Notes Journal: A History of Music Librarianship Documentation
The evolution of Notes reflects the professionalization and growth of music librarianship. From its humble beginnings as a mimeographed newsletter to its current status as a scholarly journal, the publication has served as a vital communication hub for music libraries, documenting the shift from physical card catalogs to the complexities of digital media.
The First Series: A Solitary Beginning
Debuting in July 1934, the first series of Notes was characterized by its modest production and a struggle for collaborative input. The journal's inaugural editor, Eva Judd O'Meara, noted in the first issue that while the publication was intended to be a "chorus of voices" from various music libraries, she initially found herself "droning on alone."
The first issue consisted of 23 mimeographed pages—documents created using a stencil-based duplicating process. This early edition featured a practical article on the necessity of creating subdivisions in card catalogs to better organize the extensive works of Johann Sebastian Bach. It also included a lighthearted column titled "Wrong Notes," which highlighted common errors made by music students.
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Over the next several years, the publication gained momentum. By May 1940, Notes had established its own constitution and doubled its membership. The responsibility for mimeographing the 15 issues of the first series was shared among several prestigious institutions, including:
- The Grosvenor Library (Buffalo, NY)
- The Sibley Music Library at the Eastman School of Music (Rochester, NY)
- The New York Public Library
- The Newberry Library (Chicago)
- The Boston Public Library
The first series officially concluded in December 1942.
The Second Series: Professionalization and Expansion
In December 1943, the Music Library Association (MLA) launched the first volume of the second series, which remains in publication today. This transition marked a significant technological leap from "long, unwieldy, seemingly less permanent mimeographed sheets" to professional type-set pages. This change not only improved the journal's durability and appearance but also provided more space for detailed articles and advertisements.
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Diverse Subject Matter and Scholarship
The scope of the journal expanded to cover a wide array of musical figures. Book reviews have spanned the spectrum from classical composers like Chopin and Béla Bartók to modern artists and groups such as Johnny Cash and Nine Inch Nails. To manage this breadth, book reviews were eventually categorized into specific sections:
- Times, Places, Peoples
- American Highways and Byways
- Twentieth Century Musics
- Late Romantics
- Composers
Focus on Music Librarianship
Beyond reviews, the journal remains dedicated to the core concerns of music librarianship—the professional practice of managing music collections. Key areas of focus include collection development (the process of selecting and acquiring materials), the challenges of digital media, general scholarship in the field, and the creation of bibliographies for musical works. In 2004, Donald William Krummel contributed a retrospective covering sixty years of the journal's history.
Key Facts
- Launch Date: July 1934 (First Series).
- First Editor: Eva Judd O'Meara.
- Production Shift: Moved from mimeographed sheets to type-set pages in December 1943.
- Institutional Support: Early production involved libraries in Buffalo, Rochester, New York, Chicago, and Boston.
- Core Focus: Music librarianship, collection development, and musical bibliographies.
| Feature | First Series | Second Series |
|---|---|---|
| Timeline | 1934 – 1942 | 1943 – Present |
| Format | Mimeographed sheets | Type-set pages |
| Volume/Issues | 15 issues | Ongoing volumes |
| Primary Content | Cataloging needs, student errors | Scholarship, reviews, digital media |
Frequently Asked Questions
Who was the first editor of Notes?
The first editor was Eva Judd O'Meara, who launched the journal in July 1934.
What was the main difference between the first and second series?
The first series used mimeographed sheets, which were considered unwieldy and less permanent. The second series transitioned to type-set pages, allowing for more content and a more professional presentation.
What topics are covered in the book reviews of the second series?
Reviews cover a diverse range of subjects, including classical composers like Béla Bartók and Chopin, as well as modern musicians such as Nine Inch Nails and Johnny Cash.
What professional issues does the journal address?
The journal focuses on music librarianship, specifically addressing collection development, digital media concerns, field scholarship, and musical bibliographies.
Which libraries helped produce the first series?
Contributing libraries included the Grosvenor Library, the Sibley Music Library, the New York Public Library, the Newberry Library, and the Boston Public Library.