A Brief History of the University of British Columbia Music LibraryAuthor(s): Kirsten WalshSource: Fontes Artis Musicae, Vol. 34, No. 4 (Oktober-Dezember 1987), p. 236Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23507520 .

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236

A Brief History of the University of British Columbia Music Library Kirsten Walsh (Vancouver)*

The University of British Columbia Music Library is a research collection particularly strong in

musicology and music theory. Its areas of emphasis include: collected editions, historical sets and

monuments of music; manuscripts in facsimile or on microfilm; dissertations; first editions of the music

of Brahms; nineteenth-century music periodicals; manuscripts of Beethoven's Terzetto, op. 116 and

Debussy's Khamma.

The Music collection at the University of British Columbia in Vancouver began first as a

part of the general library collections, and then as part of the Fine Arts Division, before

becoming a separate entity in 1967. That year, the Music Building was opened, and the

Music Library was set up in the new building under the direction of its present Head, Hans

Burndorfer. Its staff includes three additional people, a reference librarian and two library assistants.

The collection grew considerably in the late 1960s and 1970s to serve the research and

teaching needs of the Department of Music. Today, the Music Library has a strong collection of books and periodicals in musicology and music theory, as well as music scores,

totalling about 48,000 titles. It has a large number of European music manuscripts on

microfilm or in facsimile editions, including music from all periods. The sound recordings collection is non-circulating and includes about 15,000 lps, as well as a small number of tapes and compact discs.

The following are areas of special strength or interest within the collection;

1. Collected editions, historical sets and monuments of music.

2. Dissertations on microfilm, particularly North American, in the areas of music history and

theory.

3. First printed editions of the music of Johannes Brahms.

4. Nineteenth-century music periodicals, in print or on microfilm.

5. Several important manuscripts donated by the Cherniavsky family:

a) Beethoven's Terzetto, op. 116, "Tremate, empi, tremate;" an unidentified copyist's full

score and parts, with minor corrections possibly in Beethoven's hand, plus a first printed edition of the piano-vocal score (Vienna: Haslinger, 1826).

b) Debussy's ballet Khamma, commissioned in 1911 by the Canadian dancer Maud Allen; the composer's orchestral score as well as the first printed edition (Paris: Durand, 1912).

* Kirsten Walsh is Music Reference Librarian at the Music Library of the University of British Columbia, Vancouver.

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