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Harmful content warning statements, which alert the public that materials with harmful language or images are present, may be considered to have their roots in the film industry and are beginning to be utilized in library archives as an Equity, Diversity, and Inclusion initiative. This paper will provide an historical overview of those roots. Its main thrust is to serve as a case study or model of the implementation of harmful content warning statements for Irvine Sullivan Ingram Library at the University of West Georgia in order to help other librarians and archivists who desire to craft similar statements for their institutions. The paper will also introduce examples at other institutions and close with a discussion of the opportunities and difficulties that harmful content warning statements present. [ABSTRACT FROM AUTHOR]

Countless academic libraries are unable to commit staff time to handle the multiple workflows required by a music library, such as ordering, procurement, and cataloging. Music librarians often rely on support from staff in other departments with limited musical backgrounds. Drawing from resources offered by the central library, a University of Tennessee music cataloger created guidelines for training non-musical library staff in identifying various musical formats. The training was meant to improve the workflow of music materials from acquisitions, cataloging, and processing departments. The training focused on illustrating the differences between a variety of commonly found musical score formats. The goal was to increase staff effectiveness and reduce errors in ordering and processing music materials. Ultimately, the training enabled library staff to identify best options and apply sound judgment when fulfilling order requests. These guidelines included illustrations with examples of different formats with cover images, title pages, music notation pages, and a brief bibliographic description of MARC fields 100, 245, 240, 250 and 300. By evaluating bibliographic records from WorldCat and showing physical examples of various musical manifestations, non-musical library staff were able to contribute more effectively to the operations of the music library. Furthermore, during the process of training and following up with staff, it became clear that the need for basic music training was greater than initially perceived and that numerous other units within the library needed this training. This paper offers guidelines for music library training from both the University of Tennessee and the music library literature. [ABSTRACT FROM AUTHOR]

The term "world music" has been used for decades as a catchall genre to describe any form of music outside of the Western classical tradition. Its use furthers a Eurocentric bubble that others or ignores other cultures and their music. By examining the public-facing catalogs of thirteen university libraries across ten different countries to determine to what extent Non-Western music is included in the collection, how it is classified, and if the term "world music" is used to do so; the specific practices and norms that perpetuate a bias toward Western art music can be identified and highlighted. Correcting this bias requires university libraries to both collect a larger volume of Non-Western music materials and alter how their music collections are described. This paper concludes by suggesting some best practices for classifying music collections using faceted vocabularies that afford Non-Western music and cultures the same respect given to Western art music. [ABSTRACT FROM AUTHOR]

This paper will cover project management decisions, workflows, and practical strategies adopted by a music-cataloging librarian while managing an academic institutional recordings collection. The paper is not intended to serve as a go-to resource for managing metadata in institutional recordings collections; rather, a practical approach to managing time, resources, and personnel while meeting institutional priorities as the project manager tasked with organization, metadata management, processing, and preservation of the physical collection. The paper will cover project management strategies for creating a collection inventory, which was later expanded to a full-level metadata collection during COVID-19 remote work. [ABSTRACT FROM AUTHOR]

In this case study, we examine the conservation strategies created for the 19th-Century French Sheet Music Collection at the Marvin Duchow Music Library, McGill University. Many pieces in the collection were glued to acidic cardboard backings by the original collector, which both harmed the sheet music and obscured important information. Thus, prior to digitizing the collection, these backings needed to be removed without harming the fragile items themselves. Drawing on relevant conservation literature, we present the conservation work procedure (in particular, two aqueous cleaning methods) developed in consultation with an outside expert in the field of conservation. [ABSTRACT FROM AUTHOR]

The Publication Manual of the American Psychological Association is one of the "big three" style guides currently in use. The seventh edition was published in October 2019. Since the previous edition was ten years old, the update represents a major revision for those who use and/or teach APA Style. The purpose of this article is to synthesize the major changes in the new edition for instructors of music bibliography courses. An overview of major changes is provided, including those to writing style, language, paper formatting, citation, and more. Both reference list entries for commonly-cited music materials and in-text citation examples are included, as are tips designed for students. Lastly, a set of recommended resources helpful for teaching APA is provided, along with a few possible citation assignments. This article suggests resources for music faculty new to APA Style as well as those who are updating from the sixth edition, specifically those who teach citation as part of a graduate music bibliography course. [ABSTRACT FROM AUTHOR]

Infographics are an effective means to communicate with audiences, draw attention, and make concepts digestible in a quick and straightforward way. This study explores students' opinions on infographics used in library instruction, and provides quantitative data to help librarians determine whether these tools will help students engage with text and retain key concepts. Based on research conducted with undergraduate music students at two universities, DePauw University and the University of Minnesota, Twin Cities, this paper examines how students understand and interact with content embedded in infographics, and measures retention of information presented in either plain-text or infographic form. [ABSTRACT FROM AUTHOR]