Collection Development Policy

Adopted October 2006, revised 2009

  1. Introduction
    1. Preface
    2. The Music Library's Users
    3. Restrictions
    4. Overview of Library and its Collections
    5. Criteria guiding collection decisions
    6. Cooperative agreements
    7. Administration
  2. General Policies and Guidelines
    1. Materials by specific type/medium
    2. Special categories of materials
    3. Gifts
    4. Preservation
    5. Weeding and withdrawal
  3. Analysis of subject areas
    1. Musicology
    2. Music composition/theory
    3. Performance practice and techniques/pedagogy

I. Introduction

A. Preface

  1. This policy describes the collection development program of the Anne Wilson Potter Music Library of Vanderbilt University Blair School of Music and the goals for collecting in specific media as well as in specific subject areas. The policy is intended to be a straightforward statement of collecting practice for interested faculty, staff, and students.
  2. The mission of the Anne Potter Wilson Music Library is to support the curricular needs for research and performance of the Vanderbilt student, faculty and pre-college communities, provide access to print and electronic resources relating to music in a variety of formats, empower users with the information-seeking skills necessary for the lifelong pursuit of learning, and offer high-quality service in a positive, relevant, and up-to-date learning environment.
    (Adopted 2009)

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B. The Music Library's users

  1. The facilities of the Music Library are open to the public, and information services are available to anyone who visits, telephones, e-mails or writes the library. The Music Library lends most circulating materials to other institutions through the University Libraries' interlibrary-loan service.
  2. The primary users of the Music Library are the faculty, staff, and students of the School of Music. The Blair School of Music offers the following programs:
    1. Undergraduate degrees: Bachelor of Music in Performance, Composition/Theory, Musical Arts, and the Musical Arts/Teacher Education track.
      1. The Performance Major is available in any orchestral instrument, piano, organ, classical guitar, saxophone, euphonium, multiple woodwinds, and voice.
      2. The Composition/Theory major emphasizes both the creation and analysis of music.
      3. The Musical Arts Major provides a solid foundation in the art of music and includes equal preparation in the three basic disciplines –theory, literature/history, and performance.
      4. The Musical Arts/Teacher Education program is a five year curriculum jointly developed with Peabody College for student interested in earning the Master of Education degree and teacher licensure in addition to the Bachelor of Music Degree.
    2. Pre-College Program: Offers individual instruction in orchestral instruments and in piano, organ, guitar, harp, saxophone, euphonium, record, viola da gamba, harpsichord, fiddle, banjo, mandolin, dulcimer, steel drum/pan, and voice. Class instruction includes elements of music, musicianship, music theory and ear training, and chamber music. Ensemble training is offered through the Nashville Youth Symphony Orchestra Program, the Blair Children’s Chorus Programs, Blair Suzuki Players, guitar ensemble, and chamber music.
      1. The Blair School Certificate Program provides a curriculum integrating advanced levels of performance study with training in music theory and history, performance classes, and recitals.
  3. Other identifiable categories of users include: Nashville Symphony Orchestra members; Vanderbilt University students and faculty outside the School of Music; Blair School of Music Alumni; and local area music teachers.
  4. Nashville metropolitan area residents who are not affiliated with the university and out-of-town researchers may use the Music Library’s resources onsite, make written requests, or issue requests through their own interlibrary-loan departments. While the Anne Potter Wilson Music Library provides services to these users, we do not collect materials specifically in support of any needs beyond those of the School of Music.
  5. Because the library's primary mission is to provide support for the curriculum and research of the School of Music, the needs of the students, staff, and faculty of the school receive priority over the needs of other user groups, and this priority is reflected in collection development decisions.

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C. Restrictions

  1. The Music Library collects as comprehensively as possible within the parameters stated below, but certain conditions beyond the control of the library might prevent the acquisition of a title that falls within the scope of this policy.
  2. Some of these conditions are: budget reductions; availability; price increases; the addition of a new academic program requiring library support without additional funding.

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D. Overview of library and its collections

  1. The Music Library began on the Peabody Campus in 1947. The music collections were housed in the Social Religious Building, now called the Wyatt Center and administered by the Peabody library administration. With the creation of the Blair School of Music in 1985, it was moved to the second floor of the Blair School of Music. Two years later it was named in honor of Anne Potter Wilson. In 2001, the library was renovated and doubled its size to 8,500 sq. ft.
  2. Collection locations:
    1. The majority of the Music Library's holdings are located in the Anne Potter Wilson Music Library in the Blair School of Music building on the south west edge of Vanderbilt University Campus.
    2. Approximately 17,202 volumes are located in the Annex, an off-site storage facility. These materials are low circulated titles, superseded editions, 2nd copies, and some bound journals.
    3. The Peabody Education Library houses music curriculum materials and textbooks for K-12 education as well as children's literature about music. The Peabody Library is located on the east side of Vanderbilt University campus.
    4. The Special Collections and University Archives Department is located in the General Library Building of the Jean and Alexander Heard Library and contains archival music materials.
  3. Special collections housed in the Anne Potter Wilson Music Library:
    1. Global Music Archive
  4. Performing Arts Collections housed in The Special Collections and University Archives Department of the Jean and Alexander Heard Library:
    1. Francis Robinson, Vanderbilt alumnus and former assistant manager of the Metropolitan Opera
    2. Louis Nicholas, music critic for the Nashville Banner
    3. Francis Craig, bandleader and composer of the classic "Near You"
    4. Musician Isabel Howell
    5. George W. Boswell's collection of Middle Tennessee folk songs.

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E. Criteria guiding selection decisions

  1. Top priority is given to materials directly related to curricular needs.
  2. Priority is given to materials related to the recognized research interests of School of Music faculty.
  3. Materials may be acquired that provide a comprehensive treatment of a particular topic that would usually fall outside the scope of ongoing collection development.
  4. Textual materials are acquired almost exclusively in Western European languages. Strong preference is given to English-language materials, but scholarly materials are selectively acquired in German, French, Italian, and Spanish as well as in other languages whenever there are no comparable sources available in English and whenever texts in the original language are necessary to support curricular needs and/or recognized research interests of School of Music faculty.
  5. Music-related books and some recordings are acquired through approval plans as well as via firm orders.

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F. Cooperative agreements

  1. The Anne Potter Wilson Music Library is not currently participating in any cooperative collection development agreements. Resource sharing agreements include the following:
    1. KUDZU - a consortium of southeastern research libraries featuring a catalog that enables users to search the holdings of all the member libraries simultaneously. Vanderbilt-affiliated patrons can place requests for materials held by the other libraries, and requested items are delivered on an expedited basis.
    2. Nashville Area Library Alliance (NALA) - a consortium of academic and school libraries, as well as the Nashville Public Library and the Tennessee State Library and Archives whose purpose is to investigate means by which they can share their collections more broadly. Athena is a virtual library catalog of selected member libraries of NALA. A patron at any participating library can search the library catalogs of a number of the participating institutions to determine where materials are located and make a request to borrow these materials on an expedited basis.
    3. Information Alliance - a consortium of three libraries: University of Tennessee, University of Kentucky and Vanderbilt University whose goals are to 1) List and share specialized subject expertise; 2) Develop coordinated collections; 3) improve physical access to materials; 4) Emphasize bibliographic access to partner's collection; and 4) Pursue experimental services.

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G. Administration

  1. The Music Library's collection development program is under the direction of Director of the Anne Potter Wilson Music Library.

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II. General policies and guidelines

A. Materials by specific type/medium

  1. Books. Acquired in English for all relevant subject areas. Books to support faculty research are acquired selectively in major Western European languages. The library system has a book-approval plan established for a large number of university-press books as well as a large number of domestic publishers through Blackwell’s. The Music Library selects most other books using approval slips supplied through vendors as well as publicity flyers, publisher catalogs, and review articles. Faculty requests are welcome, and those related directly to curricular needs and research are given priority.
    1. Textbooks. Very selectively acquired in single copies for reference and to support the study of music pedagogy. The library does not attempt to meet individual student's instructional needs by acquiring multiple copies of assigned textbooks.
    2. Hardcover editions. Acquired only if a paper back edition is not available.
  2. Periodicals. Acquired for following subjects: musicology, music theory, music education, music performance, world music, and popular music.
  3. Newspapers. Very selectively acquired.
  4. Periodical indexes. Selectively acquired.
  5. Juvenile materials. Acquired selectively as pedagogical examples in support of the music education curriculum.
  6. Reprints. Acquired only if the original was not acquired or has restricted circulation.
  7. Maps. Not acquired.
  8. Dissertations. Acquired for research purposes upon request.
  9. Microforms. Acquired for (1) materials that are unavailable in paper format; (2) materials that are considerably less expensive in microform; or (3) to conserve the shelf space that would be occupied by infrequently used paper materials. Included are: out-of-print monographs, periodicals, dissertations, and music editions.
  10. Pamphlets. Not acquired actively, although the Music Library maintains an information file to which pamphlets might be added.
  11. Photocopies. Only authorized photocopies supplied by the publisher are added to the collection.
  12. Posters. Selectively acquired for library display purposes only.
  13. Printed music. The Music Library's acquisitions priorities and guidelines for scores and parts are as follows:
    1. Selection priorities:
      1. Collected editions, complete works, historical sets, monuments of music, as comprehensively as necessary to support curricular and research needs.
      2. A single copy of as many contemporary compositions as possible
      3. Newly edited, high-quality scholarly and performing editions of standard works
      4. Facsimile editions of important manuscripts and early print
    2. Guidelines for selection
      1. Score and performing parts for compositions involving twelve or fewer parts unique parts
      2. Study score is preferred to full orchestral score, if content is identical (otherwise, full orchestra score)
      3. Reprint editions are not purchased unless the Music Library holds no other edition in an adequate condition for circulation
    3. The selection process. Selection choices for scores are often made within the context of both short- and long-term collection analysis projects and with a view toward acquiring new editions, especially of works previously unpublished. Primary source materials for selection include new publisher lists, vender cards (paper and electronic), and vendor/distributor mailings representing many publishers, both foreign and domestic. Some of these distributors are Theodore Front, Hutchins and Rea, TIS, JW Pepper, and Harrassowitz.
    4. Budget. Given the cost of scores, long- and short-term plans are limited by the funds available for each fiscal year.
    5. Collection assessment. Collection analysis projects have compared our holdings against lists of works by major composers, works by women composers, string quartet music, etc. Other projects have grown out of teaching-faculty requests, which may identify areas of the collection needing recataloging or even weeding. Long-range plans include introducing publisher projects, such as going through a specific publisher's catalog to check against our holdings.
  14. Rental materials. The library acquires no rental materials and does not fund the rental of printed music.
  15. Sound recordings.
    1. Selection priorities.
      1. All requests for materials related to the curriculum and research are filled.
      2. Western art music:
        1. Top priority is given to significant repertoire in all genres issued for the first time.
          1. Operas: full operas are preferred over selections
          2. Song and aria collections: repertoire is favored over performer-centered albums.
        2. High priority is given to the purchase of standard repertoire materials used in teaching. These items, in some cases, will duplicate specific performances previously issued on LP and currently in the Music Library's collection.
      3. World music (i.e., art and vernacular traditions outside of Western art music): priority is given to well-documented recordings of indigenous traditions.
      4. Musical theater and musical film: selectively acquired according to historical and critical success.
      5. Jazz: selectively acquired according to historical and critical success
      6. American band music: selectively acquired according to historical and critical success
      7. Anglo-American popular music: selectively acquired according to historical and critical success
    2. Formats acquired. Because the library is not a sound recording archive, it acquires sound recordings only in current formats.
      1. Compact discs. The medium of choice for newly issued sound recordings.
      2. LPs. Acquired rarely and only if the recording is not available on compact disc and is of great significance.
      3. Cassettes. Not acquired
      4. 78s. Not acquired.
    3. The selection process.
      1. Ongoing collection development is conducted through consulting a broad range of review journals, discographies, online sources, and vendor/distributor mailings representing many labels, both foreign and domestic
      2. Vendors used include Amazon.com, Archiv, and Music Library Service Company.
    4. Standing orders. The Music Library has standing orders for the following two labels:
      1. New World Records
      2. Klavier
    5. Collection assessment. Collection assessment projects of the recordings collection are undertaken as time permits. Projects may be centered on the recordings of a specific composer, a specific form or genre, or a specific culture
  16. Videorecordings. Acquired in support of the curriculum of the School of Music. Majority on request.
    1. DVDs. Medium of choice for newly issued videorecordings
    2. Videotapes. Acquired rarely and only if the videorecording is not available on DVD
    3. Laserdiscs. Not acquired.
  17. Electronic resources. Acquired as needed and as budget permits.
    1. Network access to external databases. Preferred due to of ease of use and campus-wide access.
    2. CD-ROM products. Selectively acquired.
    3. Software. Rarely acquired.
  18. Performing-ensemble music. The Music Library acquires performance materials for ensembles up to twelve players. Orchestral, band, and choral music is acquired by the School of Music and housed in the Music Rehearsal Hall. Other School of Music ensembles maintain their own music collections.
  19. Rare books. Accepted as gifts, rarely acquired.
  20. Manuscripts. Not acquired.
  21. Realia. Not acquired.
  22. Archival materials. Not acquired. Archival collections are deposited in The Special Collections and University Archives Department of the Jean and Alexander Heard Library.
  23. Research materials. The Music Library acquires materials in support of faculty research but does not collect primary sources nor unpublished copies of primary sources.

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B. Special categories of materials

  1. Faculty publications. Acquired comprehensively, in all formats.
  2. Reserve materials. Receive top priority for acquisition, in all formats
  3. Replacements. Acquired if in print. A subsequent edition, if available, is acquired if out of print.
  4. Duplicate copies. Acquired only for print materials as need demands.
  5. Expensive purchases. Acquired mostly through endowed funds or special one time funding opportunities.

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C. Gifts

  1. Acceptance.
    1. The Director of the Music Library makes the decision on the acceptance of large gifts and handles the negotiations with the donor.
    2. Often, the relevance of donated materials to the Music Library's collection cannot be determined until the materials are evaluated individually. The Music Library reserves the right to determine the dispensation of donated materials and this right is made clear to the donor. Restrictions placed by the donor on the dispensation of the donated materials may affect the library's ability to accept them.
    3. Included among the broad categories of materials that are not added to the collection are:
      1. 78-rpm and LP recordings
      2. Cassette tapes, reel-to-reel tapes, 8-track tapes
      3. Photocopies
  2. Accessioning. Arrangements for transporting gift materials to the Music Library are made by the Director of the Music Library.
  3. Evaluating. The Music Library cannot perform appraisals. Donors who require an appraisal for tax purposes are referred to a list of rare-book dealers in the area. The donor makes arrangements for the appraisal and covers the appraisal fee.
  4. Acknowledgment. The Director of the Music Library or a Reference Assistant acknowledges all gifts. The Blair Development Officer and the University Librarian acknowledge significant monetary gifts as well as significant gifts in kind.
  5. Processing.
    1. Upon receipt of a gift, the Director of the Music Library makes initial decisions based on the physical condition of individual items. Those in poor physical condition are either added to the inventory for the library sale or discarded.
    2. The materials eligible for the collection are searched against our holdings by appropriate staff.
    3. The Director of the Music Library then reviews the materials and the searching reports to determine appropriate processing. This decision is made according to the collection development policies stated above.

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D. Preservation

  1. Decisions on binding. Decisions on binding are made by the Reference Assistant.
  2. Conservation. Conservation in the Music Library is done only on an informal basis. Materials flagged as needing preservation attention are first reviewed by the Director of the Music Library, who makes one of the following decisions:
    1. Preservation. If the copy can be easily repaired, the Director of the Music Library refers the item to the Preservation Librarian in the General Library Building.
    2. Replacement. If replacement would be more cost effective than preservation, the Director of the Music Library initiates an order for a replacement copy. The current copy is held until the replacement arrives.
    3. Withdrawal. If preservation would be difficult or costly and there are a sufficient number of comparable editions in the library's holdings, the item may be withdrawn without replacement.

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E. Weeding and withdrawal

  1. Appropriate staff in the Music Library weed the music reference collection
  2. Other subject areas are weeded by music library staff in collaboration with music faculty who have an expertise in a specific area.

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III. Analysis of subject areas

A. Musicology

  1. Scope: textual materials are primarily collected in English; materials in Western European languages, with a particular focus on English and German, are collected as particular research interests dictate; compact discs are acquired to support both curricular and research needs; the library attempts to acquire major critical editions and facsimiles. For ethnomusicology, compact discs and textual materials are acquired as a part of ongoing collection building for the broad range of world music.
  2. Levels:
    1. Reference materials: research
    2. General, regional, and topical histories, criticisms, biographies: undergraduate
    3. Western music, antiquity to present: undergraduate
    4. Ethnomusicology: General, regional ethnomusicological histories/studies, methodology, anthropological/social aspects with focus on African and Latin American Music: undergraduate
    5. Musical instruments: undergraduate study (primarily English language)
    6. Music philosophy and aesthetics: undergraduate
    7. Popular music: undergraduate (focused on the history and record of contemporary popular culture; largely confined to English language)
    8. Country Music: undergraduate (focused on music of the region)
    9. Jazz: undergraduate study (largely confined to English language)
    10. Film music: undergraduate (largely confined to English language)
    11. Methodology: undergraduate study (primarily English language)

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B. Music composition/theory

  1. Scope: books and journals in English on music theory, analysis, composition, and the use of computers and technology in music composition; scores and recordings for a broad range of contemporary music.
  2. Levels:
    1. Rudiments of music (harmony, counterpoint, form, orchestration, etc.): undergraduate (selective acquisition of textbooks, with emphasis on current editions)
    2. Music theory (analysis, analytical techniques): undergraduate
    3. Composition: Emphasis on the techniques of composition, with current imprints stressed: undergraduate

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C. Performance Practice and Techniques/Pedagogy

  1. Scope: book and journals in English on performance practice, pedagogy, methods, techniques, and music education; recordings representing a broad range of compositions and variety of performers
  2. Levels:
    1. General and historical treatments: undergraduate
    2. Conducting: undergraduate (emphasis on current imprints)
    3. Instrument maintenance and repair: selective/basic
    4. Instrumental and vocal techniques/methods: undergraduate study/research (emphasis is on both historical treatments and contemporary pedagogy)
    5. Dramatic music (including performance histories and criticisms): undergraduate
    6. Music education: undergraduate
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