Professional Development

The Ellers Visit the In-Laws; Charleston 2014

Wednesday, November 12, 2014 12:00 pm

Eleven-day-old daughter and sleep-deprived wife in tow, I attended the 2014 Charleston Conference flying arguably in the face of reason. I had the advantage of a free place to stay: my parents-in-law live out on James Island, a 15-minute drive to the Francis Marion Hotel where the conference is held. Given this fact and the conference’s unique focus on acquisitions, it makes sense for this meeting to become an annual excursion for me.

The opening speaker, Anthea Stratigos (apparently her real last name) from Outsell, Inc. talked about the importance of strategy, marketing, and branding the experience your library provides. She emphasized that in tough budgetary times it is all the more important to know your target users and to deliver the services, products, and environment they are looking for rather than mindlessly trying to keep up with the Joneses and do everything all at once. “Know your portfolio,” advised Ms. Stratigos. I would say that we at ZSR do a good job of this.

At “Metadata Challenges in Discovery Systems,” speakers from Ex Libris, SAGE, Queens University, and the University of Waterloo discussed the functionality gap that exists in library discovery systems. While tools like Summon have great potential and deliver generally good results, they are reliant on good metadata to function. In an environment in which records come from numerous sources, the task of normalizing data is a challenge for library, vendor, and system provider alike. Consistent and rational metadata practices, both across the industry and within a given library, are essential. To the extent that it is possible, a good discovery system ought to be able to smooth out issues with inconsistent/bad metadata; but the onus is largely on catalogers. I for one am glad that we are on top of authority control. I am also glad that at the time of implementation I was safely 800 miles away in Louisiana.

In a highly entertaining staged debate over the premise that “Wherever possible, library collections should be shaped by patrons instead of librarians,” Rick Anderson from Utah and David Magier from Princeton contested the question of how large a role PDA/DDA should play in collection development in an academic context. Arguing pro-DDA, Mr. Anderson claimed that we’ve confused the ends with the means in providing content: the selection process by librarians ought properly to be seen simply as a method for identifying needed content, and if another more automated process (DDA) can accomplish the same purpose (and perhaps do it better), then it ought to be embraced. Arguing the other side, Mr. Magier emphasized DDA’s limitations, eloquently comparing over-reliance on it to eating mashed potatoes with a screwdriver just because a screwdriver is a useful tool. He pointed out that even in the absence of DDA, librarians have always worked closely and directly with patrons to answer their collection needs. In truth, both debaters would have agreed that a balance of DDA and traditional selection by librarians is the ideal model.

One interesting program discussed the inadequacy of downloads as proxy for usage given the amount of resource-sharing that occurs post-download. At another, librarians from UMass-Amherst and Simmons College presented results of their Kanopy streaming video DDA (PDA to them) program, similar to the one we’ll be rolling out later this month; they found that promotion to faculty was essential in generating views. On Saturday morning, librarians from Utah State talked about the importance of interlibrary loan as a supplement to acquisitions budgets and collection development policies in a regional consortium context. On this point, they try to include in all e-resource license agreements a clause specifying that ILL shall be allowed “utilizing the prevailing technology of the day” – an attempt at guaranteeing that they will remain able to loan their e-materials regardless of format, platform changes, or any other new technological developments.

Also on Saturday Charlie Remy of UT-Chattanooga and Paul Moss from OCLC discussed adoption of OCLC’s Knowledge Base and Cooperative Management Initiative. This was of particular interest as we in Resource Services plan on exploring use of the Knowledge Base early next year. Mr. Remy shared some of the positives and negatives he has experienced: among the former, the main one would be the crowdsourcing of e-resource metadata maintenance in a cooperative environment; among the negatives were slow updating of the knowledge base, especially with record sets from new vendors, along with the usual problem of bad vendor-provided metadata. The final session I attended was about link resolvers and the crucial role that delivery plays in our mission. As speakers pointed out, we’ve spent the past few years focusing on discover, discovery, discovery. Now might be a good time to look again at how well the content our users find is being delivered.

OCLC Member Forum – UNCG

Thursday, October 9, 2014 9:55 am

I recently attended the first regional OCLC member forum held at UNCG. The meeting focused on the many changes happening with OCLC products and a better understanding of how the products work together. I went to the break out session pertaining to Cataloging and Metadata. Within this session, members were able to give feedback on issues that we have been having particularly with Connexion and make request for features that don’t exist. OCLC has a web page dedicated to the forums which include pictures, questions and feedback from the attendees. Feel free to explore at the following link https://oclc.org/en-US/events/member-forums/after-party.html

Leslie at SEMLA 2014

Monday, October 6, 2014 5:07 pm

This year’s meeting of the Southeast Music Library Association was hosted by Louisiana State University, in Baton Rouge. It was one of those enjoyable meetings where one can just sit back and absorb a lot of new information on a novel topic — this year’s theme was electronic and experimental music. LSU has a large program in this field, and boasts a Laptop Orchestra and a Mobile Device Orchestra. But it’s an area that many of the rest of us don’t have much occasion to deal with.

Some challenges in preserving and distributing born-digital musical works:

  • How do you define a musical instrument these days? Especially when the “instrument” is a piece of software or a smartphone? Or is part of a multi-media work?
  • How do you distribute such instruments, so that others are able to perform your work?
  • How do you notate this kind of music?
  • Obsolescence of software and hardware.

Attempted solutions have included:

  • Distributing the software for building instruments via websites, and by developing universal encoding standards.
  • Archives and repositories for software and media.
  • Rapid prototyping of instruments, for instance by producing stand-alone units (containing sensors, circuit boards, etc.) for specific projects.

Other presenters tackled the issues involved in cataloging experimental music. A colleague from Florida State identified lacunae in Library of Congress subject headings: often, the scope is either too broad (“Computer music,” “Electronic music”) or too narrow (flash-in-the-pan trends). There’s a paucity of headings for non-traditional methods of sound production, and extended techniques on instruments (we have “Prepared piano” dating from the 1960s generation, but not for current techniques like fluteboxing.) Another problem: genre and form have traditionally been the primary organizing principle when classifying music, but with much new music it’s the process of creating or performing the work (often on a random or extra-musical basis, as when sensors are placed or mapped so as to produce musical tones when people pass through a public place, or interact with a website) that is the principle aspect. A possible solution to all this: tagging, a.k.a. folksonomies. Some tags assigned by users of Last.fm, for instance, show potential to be incorporated into library catalogs, and into the LCSH hierarchy. A colleage from Chapel Hill also opened fascinating vistas for exploiting linked data in cataloging Hip Hop music: Hip Hop uses sampling from many other genres, so metadata that links to the source recordings would be of inestimable value for academic study, and for the DJs and artists who are currently involved in the identification and preservation of the source material (like Ninth Wonder, who recently guest-lectured at WFU).

On the IL front, presenters from Loyola described how, in response to an accreditation report that revealed deficiencies in the Music School’s efforts to equip its majors with technology skills, they developed a “Tech for Music” course, required for all music students. The course includes sessions on recording techniques, working with images (Photoshop etc.), software for music notation, and web presence for composers and performers, as well as good old library research skills.

All told, interesting sessions and perfect fall weather — couldn’t be better!

Leslie at MLA 2014

Saturday, March 15, 2014 4:38 pm

This year’s Music Library Association conference was held in Atlanta. It was a very productive meeting for me: I got a lot of continuing education in RDA, the new cataloging standard; and an opportunity to renew contacts in the area of ethnomusicology (music area studies), having learned just before leaving for MLA that our Music Department plans to add an ethnomusicologist to their faculty.

RDA

The impact of RDA, one year after its adoption by the Library of Congress, was apparent in the number of sessions devoted to it during the general conference, not just the catalogers’ sessions sponsored by the Music OCLC Users Group. I learned about revisions made to the music rules in the RDA manual, in MLA’s “Best Practices” document, and in the various music thesauri we use. (So if you see a “Do Not Disturb” sign on my door, you’ll know I have a lot of re-reading to do, all over again!). One sign of the music library community’s clout: MLA’s Best Practices will be incorporated into the official RDA manual, with links integrated into the text alongside LC’s policy statements. In a session on RDA’s impact on public services, I was gratified to find that almost all the talking points presented by the speakers had been covered in my own presentation to our liaisons back in September.

PRESERVATION AND COPYRIGHT

LC gave a report on its National Recordings Preservation Plan (NRPP), which began in February 2013. The group has developed 31 recommendations, which will be presented at hearings scheduled for this year by the US Office of Copyright, covering the entire copyright code, including section 108, orphan works, and pre-1972 sound recordings (the ones not covered by federal law, leaving librarians to navigate a maze of state laws). Also to be presented: a proposed “digital right of first sale,” enabling libraries and archives to perform their roles of providing access and preservation for born-digital works whose licensing currently prohibits us doing so. In the meantime, best-practices documents have been developed for orphan works (by UC Berkeley) and fair use for sound recordings (by the NRPP).

ONLINE LICENSING ISSUES

Perennial, and always interesting, sessions are held at MLA on the ongoing problem of musical works and recordings that are issued only online, with licensing that prohibit libraries and archives from acquiring them. An MLA grant proposal aims to develop alternative licensing language that we can use with recording labels, musicians, etc., allowing us to burn a CD of digital-only files. A lively brainstorming session produced additional potential solutions: an internet radio license, which would stream a label’s catalog to students, at the same time generating revenue for the label; placing links to labels in our catalogs, similar to the Google links that many OPACS feature for books, offering a purchase option; raising awareness among musicians, many of whom are unaware of the threat to their legacies, by speaking at music festivals, and asking the musicians themselves to raise public awareness, perhaps even by writing songs on the topic; capturing websites that aggregate music of specific genres, etc., in the Internet Archive or ArchiveIt; collaborating with JSTOR, PORTICO, and similar projects to expand their archiving activities to media.

DIGITAL HUMANITIES

This hot topic has begun to make its impact on the music library community, and MLA has established a new round table devoted to it. In a panel session, music librarians described the various ways they are providing support for, and collaborating with, their institutions’ DH centers. Many libraries are offering their liaisons workshops and other training opportunities to acquire the technical skills needed to engage with DH initiatives.

OTHER TECHNOLOGICAL PROJECTS

In a panel session on new technologies, we heard from a colleague at the University of Music and Drama in Leipzig, Germany, who led a project to add facets in their VuFind-based discovery layer for different types of music scores (study scores, performance scores, parts, etc.); a colleague at Haverford who used MEI, an XML encoding scheme designed for musical notation, to develop a GUI interface (which they named MerMEId) to produce a digital edition of a 16th-century French songbook, also reconstructing lost parts (we’ve been hearing about MEI for some years — nice to see a concrete example of its application); an app for the Ipad, developed by Touch Press, that offers study aids for selected musical works (such as Beethoven’s 9th symphony) allowing you to compare multiple recordings while following along with a modern score or the original manuscript (which automatically scrolls with the audio), watch a visualization tool that shows who’s playing when in the orchestra, and read textual commentary, some in real time with the audio; a consortium’s use of Amazon’s cloud service to host an instance of Avalon, an audio/video streaming product developed by Indiana U, to support music courses at their respective schools; and ProMusicDB, a project that aims to build an equivalent to IMDB for pop music.

Leslie at MLA 2013

Wednesday, March 6, 2013 7:48 pm

A welcome escape from the usual wintry rigors of traveling to a Music Library Association conference — mid-February this year found us in San Jose, soaking up sun, balmy breezes, and temps in the 70s. (Colleagues battered by the Midwest blizzards were especially appreciative.)

THE FUTURE OF SUBJECT COLLECTIONS
This was the title of a plenary session which yielded a number of high-level insights. For one, it was the first time I had heard the term “disintermediation” to describe the phenomenon of librarians being displaced by Google et al as the first place people go for information.

Henriette Hemmasi of Brown U analogized the MOOCs trend as “Diva to DJ”: that is, the role of the instructor is shifting from lone classroom diva to the collaborative role played by a disc jockey — selecting and presenting material for team-produced courses, working with experts in web development, video, etc. Her conclusion: 21st-century competencies must include not just knowledge, but also synthesizing and systems-thinking skills.

David Fenske, one of the founding developers of Indiana’s Ischool, noted that the rapid evolution of technology has rendered it impossible to make projections more than 5 or 10 years out (his reply to a boss who asked for a 20-year vision statement: “A 20-year vision can’t be done without drugs!”). He also observed that digital preservation is in many ways more difficult than the traditional kind: the scientific community is beginning to lose the ability to replicate experiments, because in many cases the raw data has been lost due to obsolete digital storage media. Fenske envisions the “library as socio-technical system” — a system based on user demographics, designed around “communities of thought leaders” as well as experts. Tech-services people have long mooted the concept of “good-enough” cataloging, in the face of overwhelming publication output; public-services librarians, in Fenske’s view, should start talking about the “good-enough” answer. Fenske wants to look “beyond metadata”: how can we leverage our metadata for analytics? semantic tools? How can we scale our answers and services to compete with Google, Amazon, and others?

PERFORMERS’ NEEDS
Some interesting findings from two studies on the library needs of performing faculty and students (as opposed to musicologists and other researchers in the historical/theoretical branches of the discipline):

One study addressed the pros and cons of e-scores. Performers, always on the go and pressed for time, like e-scores for their instant availability and sharability; the fact that they’re quick and easy to print out; their portability (no more cramming a paper score into an instrument case for travel); easy page turns during performance (a pedal mechanism has been devised for this). Performers also like an e-score that can be annotated (i.e., not a PDF file) so they can insert their notes for performance; and the ability to get a lot of works quickly from one place (as from an online aggregator). On the other hand, academic users, who work with scholarly and critical editions, like the ability of the online versions to seamlessly integrate critical commentary with the musical text (print editions traditionally place the commentary in separate supplementary volumes). Third-party software can also be deployed to manipulate the musical text for analysis. But the limitations of the computer screen continue to pose viewability problems for purposes of analysis. Academic users regard e-scores as a compliment to, not an alternative to, print scores.

Another study interviewed performing faculty to find out how they use their library’s online catalog. Typically, they come to the library wanting to find known items, use an advanced-search mode, and search by author, title, and opus number (the latter not very effectively handled by many discovery layers; VuFind does a reasonably good job). Performing faculty often are also looking for specific editions and/or publishers (aspects that many discovery interfaces don’t offer as search limits/facets). Performing faculty (and students) study a work by using a score to follow along with a sound recording, so come to the library hoping to obtain multiple formats for the same work — icons or other aids for quickly identifying physical format are important to them, as for film users and others. There is also a lot of descriptive detail that performers need to see in a catalog display: contents, duration, performers’ names.

Stuff a lot of music librarians have observed or suspected, but good to see it quantified and confirmed in some formal studies.

COLLABORATIVE COLLECTION DEVELOPMENT
This is a topic that has generated much interest in the library community, and music librarians have also been exploring collaborative options for acquiring the specialized materials of their field. Besides shared approval-plan profiles for books, and shared database subscriptions, music librarians have divvied up the collecting of composers’ collected editions, and contemporary composers whose works they want to collect comprehensively. Because music materials are often acquired and housed in multiple locations on the same campus, internal collaboration is as important as external. One thing that does not seem to lend itself to collaborative collection: media (sound recordings and videos). Many libraries don’t lend these out via ILL, and faculty tend to want specific performances — making on-request firm orders a more suitable solution. One consortium of small Maine colleges (Colby, Bates, and Bowdoin) divided the processing labor of their staffs by setting up rotating shipments for their shared approval plan: one library gets this month’s shipment of books, another library receives the next month’s shipment, and so on.

DDA
There was a good bit of discussion concerning demand-driven e-book acquisitions among colleagues whose institutions had recently implemented DDA services. On two separate occasions, attendees raised the question of DDA’s impact on the humanities, given those disciplines’ traditional reliance on browsing the stacks as a discovery method.

RDA
It was a very busy conference for music catalogers, as over a hundred of us convened to get prepared for RDA. There was a full-day workshop; a cataloging “hot topics” session; a town-hall meeting with the Bibliographic Control Committee, which recently produced a “RDA Best Practices for Cataloging Music” document; and a plenary session on RDA’s impact across library services (the latter reprising a lot of material covered by Steve and others in ZSR presentations — stay tuned for more!)

SIDELIGHTS
A very special experience was a visit to the Ira F. Brilliant Center for Beethoven Studies (located on the San Jose State campus), the largest collection of Beethoveniana outside Europe. During a reception there, we got to play pianos dating from Beethoven’s time. Hearing the “Moonlight Sonata” up close on the model of instrument he wrote it for (Dulcken, a Flemish maker) was a true revelation.

Leslie at NCLA 2011

Friday, October 7, 2011 2:50 pm

It was really nice to be able to attend an NCLA conference again — one of my music conferences, as it happens, has been held at the same time for years.

I attended a session on RDA, the new cataloging standard recently beta-tested by LC. Christee Pascale of NCSU gave a very helpful, concise reprise of that school’s experience as a test participant; the staff training program and materials they developed; and advice to others planning to implement RDA.

Presenters from UNCG and UNCC shared a session titled “Technical Services: Changing Workflows, Changing Processes, Personnel Restructuring — Oh My!” Both sites have recently undergone library-wide re-organizations, including the re-purposing of tech services staff to other areas, resulting in pressure to ruthlessly eliminate inefficiencies. Many of the specific steps they mentioned are ones we’ve already taken in ZSR, but some interesting additional measures include:

  • Eliminating the Browsing Collection in favor of a New Books display.
  • Reducing the funds structure (for instance, 1 fund per academic department — no subfunds for material formats)

There also seems to be a trend towards re-locating Tech Services catalogers to Special Collections, in order to devote more resources to the task of making the library’s unique holdings more discoverable; outsourcing or automating as many tech services functions as possible, including “shelf-ready” services, authority control, and electronic ordering; and training support staff (whose time has putatively been freed by the outsourcing/automation of their other tasks) to do whatever in-house cataloging remains. That’s the vision, at any rate — our presenters pointed out the problems they’ve encountered in practice. For instance, UNCC at one point had one person doing the receiving, invoicing, and cataloging: they quickly found they needed to devote more people to the still-significant volume of in-house cataloging that remained to be done even after optimizing use of outsourced services. They’re also feeling the loss of subject expertise (in areas like music, religion, etc.) and of experienced catalogers to make the big decisions (i.e., preparing for RDA).

NCLA plans to post all presentations on their website: http://www.nclaonline.org/

 

 

Leslie at MLA 2011

Monday, February 14, 2011 2:08 am

I’m back from another Music Library Association conference, held this year in Philadelphia. Some highlights:

Libraries, music, and digital dissemination

Previous MLA plenary sessions have focused on a disturbing new trend involving the release of new music recordings as digital downloads only, with licenses restricting sale to end users, which effectively prevents libraries either from acquiring the recordings at all, or from distributing (i.e., circulating) them. This year’s plenary was a follow-up featuring a panel of three lawyers — a university counsel, an entertainment-law attorney, and a representative of the Electronic Frontiers Foundation — who pronounced that the problem was only getting worse. It is affecting more formats now, such as videos and audio books — it’ not just the music librarian’s problem any more — and recent court decisions have tended to support restrictive licenses.

The panelists suggested two approaches libraries can take: building relationships, and advocacy. Regarding relationships, it was noted that there is no music equivalent of LOCKSS or Portico: Librarians should negotiate with vendors of audio/video streaming services for similar preservation rights. Also, libraries can remind their resident performers and composers that if their performances are released as digital downloads with end-user-only licenses, libraries cannot preserve their work for posterity. The panelists drew an analogy to the journal pricing crisis: libraries successfully raised awareness of the issue by convincing faculty and university administrators that exorbitant prices would mean smaller readerships for their publications. On the advocacy side, libraries can remind vendors that federal copyright law pre-empts non-negotiable licenses: a vendor can’t tell us not to make a preservation copy when Section 108 says we have the right to make a preservation copy. We can also lobby state legislatures, as contract law is governed by state law.

The entertainment-law attorney felt that asking artists to lobby their record labels was, realistically speaking, the least promising approach — the power differential is too great. Change, the panelists agreed, is most likely to come through either legislation or the courts. Legislation is the more difficult to affect (there are too many well-funded commercial interests ranged on the opposing side); there is a better chance of a precedent-setting court case tipping the balance in favor of libraries. Such a case is most likely to come from the 2nd or 9th Circuit, which have a record of liberal rulings on Fair Use issues. One interesting observation from the panel was that most of the cases brought so far have involved “unsympathetic figures” — individuals who blatantly abused Fair Use on a large scale, provoking draconian rulings. What’s needed is more cases involving “sympathetic figures” like libraries — the good guys who get caught in the cross-fire. Anybody want to be next? :-)

Music finally joins Digital Humanities

For a couple of decades now, humanities scholars have been digitizing literary, scriptural, and other texts, in order to exploit the capabilities of hypertext, markup, etc. to study those texts in new ways. The complexity of musical notation, however, has historically prevented music scholarship from doing the same for its texts. PDFs of musical scores have long been available, but they’re not searchable texts, and not encoded as digital data, so can’t be manipulated in the same way. Now there’s a new project called the Music Encoding Initiative, jointly funded by the National Endowment for the Humanities and the German Deutsche Forschungsgemeinschaft. MEI (yes, they’ve noticed it’s also a Chinese word for “beauty”) has just released a new digital encoding standard for Western classical musical notation, based on XML. It’s been adopted so far by several European institutions and by McGill University. If, as one colleague put it, it “has legs,” the potential is transformative for the discipline. Whereas critical editions in print force editors to make painful decisions between sources of comparable authority — the other readings get relegated to an appendix or supplementary volume — in a digital edition, all extant readings can be encoded in the same file, and displayed side by side. An even more intriguing application of this concept is the “user-generated edition”: a practicing musician could potentially approach a digital edition of a given work, and choose to output a piano reduction, or a set of parts, or modernized notation of a Renaissance work, for performance. Imagine the savings for libraries, which currently have to purchase separate editions for all the different versions of a work.

http://music-encoding.org

Music and metadata

In a session titled “Technical Metadata for Music,” two speakers, from SUNY and a commercial audio-visual preservation firm respectively, stressed the importance of embedded metadata in digital audio files. Certain information, such as recording date, is commonly included in filenames, but this is an inadequate measure from a long-term preservation standpoint: filenames are not integral to the file itself, and are typically associated with a specific operating system. One speaker cited a recent Rolling Stone article, “File not Found: the Recording Industry’s Storage Crisis” (December 2010), describing the record labels’ inability to retrieve their backfiles due to inadequate filenames and lack of embedded metadata. Metadata is now commonly embedded in many popular end-user consumer products, such as digital cameras and smartphones.

For music, embedded metadata can include not only technical specifications (bit-depth, sample rate, and locations of peaks, which can be used to optimize playback) but also historical context ( the date and place of performance, the performers, etc.) and copyright information. The Library of Congress has established sustainability factors for embedded metadata (see http://digitizationguidelines.gov). One format that meets these requirements is Broadcast Wave Format, an extension of WAV: it can store metadata as plain text, and can include historical context-related data. The Technical Committee of ARSC (Association of Recorded Sound Collections) recently conducted a test wherein they added embedded metadata to some BWF-format audio files, and tested them with a number of popular applications. The dismaying results showed that many apps not only failed to display the embedded metadata, but also deleted it completely. This, in the testers’ opinion, calls for an advocacy campaign to raise awareness of the importance of embedded metadata. ARSC plans to publish its test report on its website (http://www.arsc-audio.org/). The software for embedded metadata that they developed for the test is also available as a free open-source app at http://sourceforge.net/projects/bwfmetaedit.

Music cataloging

A pre-conference session held by MOUG (Music OCLC Users Group) reported on an interesting longitudinal study that aimed to trace coverage of music materials in the OCLC database. The original study was conducted in 1981, when OCLC was relatively new. MOUG testers searched newly-published music books, scores, and sound recordings, as listed in journals and leading vendor catalogs, along with core repertoire as listed in ALA’s bibliography Basic Music Library, in OCLC, and assessed the quantity and quality of available cataloging copy. The study was replicated in 2010. Exact replication was rendered impossible by various developments over the intervening 30 years — changes in the nature of the OCLC database from a shared catalog to a utility; more foreign and vendor contributors; and the demise of some of the reference sources used for the first sample of searched materials, necessitating substitutions — but the study has nevertheless produced some useful statistics. Coverage of books. not surprisingly, increased over the 30 years to 95%; representation of sound recordings also increased, to around 75%; but oddly, scores have remained at only about 60%. As for quality of the cataloging, the 2010 results showed that about 20% of sound recordings have been cataloged as full-level records, about 50% as minimal records; about a quarter of scores get full-level treatment, about 50% minimal. The study thus provides some external corroboration of long-perceived music cataloging trends, and also a basis for workflow and staffing decisions in music cataloging operations.

A session titled “RDA: Kicking the Tires” was devoted to the new cataloging standard that the Library of Congress and a group of other libraries have just finished beta-testing. Music librarians from four of the testing institutions (LC, Stanford, Brigham Young, U North Texas, and U Minnesota) spoke about their experiences with the test and with adapting to the new rules.

All relied on LC’s documentation and training materials, recording local decisions on their internal websites (Stanford has posted theirs on their publicly-accessible departmental site). An audience member urged libraries to publish their workflows in the Toolkit, the online RDA manual. It was generally agreed that the next step needed is the development of guidelines and best practices.

None of the testers’ ILSs seem to have had any problems accomodating RDA records in MARC format. LC has had no problems with their Voyager system, corroborating our own experience here at WFU. Some testers reported problems with some discovery layers, including PRIMO (fortunately, we haven’t seen any glitches so far with VuFind). Stanford reported problems with their (un-named) authorities vendor, mainly involving “flipped” (changed name order) entries. Most testers are still in the process of deciding which of the new RDA data elements they will display in their OPACs.

Asked what they liked about RDA, both the LC and Stanford speakers cited the flexibility of the new rules, especially in transcribing title information, and in the wider range of sources from which bib info can be drawn. Others welcomed the increased granularity, designed to enhance machine manipulation, and the chance this affords to “move beyond cataloging for cards” towards the semantic web and relation-based models. It was also noted that musicians are already used to thinking in FRBR fashion — they’ve long dealt with scores and recordings, for instance, as different manifestations of the same work.

Asked what they thought “needed fixing” with RDA, all the panelists cited access points for music (the LC speaker put up a slide displaying 13 possible treatments of Rachmaninoff’s Vocalise arranged for saxophone and piano). There are other areas — such as instrument names in headings — that the RDA folks haven’t yet thought about, and the music community will probably have to establish its own practice. Some catalogers expressed frustration with the number of matters the new rules leave to “cataloger’s judgment.” Others mentioned the difficulty of knowing just how one’s work will display in future FRBRized databases, and of trying to fit a relational structure into the flat files most of us currently have in our ILSs.

What was most striking about the session was the generally upbeat tone of the speakers — they saw more positives than negatives with the new standard, assured us it only took some patience to learn, and were convinced that it truly was a step forward in discoverability. One speaker, who trains student assistants to do copy-cataloging, telling them “When in doubt, make your best guess, and I’ll correct it later,” observed that her students’ guesses consistently conformed to RDA practice — some anecdotal evidence suggesting that the new standard may actually be more intuitive for users, and that new catalogers will probably learn it more easily than those of us who’ve had to “unlearn” AACR2!

Sidelights

Our venue was the Loews Philadelphia Hotel, which I must say is the coolest place I’ve ever stayed in. The building was the first International Style high-rise built in the U.S., and its public spaces have been meticulously preserved and/or restored, to stunning effect. The first tenant was a bank, and so you come across huge steel vault doors and rows of safety-deposit boxes, left in situ, as you walk through the hotel. Definitely different!

Another treat was visiting the old Wanamaker department store (now a Macy’s) to hear the 1904 pipe organ that is reputed to be the world’s largest (http://www.wanamakerorgan.com/about.php).

Carolyn at ALA Annual 2010

Tuesday, July 6, 2010 11:58 pm

Although the weather was hot and sweltering in DC during ALA, I still had a great time attending informative sessions on cataloging and metadata, going to socials, catching up with friends, and hanging out with Susan and Erik. I was one of the five who rode up and back in the library’s new van.

After dropping off our luggage in our hotel room, Susan, Erik and I walked to the convention center to pick up our conference materials. I tagged along with Susan and Erik to the LITA Happy Hour, the first of two socials that Friday evening. Following social number one, we all three then headed to the Capital City Brewing Company where the Anthropology and Sociology Section (ANSS) librarians were having their social.

On Saturday, I attended a session, “Converging Metadata Standards in Cultural Institutions: Apples and Oranges” where librarians from the Texas State Library and Archives Commission and the Smithsonian discussed digital projects that their institutions have created. Daniele Plumer, Coordinator of the Texas Heritage Digitization Initiative (THDI), discussed the necessity of educating metadata specialists who work in various institutions (i.e. libraries, archives, museums, state and local government agencies) on content standards, encoding syntaxes, project management and digital library systems and applications. In preparation of the THDI, Amigos Library Services held a series of workshops in five locations across the state as well as online. Some observations from this project by Ms. Plumer included most libraries chose Dublin Core instead of MARC as a metadata scheme, LC subject headings is the most commonly used controlled vocabulary, and overall metadata decisions are driven largely by the design of existing digital asset management systems. Ching-Hsien Wang spoke about the creation of a one-stop discovery center for the 4.6 million records and 445,000 images of the Smithsonian’s museum, archives, library and research holdings and collections. Ms. Wang described this database as a conjoined collaboration, not an individual silo of information. The database has various vocabulary features, facet types from controlled vocabularies, and sharing capability with social media options.

Next, I attended the Copy Cataloging Interest Group’s program where two librarians from the University of Colorado at Boulder described how they developed and implemented a FRBR and FRAD training program for all of their libraries’ professional and copy catalogers. Participants read the entire FRBR document, and at monthly cataloging meetings, discussed the readings and participated in group exercises to reinforce concepts learned. A blog was created for questions and comments on the readings. My last meeting of the day was the ALCTS CCS Recruitment and Mentoring Committee of which I am a member. We are looking into using Google Forms to create a questionnaire for interested mentor and mentee participants in the area of cataloging. Mentors and mentees will be paired based on the the information we collect.

“Cataloging and Beyond: the Year of Cataloging Research” was my first session on Sunday. It was a panel discussion and the room was packed and many were sitting on the floor in the back of the room, including myself. Panelists, one of which was Jane Greenburg, Erik’s Ph.D. advisor, discussed how the data catalogers create provides various areas of research for catalogers to explore. Catalogers’ research can impact and assist in making decisions about cataloging data and catalog design. Are we able and how can we measure usefulness? Per Ms. Greenburg, there are three areas that need researching: automatic metadata generation, creator or author generated metadata, and metadata theory.

Following this session, I attended another panel discussion on the “Strategic Future of Print Collections in Research Libraries.” Print on demand, the impact of scanning on physical books, and preservation were discussed in this session. My final meeting for this ALA was attending the Anthropology Librarians Discussion Group. I always learn much from attending this session. Topics included print and online bibliographic tools for Africa for which I collected several useful handouts that were distributed. It was proposed to request the ANSS Committee develop a list of core academic library journals for anthropology.

Sunday was also a day for catching up with friends. Lauren C. and I had lunch with a graduate school classmate who is the business and economics reference librarian at Clemson. As mentioned in one of Susan’s posts, she, Erik and I had a lovely dinner with Waits and Christian.

It’s been awhile since I attended a conference with both Susan and Erik. Hanging out with them at conferences, I am assured of three things occurring: exploring the sites of the city, exercising (i.e. a lot of walking around) and having fun.

MarcEdit

Monday, December 7, 2009 10:45 am

On November 13 I traveled to Cleveland, OH to attend a seminar on a batch marc editing tool called Marceditor. This was a unique and rare opportunity for me, as the creator of the software was coming to discuss the software. Upon arriving in Cleveland, I walked in to a packed room where they were setting up more tables as people walked in as it was so well attended. The first speaker was Roman Panchyshyn, cataloging librarian associate professor from Kent State University. He discussed different snatch and grab tools for uploading batch records in order to meet the needs of our patrons faster.

The main reason when I went was to be able to hear the creator of Marceditor, Terry Reese from Oregon State University to discuss the best practices to use his software. There was also a large portion of time devoted to questions which I had quite a few before even leaving Winston-Salem. Upon arriving and getting into the training the first thing I found out was that Terry Reese was ready to release a new version of Marceditor. He then went through all the new features of the upgrade and many of my questions and frustrations were addressed with the new version. They also announced a new listserv community for support and help from those who use the program. We were then given some hands on exercises so if we ran into problems we had the expert there to help us. We were given about an hour for questions.

If you would like the handouts or more information please let me know I would be happy to pass them along.


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