avec les interprètes au moment où se dérouleront les premiers ateliers de création. Plus loin, Hugo Laporte, qui interprète Jerry Wilson, écrit : « Au moment d’écrire ces lignes, notre deuxième atelier a déjà eu lieu et le troisième est prévu pour bientôt. […] Il me tarde de découvrir l’orchestration de la partition, de marcher dans les décors … » (p. 151). C’est donc dire que l’ensemble des prises de parole dans cet ouvrage situent fidèlement la dimension profondément processuelle et multipartite de la création alors que tous les éléments qui composent l’œuvre collective se trouvent, au moment de mettre ces réflexions sur papier, à un stade de production  CAML REVIEW / REVUE DE L’ACBM 51, NO. 1 (JUNE /JUIN 2023)  PAGE 23 différent et n’ont pour la plupart pas encore été assemblés. Enfin, ce qui apparaît initialement comme une structure discordante permet en réalité de plonger son lectorat dans une temporalité qui est propre à la création collective. Il s’agit donc ici d’un exercice réflexif qui porte à repenser la linéarité du travail de création qui « aboutirait » avec la performance de l’œuvre et qui mène ses lectrices et ses lecteurs à s’intéresser aux diverses étapes « invisibles » (p. 110) de la création.  

French

Yourcenar - Une île de la passion : La création d'un opéra par Hélène Dorion et Marie-Claire Blais (Book)

Attas, Robin

 CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 82 On Music Theory, and Making Music More Welcoming For Everyone by Philip Ewell. Ann Arbor: University of Michigan Press, 2023. 332 pp. ISBN: 9780472075027 Reviewed by Robin Attas, University of Manitoba  Philip Ewell is perhaps the most (in)famous living music theorist. After beginning his career in the discipline as a scholar of Russian music and theories, Ewell shifted focus to the topic that has led to his notoriety: exposing the white supremacist1 structure of music theory, with a focus on the central role of Heinrich Schenker in the development of contemporary music theory in the United States (and by extension, Canada). Ewell expands this focus in his new book, On Music Theory, and Making Music More Welcoming for Everyone, and also offers greater insight into the personal and professional experiences since 2019 that have shaped disciplinary discourse on these topics. It is an essential component of a longer anti-racism reading list for anyone engaging in academic music disciplines today. Given the topic of this book, it is important to state my positionality at the outset, particularly as it impacts my review. Among my many identities, I am a white, cisgender heterosexual woman, a non-Indigenous settler Canadian who used to be a professional music theorist and now works in educational development supporting teaching and learning initiatives related to equity, diversity, and inclusion. All of these identities impact my positionality when engaging with Ewell’s book, but in particular I want to name my whiteness. This social identity means that I am part of the dominant race that is the main target of the book’s critiques, and I benefit from the power and privilege this belonging affords me in music theory and society at large. My whiteness makes a critique of this book difficult. I regularly engaged with my own critical self-awareness to question whether my responses to particular passages were legitimate concerns or white fragility responses.2 Even if on careful self-examination I believe my critiques to be valid, they might still be taken as anti-Black racism given my white identity and the highly charged and polarized nature of these conversations both within music theory and in society at large. I hope this review is received in a spirit of generosity, collegiality, self-reflexivity, and a desire to continue to dialogue across difference in the grey areas between polarized positions, but I acknowledge that its impact might not be thus.   1 Note: the term white supremacy is often associated with explicit white supremacist hate groups such as the Nazis or the Ku Klux Klan. However, it also refers to institutional and structural systems of oppression that are designed to privilege, support, and center white individuals, ideas, values, and practices (including artistic ones), while explicitly or implicitly situating all other racial groups as inferior or marginal. 2 Robin DiAngelo, White Fragility (Boston: Beacon Press, 2018).  CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 83 I should also disclose that I know Ewell a little; we worked collaboratively for several months on a joint keynote as part of the 2022 Pedagogies into Practice conference,3 and I also read an early draft of his 2020 Music Theory Online (MTO) article4 when he shared it as a response to a symposium for which I was a contributing author.5 Now, to the book. On Music Theory includes six chapters, plus an introduction and conclusion. The introduction establishes key ideas, but also introduces readers to Ewell’s overall tone, which mixes breezy personal anecdotes with more conventional academic music scholarship to craft an overall argument about race and racism in music theory. Chapter 1, “On Music Theory, Race, and Racism” introduces important concepts such as the white racial frame (from sociologist Joe R. Feagin6) and white supremacy. It also presents evidence of structural racism in music theory as practiced in the United States through a discussion of some historical precedents, partial data on racial demographics in the Society for Music Theory (SMT), and more fulsome data on seven leading music theory textbooks’ overwhelming emphasis on white male composers in prose, analytical method, and musical examples.  Chapter 2 deepens the historical discussion begun in Chapter 1, sketching a history of white supremacy in Europe, its manifestation in historiography generally and the discipline of classics specifically, and the resulting implications for the “standard” understanding of the history of Western music and music theory through discussions of classic works including A History of Western Music7 and The Cambridge History of Western Music Theory.8 Ewell’s goal seems to be to outline a history of white supremacy in broad strokes and occasionally connect it to specific examples in music, which is a helpful overview but often left me wanting more, both in terms of the general history and the specific musical details. One of the strongest sections of the book is Chapter 3, a reworking of Ewell’s 2020 MTO article. Here Ewell takes aim at Heinrich Schenker, one of the core figures of US academic music theory, exposing not only Schenker’s racist views but how they have been overlooked and outright suppressed in order to maintain the white racial frame of the discipline. Ewell reframes Schenker by bringing together consideration of his racist ideas with his theory and analytical methods and offers advice for those who question whether Schenker is still worthy of attention.  3 Robin Attas and Philip Ewell, “Beyond Inclusion, Toward Justice: Dismantling Racialized and Colonial Music Theory Pedagogical Structures,” Pedagogy into Practice conference, June 4, 2022. 4 Philip A. Ewell, “Music Theory and the White Racial Frame,” Music Theory Online 26, no.2 (2020), accessed October 6, 2023, https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.ewell.html.  5 Philip A. Ewell, Robin Attas, Noriko Manabe, Mitchell M. Ohriner, John J. Mattessich, and James Bungert, “Symposium on Kendrick Lamar’s To Pimp A Butterfly,” Music Theory Online 25, no.1 (2019): 25.17-25.1-12, accessed on October 6, 2023, https://www.mtosmt.org/issues/mto.19.25.1/toc.25.1.html.  6 Joe R. Feagin, The White Racial Frame: Centuries of Racial Framing and Counter-Framing (New York: Routledge, 2013). 7 J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 10th edition (New York: W. W. Norton, 2018). 8 Thomas Street Christensen, ed., The Cambridge History of Music Theory (Cambridge: Cambridge University Press, 2002).  CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 84 Chapter 4 (“On Volume 12 of the Journal of Schenkerian Studies”) might be characterized as the “juicy gossip” section of the book. Ewell takes an unapologetic “calling out” approach9 as he offers details on the fallout from the nuclear meltdown that was volume 12 of JSS, which featured a symposium of ten articles responding to Ewell’s 2019 SMT keynote address.10 The symposium was of dubious (to put it mildly) academic rigor, with many submissions likely not subject to anonymous peer review, and most submissions reading more as personal opinions (if not outright attacks) rather than thoughtful scholarship. Apart from an opportunity to tell his side of the story, Ewell uses the events as a real-world example of how white supremacy operates in music theory, although his tendency to rebut specific elements of the journal and its authors’ behaviours both in the issue and in private emails and social media conversations is a bit tedious for those who haven’t read the issue (particularly as it is difficult to find in print, owing to the scandal that ensued). I often found myself sympathetic with Ewell’s views, but felt a bit excluded from an insider music theory club, since I limit my participation in social media (upon which Ewell draws heavily) and no longer keep up with SMT politics. “On Music Theory’s Antiblackness” (Chapter 5) is where Ewell expands beyond the JSS affair to other instances of anti-Black racism in music theory, including SMT’s attempt to create a specific publication award for BIPOC (Black, Indigenous, and People of Colour) scholars; problematic music theory journal peer review practices as demonstrated by Ewell’s own difficulties with Music Theory Online; and discussion of racism in popular music analysis and the absence of jazz in the core music theory curriculum. At times the examples lack the more careful and detailed research and data analysis found in places like Chapter 3. I agree wholeheartedly with Ewell’s claims, but I found myself wishing that Ewell had more data and specificity to support them. This could have included data on publication awards to match the textbook data Ewell uses elsewhere, integration of other scholars’ work on the role of racism in awards generally (academic or otherwise), discussion of popular music analysts and jazz music pedagogues who are practicing what Ewell suggests in analysis and classroom practices, and more. Without such evidence, Ewell’s generalist statements risk losing support from less sympathetic readers than myself. Ewell writes that several reviewers found Chapter 6, “On Classical Music’s Antisemitism [sic],” to be out of place, and I agree. In making this assessment, I am in no way suggesting that a discussion of antisemitism in music is unimportant (as Ewell seems to imply of anyone who would reject this chapter, on p.241). Rather, I think the topic would benefit from a more thorough treatment than Ewell gives it here. In a sense, this chapter exposes for me a major gap in the book: while Ewell claims in his title to be “making music more welcoming for everyone” (emphasis mine) and  9 “Calling out” is an expression describing a blunt or forceful declaration of an individual or group’s actions as unjust, oppressive, or discriminatory; “calling in” is an expression describing a more gentle approach that invites the individual into a conversation for educative purposes. See, for example, Harvard University Office for Equity, Diversity, Inclusion & Belonging, “Calling In and Calling Out Guide” (2023), available at https://edib.harvard.edu/calling-and-calling-out-guide.   10 An expanded version of the keynote address is published as Philip A. Ewell, “Music Theory’s White Racial Frame,” Music Theory Spectrum 43, no.2 (Fall 2021), 324–329.  CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 85 throughout the book mentions connections between anti-Black racism and sexism, anti-Asian racism, transphobia, and antisemitism, his book does not go far enough towards a true reckoning with all of these intersectional systems of oppression, and in fact, leaves some out almost entirely. (As a Canadian non-Indigenous settler who is a strong advocate for decolonization and Indigenous resurgence, I found the discussion of Indigenous ways of knowing to be cursory at best and sometimes bordering on Indigenous erasure, such as in the discussion of the “1619 Project” in the book’s conclusion.) Yes, music theory is problematic in many ways, but Ewell’s book does not do as much as his title claims for other forms of discrimination and oppression, and I think his argument would be strengthened were he to focus exclusively on anti-Black racism and its nuances. The conclusion returns to Ewell’s overall goal of reframing music theory as white supremacist, with the bulk of the chapter focused on recommendations for change. Recommendations feature in other parts of the book, too, but the ones in the conclusion are more explicit, more specific, and more actionable. Librarians might be disappointed (or perhaps are used to?) the lack of recommendations around music library collections and their role in white supremacy, but many of Ewell’s suggested actions are helpful starting places for those working in academic music settings, and intersect well with recommendations in the Canadian context for working towards the Calls to Action of the Truth and Reconciliation Commission of Canada, such as Dylan Robinson’s “To All Who Should Be Concerned.”11 This book is an important part of music scholarship around racism and other systems of oppression and joins numerous calls for change of academic music disciplines and institutions. I can imagine that people with privilege or power, or whose social identities are called out in this book, might dismiss Ewell’s book as irrelevant: it’s a US perspective not relevant in Canada; it’s about music theory, not my music discipline; it’s about a few music theorists who don’t represent my music theory; it’s about a few explicitly racist white people, but I’m not racist like they are; it’s too general without specific context in terms of citations or theoretical grounding; it’s not music theory; and so on. Some of these may be legitimate concerns, but many are rooted in white fragility, settler moves to innocence, and defense mechanisms for those who are complicit in systems of oppression to maintain their power and privilege through maintenance of the status quo. I urge you to critically examine your own reasons for hesitating on this book and engage anyway.  But I also urge you to go beyond this book. Use it as a conversation-starter with your colleagues, friends, and family to listen and learn from each other. Use it to spur you towards the vast amount of existing material on related topics, whether broad discussions of white supremacy and racism, critical race theory, intersectionality, anti-oppression, and different forms of discrimination; or music-specific work on the problematic history of academic music disciplines, and work by racialized or otherwise minoritized music academics that demonstrates what music theory can look like when it smashes the white racial frame. One book can only do so much, and while Ewell’s On  11 Dylan Robinson, “To All Who Should Be Concerned,” Intersections 39, no.1 (2019): 137–144. https://doi.org/10.7202/1075347ar.   CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023)  PAGE 86 Music Theory does good work exposing some of the white supremacist frames of music theory and music studies, there is much more to learn than what is presented here, and many more opportunities for each of us to act.  

On Music Theory, and Making Music More Welcoming For Everyone by Philip Ewell (Book)

Evison, Fiona

Community Music at the Boundaries by Lee Willingham (Ed.) (Book)

Folk-Farber, Kyra

 CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023) PAGE 7 Editors’ Column   Dear readers, Welcome to the December 2023 issue of CAML Review! We hope you are staying warm as winter arrives across the country. The CAML Review editorial team has gone through some changes since our last issue. As we announced in the last issue, Jan Guise (co-Lead Editor from 2020-23) has stepped down from the team to take time to work on a sabbatical research project documenting the history of CAML. We can’t say enough about Jan’s hard work and dedication to CAML Review over the last four years. With the endorsement of the CAML Board members, Kyra Folk-Farber (Associate Dean of Library and Learning Resources and Scholarly Communications, California State University Channel Islands) has taken on the role of co-Lead Editor. Kyra’s expertise in scholarly publishing and copyright will certainly be an asset to the editorial team. She has connections to the academic library community, and roots in the Canadian music world as a student and opera singer (D.Mus., University of Montreal; MI, University of Toronto). In this issue you will find the reports from the 2023 CAML AGM, which took place at Laval University in Quebec City, QC, as well as an interview with Houman Behzadi and Melissa Pipe on their work with the CBC Radio Music Programs Collection at the Marvin Duchow Music Library. We feature remembrances of the lives of two significant Canadian composers: Rachel Laurin (written by Gilles Leclerc) and Joclyn Morlock (written by Kevin Madill).  This issue includes a refereed article by Risa de Rege that offers a comprehensive look at some of the challenges and solutions for processing and storing music scores. The article is accompanied by helpful photos, that provide demonstrate some of the unique issues that arise when working to bind and house music scores in libraries.  Finally, this issue includes reviews of Jim Vernon’s Sampling, Biting, and the Postmodern Subversion of Hip Hop (reviewed by Claire McLeish, Third Side Music); Philip Ewell’s On Music Theory, and Making Music More Welcoming For Everyone (reviewed by Robin Attas, University of Manitoba); and Community Music at the Boundaries edited by Lee Willingham (reviewed by Fiona Evison).     CAML REVIEW / REVUE DE L’ACBM 51, NO. 2 (DECEMBER /DÉCEMBRE 2023) PAGE 8 Many thanks to the members of the editorial team and many contributors who have worked to bring this issue to fruition. We hope you enjoy this latest issue of CAML Review.  Happy reading and happy holidays! Carolyn Doi, BMus, MLIS Associate Librarian University of Saskatchewan carolyn.doi@usask.ca Kyra Folk-Farber, D.Mus, MI Associate Dean, Library and Learning Resources and Scholarly Communications California State University Channel Islands kyra.folk-farber@csuci.edu   

Editors' Column

Editor

CAMLMilestonesThis column aims to share organization news, celebrate our colleagues’ accomplishments, anddocument changes for future researchers looking back. Have news to share? Contact the co-leadeditors to have your news published in the next issue!AnnouncementsHouman Behzadi (McGill University) was elected to the Board of the Music Library Association asone of three members-at-large. His term runs from 2023-2025. Currently, his role is AssistantPlanning and Reports Officer.Maria Calderisi (National Library, retired) was awarded an honorary lifetime membership to CAMLat the 2023 Annual General Meeting of CAML. Jan Guise (University of Toronto) will start a 1-year research leave (sabbatical) on July 1, 2023, toresearch and write the history of CAML.Katherine Penner (University of Manitoba) will start a 6-month research leave (sabbatical) on July1, 2023. The title of her topic is “Digital score use and lending in the academic library setting.” New MembersSince our last issue, there are 3 new individual members: one student CAML, one studentCAML+IAML, and one regular CAML+IAML.Staffing NewsTim Neufeldt will be Acting Head of the University of Toronto Music Library from July 1, 2023,through June 30 2024.CAML REVIEW / REVUE DE L’ACBM 51, NO. 1 (JUNE / JUIN 2023) PAGE 8

CAML Milestones

While music libraries fundamentally face the same preservation concerns as any other library, their collections face unique problems. Sheet music is heavily used in distinct ways, and comes in a wide variety of sizes, shapes, and formats, all of which lead to maintenance issues that apply specifically to these materials. Arguing that genre and use inform the formats and damage we see in sheet music, this paper systematically explores the different features of scores, including bindings, sizes, and uses. I discuss the major preservation issues faced by circulating, printed music collections and suggest possible solutions

de Rege, Risa

Settling Scores: Best Practice for the Maintenance of Sheet Music

Nevins, Maureen

Martin, Cathy

Deck, Trevor

Smith, Becky

Stoeckle, Marc

Goodwin, Gavin

Guise, Jan

Jemison, Kyla

Penner, Katherine

Association canadienne des bibliothèques, archives de documentation musicaux (ACBM) Rapports pour l’Assemblée générale annuelle 2023

Guise, Janneka

Message des rédactrices en chef

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