COOPERATIVE COLLECTION DEVELOPMENT FOR MUSIC LIBRARIES
City University of New York, Medgar Evers College (UNITED STATES)
About this paper:
Appears in: ICERI2009 Proceedings
Publication year: 2009
Conference name: 2nd International Conference of Education, Research and Innovation
Dates: 16-18 November, 2009
Location: Madrid, Spain
There has been great attention paid to cooperative collection development in library literature, but relatively little in regards to music collections, particularly in electronic file-sharing contexts. Historical examples of cooperative music collection development are viewed in the general context of modern resource sharing, and provide insights into the use of technology, material formats, and content. Subject knowledge of music librarians and the development of a conceptual continuum – from primary sources to printed scores to recordings to critical thought – are discussed in the context of cooperative use of the unique strengths of participating institutions. Standardization of collection assessment and positive and negative aspects are included.
HISTORICAL COOPERATIVE MUSIC COLLECTION DEVELOPMENT
The work of Otto Kinkeldey (1878-1966) is viewed as a precursor to modern cooperative collection development. Kinkeldey (intermittent chief of the Music Division of the New York Public Library from 1915 to 1930) pioneered the purchase of a variety of European music items for several American libraries, including Yale University, with a thrifty, mutually beneficial rationale still at the core of modern cooperative collection development.
THE CONCEPTUAL CONTINUUM
The conceptual continuum fundamental to music research is related to the continuing importance and changing purpose of subject knowledge in collection development librarianship in general. Whereas one institution may specialize in monographs on the history of stringed instruments, a neighboring institution may provide complementary coverage in the history of keyboard instruments, while another library may provide educational materials and technological tools for research in these areas. In other disciplines, development of this kind of conceptual continuum in associated institutions may be seen as a key to both maintaining integrity of individual strengths, while facilitating mutual access.
SUBJECT KNOWLEDGE AND THE CHANGING ROLE OF THE SELECTOR
The modern function of selection is passing more and more into the hands of users, who exploit the tools provided by libraries and others to identify and retrieve material. This is a significant progression from the traditional role of the librarian as selector.
COLLECTION ASSESSMENT STANDARDIZATION
The literature suggests that the formulation of standardized collection development policy statements for music collections in academic libraries is a key to facilitating cooperative resource sharing activities.
POSITIVE AND NEGATIVE ASPECTS
Success in cooperative collection development projects has been difficult to identify, and there are significant dangers presented in the literature regarding development of co-operative initiatives.
Modern issues of cooperative collection development, though involving new technology, are fundamentally of the same nature as in the early 20th century, especially regarding the importance of subject knowledge as a key to success.
Resource sharing is riddled with complex issues, including underdeveloped standards of coordination, changes in focus arising from new technology and uses of material formats, and issues of funding, library administration, and library autonomy within cooperative contexts. Cooperative Collection development in music should be re-examined periodically within these evolving contexts.
Keywords: libraries, cooperative, collections, music.