The Sibley Music Library of the Eastman School of MusicAuthor(s): RUTH WATANABESource: Fontes Artis Musicae, Vol. 16, No. 3 (1969 JULI-DEZEMBER), pp. 143-144Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23505101 .

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R. WATANABE: THE SIBLEY MUSIC LIBRARY ... 143

asset. Nevertheless, conservatory libraries, some of them quite carefully tended, continue

to grow, for the simple reason that more money is available. Not only have basic operating

budgets been increased, but the Federal government has made funds easily obtainable in

order to encourage the expansion of library resources. Through Title II of the Higher Education Act of 1965, a school may receive a basic grant of $5,000 for each of the

subsequent five years, so long as there has been no recent average decrease in the amount

it provides for library acquisitions from its own sources. This is a significant amount for

a small school. Additional money may be granted if certain other requirements are satisfied.

Although book and music prices are rising rapidly, so that the real gain to libraries remains

to be evaluated, there is no denying that conservatory libraries benefit from the additional

funds.

Yet, financial assistance is not positive assurance that conservatory libraries will continue to thrive, for their existence is in every way dependent on the evolution of their parent institutions. Thus to speculate about the future of the conservatory library in the United

States requires taking a hard look at the future of the conservatory. It may legitimately be

asked whether the independent conservatory will remain an extant species of institution in

the academic ecology. This type of question is often raised when the answer might not be yes.

Considering the size of our country, there are really very few independent conservatories, and

a trend towards affiliation with other institutions, usually, but not always, universities, has

already been firmly established. Many universities now have schools of music which they have established themselves. And in addition to providing the same curriculum as does the

conservatory, the university music school also offers auxiliary academic and social advantages to students and faculty which only large-scale organizations are equipped to provide. The

exception with regard to curriculum may serve to reinforce the rule : universities do not award

diplomas. But, as has been noted, conservatories tend not to emphasize the undergraduate diploma, and one can hardly depend for the perseverence of the conservatory on the few Artist

Diplomas which all of them together award each year. Actually, these so-called "independent" schools do depend on other institutions in unofficial but significant ways. For example, it

is certainly no coincidence that all of the important American conservatories are in a few

large cities whose symphony orchestras and universities provide faculty personnel, whose

public and university libraries provide additional books and scores, and whose multitude of

artistic, religious, and social activities provide employment which often allows the student

to get his foot inside the professional door while still an undergraduate. These are some of the conditions which will influence the future of the conservatory, and

thus of its library. To what extent conservatory libraries in the United States are to be

thought of as a unique type might well be determined with such thoughts in mind.

RUTH WATANABE (ROCHESTER, N.Y.)

The Sibley Music Library of the Eastman School of Music*

The Sibley Music Library is the reference and research library of the Eastman School of

Music of the University of Rochester. In 1903—04, Hiram Sibley, a wealthy and publicspirited Rochesterian, gave a collection of scores and books about music to the University of Rochester,

whose library served the public as well as the students. He continued to add materials from

The author is Librarian of the Eastman School of Music.

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144 J. BROWNING: THE AMERICAN MUSIC CENTER

time to time, concentrating upon the best of published music. It was his intention that the

library should be freely available to anyone in the community; thus the Sibley Music Library

was in effect a public library. When George Eastman built and gave the Eastman School of Music to the University of

Rochester in 1921, the Sibley Music Library was moved from the University Library building to the new Eastman School building, where it continued to serve as a library for the public as

well as students and faculty. From 1921 to 1932 both Mr. Eastman and Mr. Sibley gave

generously to the collection, making possible the purchase of many rare books, incunabula,

first editions, and manuscripts. At the death of both men in 1932, the Library passed into the

jurisdiction of the Eastman School, whose annual appropriations have supported it to this day. With the entrance of the United States into the war in 1941, the Library Committee of

the University was obliged to alter the character of the Sibley Library along with all the

other collections within the University system. Because of curtailed purchases due to wartime

conditions and because of the lack of personnel to give service to the public, the Library was

forced to limit its circulation to students, faculty, and alumni of the University.

During the postwar years the enrollment of the Eastman School increased dramatically and new curricula were instituted. The Library expanded proportionately. Its holdings now

include some 200,000 volumes of music scores and books, 35,000 recordings, several hundred

reels of microfilm, some 400 sets of microcards, miscellaneous musical autographs and

manuscripts, and a large number of periodicals in Western languages. The collection is out

standing for its Renaissance and Baroque imprints, including practical as well as theoretical

works; chamber music and operas from the 18th century to the present; and contemporary American compositions. The Library's microprint service produces theoretical works on

microcards.

The Library serves the 650 students at the Eastman School of Music, many of whom are

engaged in theoretical and historical research; the 116 faculty members of the School; and

the University of Rochester personnel of some 8,000. These persons may withdraw for home

use all of the materials except rare books. In addition, the resources of the Library are open to the public for study and reference, although they must use the books within the library

building. Scholars from over the world are likewise welcome. Reference questions are

answered by telephone and by letter. Scores and books are sent to other libraries on inter

library loan. Thus the Sibley Music Library, while functioning primarily as a conservatory

library, endeavors to serve the musical community at large.

JAMES BROWNING (NEW YORK)

The American Music Center*

Music by American composers is playing an increasingly large part in our educational

system and cultural life, and this is due both to the growing stature of our native composers and to the increasing recognition of the importance of their contribution to our artistic life.

The American Music Center was formed in 1940 when six distinguished American com

posers (Aaron Copland, Howard Hanson, Harrison Kerr, Otto Luening and the late Marion

* The author is General Manager of the American Music Center (2109 Broadway, Suite 15—79, New

York, N.Y. 10023. U.S.A.).

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