Papers by Deborah Campana
Fontes Artis Musicae, Oct 1, 2022
Notes, 2018
The Music Library Association has announced its publication awards for 2007. The Vincent H. Duckl... more The Music Library Association has announced its publication awards for 2007. The Vincent H. Duckles Award for the best book-length bibliography or other research tool in music published in 2007 was presented to David Russell Williams and C. Matthew Balensuela for Music Theory from Boethius to Zarlino: A Bibliography and Guide (Hillsdale, NY: Pendragon Press, 2007). The MLA Publications Awards Committee noted that this "concluding volume in a decades-long effort to survey the landscape of Western music theory . . . gently introduces readers to what might otherwise be unfamiliar and daunting material. The authors summarize the major works of some 120 medieval and Renaissance theorists in language that is both clear and precise, and their helpful lists of secondary literature, assembled from an impressively broad array of sources, are coded to highlight introductory readings. As computerized keyword searching increasingly fragments the research process, the context provided by this volume will prove ever more valuable to non-specialists and scholars alike." The Eva Judd O'Meara Award for the best review published in Notes in 2007 was awarded to Louis Niebur for his review essay "The BBC Radiophonic Workshop: Recent Reissues of British Electronic Music from 1955-1996." The review appeared in Notes 63, no. 3 (March 2007): 912-23. The committee stated that "Louis Niebur's review essay on the Radiophonic Workshop provides a delightfully readable introduction to an influential but little-known chapter of twentieth-century music culture. As the British Broadcasting Corporation's in-house electronic music studio, the RW met the growing demand for new electro-acoustical sounds by creating thousands of works for television and radio between the years of 1955 and 1996. Through his survey of recent compact disc and DVD reissues, Niebur effectively chronicles the pioneering and farreaching achievements of the Workshop, its largely anonymous composers, and their equipment and techniques. His balanced, descriptive insights inspire the reader to want to know more about the RW, to hear more, and above all, to care about this intriguing piece of electronic music history." The Richard S. Hill Award for the best article on music librarianship or article of a music-bibliographic nature was awarded to Edward Komara, for his article "Culture Wars, Canonicity, and A Basic Music Library," which appeared in Notes (vol. 64, no. 2 [December 2007]: 232-47). The committee commented that "Komara examines the debate over the phrase 'culture wars' and how the issue of canonicity affects the acquisitions component of A Basic Music Library. In citing musicological works that focus on canonicity and espousing a skeptical view of the multiplicity of canons and 'musics,' Komara displays exceptional scholarly facility, and his assertion that 'basic' does not have to mean 'canonic' is welcome wisdom in an increasingly digital age. The timeliness and focus of this article, coupled with clear, concise, and well-formulated arguments, make it a relevant and convincing read, especially for those who work in the area of collection management." Other MLA Awards. The 2009 Dena Epstein Award for Library and Archival Research in American Music was given to two recipients, Lara Housez and Maria Cristina Fava. Ms. Housez is a Ph.D. candidate in musicology at the Eastman School of Music, is completing a dissertation entitled "Becoming Sondheim: From Forum to Company." Her research examines Sondheim's career and musical growth during the 1960s-a "dark decade" that eventually resulted in the solidification of Sondheim's mature musical identity. Though much has already been written about Sondheim, this project explores not what Sondheim did, but how he developed as an artist, drawing on a variety of disparate influences and the experiences of trial and error. Housez will examine primary source material at the Wisconsin Historical Society and the New York Public Library in order to provide a much-needed scholarly approach to this portion of Sondheim's life. …
Notes, 2010
The Oberlin Conservatory Library has received the collection of Frederick (Eric) R. Selch (1930-2... more The Oberlin Conservatory Library has received the collection of Frederick (Eric) R. Selch (1930-2002) given by his wife, Patricia Bakwin Selch, and their family. While Eric Selch established a distinguished career in advertising for the J. Walter Thompson agency in Britain from the mid 50s to the mid 70s, he began collecting musical instruments and books, traveling often and acquiring instruments, books, and artwork along the way. The Selch collection contains instruments and writings representing all corners of the world, but American music is its focus. At the time of Eric's passing in 2002, he had amassed a collection of 700 instruments as well as 6,000 books, manuscripts, and printed music, together with paintings, prints, drawings, and photographs that depict the history, design and use of musical instruments. "Although he took pride in not paying excessive prices for instruments, he spent lavishly when necessary to obtain a book that would fill a gap in his library,&q...
Oxford Music Online, 2010
Notes, 2016
Tulane University is pleased to announce the launch this past fall of the New Orleans Independent... more Tulane University is pleased to announce the launch this past fall of the New Orleans Independent Music Digital Collection. This new collection makes available for the first time full streaming audio from selected tracks of independently released albums by New Orleans artists. With the incorporation of a rich set of linked data through which users can explore genres, bands, and individual artistic output, this collection seeks to expose the deeply interconnected musical culture of New Orleans. Users of the digital collection can listen to selected tracks, view album cover art, link to band Web sites, and explore the complex relationships and collaborations across the local indie music landscape. New tracks are continually being added to the collection and, as it grows, the New Orleans Independent Music Digital Collection will become an entry-level research platform for anyone studying local musical culture. All tracks included in the collection are digitized from albums already owned by Howard-Tilton Memorial Library and with the permission of rights holders. This and many other exciting collections may be found at http:// digitallibrary.tulane.edu. Lisa Hooper Tulane University
Oxford Music Online, 2010
Notes, 2012
In 1972, Don L. Roberts, while still rather new to his position as head of the Northwestern Unive... more In 1972, Don L. Roberts, while still rather new to his position as head of the Northwestern University Music Library, received a telephone call from someone who identified himself as John Cage. Roberts's first instinct was doubt: was this a friend playing a prank? He chose to regard the call with all seriousness that was due. This was John Cage, and as a result, Northwestern's Music Library became the home of a large portion of primary source material that future generations may use to explore the complexities of the eminent composer/performer/poet/philosopher/artist. The seeds for this story, however, were actually planted a few decades earlier. To this point, Cage's career developed swiftly and dramatically. Having grown up in Los Angeles for the most part, Cage's west coast roots extended into Seattle and San Francisco until the 1940s, when he and his wife Xenia moved briefly to Chicago and then to Manhattan in 1942. Compositions in these early years featured percussion instruments and other objects incorporated in music for small ensembles, or to accompany dance classes and performances. His New York debut occurred in 1943, where a concert including Amores (1943, prepared piano and percussion), Imaginary Landscape No.3 (1942, 6 percussion players), and works by others including Lou Harrison and Henry Cowell was presented in association with the League of Composers at the Museum of Modern Art. छ 9 Deborah Campana, conservatory librarian at the Oberlin Conservatory Library since 1998, began her career at Northwestern University; after attaining a Ph.D. in music theory there and A.M.
Fontes Artis Musicae, 2001
Les bibliothecaires musicaux ont une mission commune-collecter, conserver et communiquer des docu... more Les bibliothecaires musicaux ont une mission commune-collecter, conserver et communiquer des documents et de l'information sur le sujet auquel ils se sont tous consacres. Les objectifs des bibliotheques musicales dependant d'institutions d'enseignement superieur sont en lien direct avec la nature de ces institutions. Ces dernieres peuvent etre des ecoles de musique publiques ou privees, compter une population etudiante plus ou moins importante, et dispenser essentiellement des programmes de licence ou de doctorat avec une dominante theorique ou pratique. Ces differences demeurent meme lorsqu'on se penche sur un type particulier de bibliotheque musicale universitaire aux Etats-Unis-dans le cas de cet article, les bibliotheques musicales attachees a des ecoles de musique polyvalentes. Avec pour objectif l'elaboration d'un archetype de la bibliotheque musicale au service d'une ecole de musique qui « fait tout », l'article examine les caracteristiques d&#...
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Papers by Deborah Campana