Digitized Sound Reserves and Academic Music Programs: A History and Case Study Steve Burton Capstone Project--MLIS Program Valdosta State University May 4, 2007

Purpose To present a history of music digitization projects with emphasis on those designed to support college level music programs To assess how a selected group of music faculty feel about and use the database Classical Music Library To assess how much and in what ways the faculty use the database To make recommendations to the KSU library regarding the database To suggest areas of future study for KSU and for future research of online music database usage

A Brief History of Music Digitization Projects Print digitization is now commonplace Digital music reserves − Why is this important? − Simultaneous users − Easier accessibility—times and locations − Labor Intensive − Time Intensive

Copyright Issues Concerning Digital Audio Reserves Music Library Association’s “Statement on the Digital Transmission of Electronic Reserves” Fair Use ”…the library reserves room may be considered an extension of the classroom.”. Limitations on access − Only reserve materials Not the entire music collection Ownership by library or teacher − Access only to members of a specific class Some form of authentication/verification − Access removed at completion of class

A Brief History of Music Digitization Projects Earliest audio digitization projects aimed at preservation (1986) VARIATIONS at Indiana University (1996) Different type of project at Indiana University School of Music Digitization of total Audio collection for access by faculty and all students—Proprietary software Limited access to interior of library ONLY Original recording stored and circulate only under controlled circumstances

A Brief History of Music Digitization Projects VARIATIONS 2—expansion − Video, scores, photos − Accessible at satellite pilot sites Napster appears (1999)—Shut down (2003) Classical.com—First commercial online music service aimed at libraries (1999) Classical.com purchased by Alexander Street Press and renamed Classical music Library (2004)

Features 50,000 tracks of music in a multitude of styles and genres Course Folders—customizable by faculty Anthology playlists Permanent URLs Move within tracks Choice of streaming speeds Personal custom playlists

Case Study Faculty Attitudes Toward and Usage of Classical Music Library at Kennesaw State University Kennesaw, Georgia

Case Study The writer, a musician himself, suspects that the Classical Music Library database is little used by music faculty at the school. Unfamiliar Technology Prejudices and preferences--recordings Inadequate selection of literature “We teach how we were taught”

Methodology Identify music faculty most likely to have listening requirements for their classes Inform this group of the intentions of the study and invite them to participate Interview the volunteers Synopsize the interview material Review the material Make recommendations to KSU Make recommendations for further research

Recommendations for KSU Assess student use and attitudes via surveys or focus groups Attempt to deal with any real problems of access and usage Enlist the assistance of teachers with positive experiences and attitudes Reintroduce CML to music faculty Make librarians available for specialized music BIs and introduce to CML

Recommendations for Further Study Little research on online music services Quantitative research needed Larger samples from larger schools and music programs Services need to be reviewed and compared

Digitized Sound Reserves and Academic Music Programs: A History and Case Study Steve Burton Capstone Project--MLIS Program Valdosta State University May 4, 2007