- LAC subgroups currently are:
- Conference web site: Nancy Weckwerth (convenor), Stephen Davison
- Tours: Don Brown (convenor), Marsha Berman, Rodney Rolfs
- Restaurant guide: Nanette Schneir (convenor), Steve Fry
- Transportation info: John Thornbury
- LAC reception: Steve Fry (convenor), Marsha Berman
- LAC budget: Kathy Glennan, Renée McBride
- LAC concert: Leslie Andersen (convenor), Louise Spear
- Local dignitaries: Steve Fry (convenor), Gordon Theil, Louise Spear
- Entertainment: Louise Spear (convenor), Leslie Andersen, Steve Fry
- Registration: Gordon Theil, Stephen Davison (co-convenors)
- Local exhibitors/advertisers: Marsha Berman (convenor), Stephen Davison, Louise
- Spear
- Banquet menu: Nanette Schneir (convenor), Renée McBride
- Fundraising: Leslie Andersen (convenor), Gordon Theil, Marsha Berman
- Other local info: Don Brown
- Printer (bids, selection): Renée McBride
- Local media info: Steve Fry
- Copy shop coordinator: VACANT
- Theme/logo/graphics, for program, name tags, etc.: VACANT (we have received some good ideas, but no one is officially committed to this area)
- Tours: Don Brown (convenor), Marsha Berman, Rodney Rolfs
- Film Music, which would be co-planned by the LAC and Film Music Round
Table,
- Music And The Digital Library, looking at the current state of the art (i.e., music and web-based catalogs, digital reserves, instruction issues, etc.). MLA 1995 in Atlanta included a program on copyright issues and digitization, which touched on some of these isses, but there have been many changes since then.
- Jazz Archives in Los Angeles (CSULB, UCLA, Thelonius Monk Institute at
the Music Center)
- Kenny Burrell (UCLA)
- Herbie Hancock (TM Institute)
- Black Music in Los Angeles (gospel, jazz, rap, rock, etc.)
- Cheryl Keys (UCLA), rap & rock
- Kimasi Brown (UCLA), Motown
- Jaqueline DjeDje (UCLA), gospel & blues
- Bette Cox (BEEM), early music in LA
- Eddie Meadows (San Diego State Univ.), jazz sources
- Kimasi Brown (UCLA), Motown
- Los Angeles Philharmonic
- Orin Howard (LA Philharmonic Archives)
- Lance Bowling (Cambria Records)
- Ernest Fleishmann (LA Philharmonic)
- Lance Bowling (Cambria Records)
- Los Angeles Theater and Dance
- Peter Sellars
July 1997 Number 67
Note: The online and printed editions of this newsletter may differ in content. IN THIS ISSUE
MLA, Los Angeles 1999: Local Arrangements
MLA Annual Meeting, Los Angeles, 1999: Local Arrangements
On Monday, June 2 the MLA '99 Local Arrangements Committee (LAC) had its first meeting, at which we reviewed and refined assignments to LAC subgroups. Subgroups are beginning work immediately, and we will keep each other informed of our goings-on via MLA/SCC's mailing list, MLASCC-L. Below is a listing of each subgroup's members and convenor(s). As you will notice, many names appear several times and there are some vacancies. We will ecstatically welcome new LAC participants, so if any of you not yet involved with LAC are interested in areas listed below, we'd love to hear from you. LAC contact information is located at the end of this article.
In addition to starting work in the above areas, we need to begin immediately the planning process for a plenary session on a topic of local interest and drawing upon local resources. The LAC will be responsible for planning this plenary session, in conjunction with Phil Vandermeer, chair of the MLA '99 Program Committee. Phil needs to present a preliminary sketch of the MLA '99 program at the September 1997 national MLA board meeting, and we certainly want to have a voice in that meeting. According to Phil, "The board has final approval on the program, so the more ideas we have, the better." Two ideas mentioned by Phil for local plenary sessions are:
An inspirational lunch shared by Louise Spear and Steve Fry resulted in the following ideas for a Music in LA plenary session:
The LAC would love to hear your reactions to the above ideas, as well as new ideas for a local plenary session. We want to submit several strong ideas to Phil that he can present to the MLA board. Again, LAC contact information will be found at the end of this article.
The next full LAC meeting will be scheduled sometime in mid-October. In the meantime it is extremely important for each subgroup to make steady progress. We need to be able to provide timely reports full of good cheer and progress to national MLA for each of its board meetings, not to mention that we all want to give MLA a splendid meeting in 1999! Sincere thanks to everyone involved with LAC, and we look forward to welcoming more to the group! You can reach LAC co-chairs Kathy Glennan and Renée McBride at the contacts below, and you can post e-mail messages to MLASCC-L at: mlascc-l@usc.edu.
Kathy Glennan (glennan@calvin.usc.edu, 213/740-4021)
Renée McBride (rmcbride@library.ucla.edu, 310/206-5853)
MLA '99 Local Arrangements Committee Co-chairs
Fall Chapter Meeting
This Fall the MLA Southern California Chapter will be meeting jointly with the Northern California Chapter in San Francisco, most probably at San Francisco State University. The date-and other details-are not yet firm. Details are most likely to hit MLASCC-L first (a good reason to sign up), and follow in the mail.
MLASCC-L: The Chapter Electronic Mailing List
In case you haven't heard, the Chapter has a new listserv, MLASCC-L. This mailing list will be used primarily by members of the Chapter to communicate about MLA/SCC issues and activities, as well as the upcoming MLA Annual Meeting in Los Angeles in 1999.
If you have an e-mail account but aren't yet receiving mail from the list, please subscribe as soon as possible. Just send a message to listproc@usc.edu with the following command in the body of the message:
SUBSCRIBE MLASCC-L Firstname LastnameMake sure you subscribe to the list using your preferred e-mail address. Please contact me if you have any questions.
Kathy Glennan
glennan@calvin.usc.edu
work phone (213) 740-4021
MLA/SCC Spring Meeting
The spring meeting of MLA/SCC was held at Cal Arts. The program included an interview with Pulitzer Prize winning composer Mel Powell, a presentation by film maker-artist Jules Engle, and a tour of Cal Arts' theaters, galleries, and library. Joining us for the day was special guest Jane Gottlieb, immediate past president of MLA National and Librarian at the Juilliard School.
After introductions by Don Brown, Chapter President, Mel Powell, in a friendly, often humorous manner, began the morning program by answering questions posed by oral historian Sean Griffith. Powell's responses presented an overview of his career from early experiences with jazz to the honor of receiving the Pulitzer Prize for music in 1990.
While still training to become a classical composer, Powell was introduced by a friend to the world of jazz. Soon he began to play jazz piano, and one night asked to "sit in" at Nicks, a popular club. At his elbow was a man who leaned over when he was finished playing and said "You're going to be a real one!" The man was Art Tatum. Shortly after, at age seventeen, Powell joined the Benny Goodman orchestra with whom he played for over a year. Powell enjoyed a prestigious but short jazz career and feels strongly that American composers who do not learn about this country's indigenous music are missing out tremendously.
After the war, Powell was committed to composition, but first he received a call from André Previn in Hollywood urging him to accept a job with MGM. "They give you lots of money, and you don't have to do anything," said Previn. For a variety of reasons, including the fact that he was married to actress Martha Scott and that the best musicians in the world were there, he decided to go to Hollywood. He went for a year and thought it was awful. Writing one glissando for the mouse that ran up the clock-the kind of virtuosity that Hollywood was looking for-was not for him.
From Hollywood Powell went to study with Paul Hindemith at Yale in order to improve his technique and from whom he gained a deep insight into the history of German music. In 1957 Powell joined the Yale faculty, and when Hindemith left he became chair of the Composition Department. When asked how he saw himself in relationship to other American composers such as Elliott Carter and Milton Babbitt, Powell said that Carter's compositions were more Eurocentric, favoring large sweeping forms similar to Alban Berg's, and that Babbitt's music was more controlled. Powell said that he recognized similarities between their music and his, but did not know where he fit in. He admires both composers and thinks that they admire him.
When the Disney family, at Aaron Copland's suggestion, asked Powell to come to California in 1968 to build a music school at Cal Arts, it was an offer too exciting to ignore. Although Kingman Brewster, who was Head of Yale at that time, thought he was mad to accept the offer, Powell came anyway and has never been sorry. He became founding Dean of the Music School in 1969 and has loved working among artists of every sort ever since. Currently, Powell serves as Co-Chair of Composition and is an Institute Fellow holding the Roy E. Disney Family Chair in Musical Composition.
At this point, the audience was treated to excerpts of recorded music from the following two Powell compositions: Duplicates, the Pulitzer Prize winning concerto for two pianos and orchestra, and Modules, another orchestral work. Regarding the former, Powell said, "two years to write 32 minutes and not performed since! Conductors say they love it, but why don't they play it?" He had a suggestion for the audience, "write your congressman!" With that Powell donned his New York Yankees' baseball cap and exited with the explanation that although he lost interest in playing the game, he's still a fan. After all, he grew up in a building on a Hundred and Sixty-First Street in the Bronx that overlooked right field at Yankee Stadium.
During the afternoon session, Jules Engle showed five award-winning, student produced, animated films. He described his students as artists who use the medium of film. The films were imaginative, beautiful, whimsical, mood-evoking. Engle said that it requires approximately two years to create such films but, unfortunately, thereafter they are rarely seen other than at animation festivals. Engle is a mentor to his students, accepting them where they are and helping them to open doors that will develop their talents. In response to a question, he said that it requires 24 sketches to produce one second of film, and yes, proper disposal of the enormous amount of paper is indeed a concern.
Engle, whose work has been shown internationally, is the Director of Experimental Animation at Cal arts and has won many awards including the Jean Vigo, Norman McClaren and Winsor McCay awards. His talents helped create such characters as Gerald McBoing-Boing and Mister Magoo.
On the tour that followed, MLA member and Cal Arts Music Librarian Joan Anderson, along with a Cal Arts student, informed us of Cal Arts programsand facilities. The Institute is unique in that all the arts are combined under one roof, and students, if they choose, can earn interdisciplinary degrees. CAP, Community Art Partnership, links Cal Arts with art centers throughout California. It offers instruction in the arts for talented young people and forms a bridge between them and the talent and resources of Cal Arts.
The main building at Cal Arts includes seven theaters, seven galleries, open dance and music performance areas, various shops for student artwork and productions, an experimental animation room, a gamelan room in which are displayed numerous beautiful instruments from Bali and Java, and the library that houses collections of books, periodicals, scores, recordings, slides, films, software, and videos. Particularly interesting is the Modular Theater comprising 348 41/2 foot square modular tiles, all of which can be removed or refigured to change the shape of the theater.
The day concluded with a business meeting. Jane Gottlieb thanked everyone for agreeing to host the 1999 National Convention. She encouraged the Chapter to begin fund-raising now and to work closely with Convention Chair Phil Vandemere. She also briefly spoke about MLA's Plan 2001, the major objective of which is to increase MLA visibility; the Plan will be published in the June 1997 issue of Notes. Kathy Glennan, co-chair of the Local Arrangements Committee for MLA 1999 encouraged people to sign up for planning committees and to think about a Convention theme. "Theater" was the focus of the MLA 1982 Convention held in Santa Monica.
The following election results for new 1997-98 Chapter officers were announced by Vice Chair John Thornbury: Vice Chair/Chair Elect, Stephen Davison; Members-at Large, Joan Flintoff LoPear and Valentia Mitchell.
A Treasurer's report was given by Nanette Schneir. There is a checking account balance of $725.79 and a savings account balance of $50.
Nanette Schneir
The 1997 ASCAP Film and Television Music Awards
Tuesday evening, April 29, 1997, with my left hand pushed rakishly in my pocket, I casually strolled into the elegant Beverly Hilton Hotel, where Santa Monica Blvd. meets Wilshire. I was decked out in my black tuxedo, with the bright orange marble studs running down my white pleated shirt, and I felt a little apprehensive. This was about 6:15 pm, and already the foyer was filled with lights, cameras and action as excited reporters videoed and interviewed all the celebrity film and TV composers, writers, directors, and the giggling, jiggling starlets who were gathering for the gala ASCAP dinner and awards event. With a magnificent formal dinner and ritual, the evening celebrated the American Society of Composers, Authors and Publishers awards to those of its members who have brought it fame and fortune this year.
Sometimes at the ASCAP Awards dinner I'm flattered that the news-hungry reporters stare at me with eager eyes that ask, "Are you somebody?" But this night, despite my hip sunglasses and freshly swept-back hair, I was not considered newsworthy or worth their probing. Darn! So, accompanied by Jeannie Pool, Executive Director of the Film Music Society (formerly the Society for the Preservation of Film Music), I entered the gigantic ballroom unbothered; a nobody.
Familiar faces abounded in the ballroom, and Jeannie and I bumped into Mike Lang, one of the top studio pianists and a donor of music to the UCLA Music Library. We made our way through the crowd to chat with Jon Burlingame, the TV critic who's new book TV's Biggest Hits: The Story of Television Themes from "Dragnet" to "Friends," which chronicles the history of music for television, was just published by Schirmer. We saw Joe Harnell (The Incredible Hulk), Frank DeVol (Guess Who's Coming to Dinner, Choirboys), Van Alexander, Pete Rugolo, Benny Carter, Johnny Mandel (M*A*S*H, Ben Casey, Gannon), all of whom wrote many hit songs and arrangements for hundreds of film and TV productions. Of course, David Raksin (Laura, Bad and the Beautiful, Forever Amber), who is on the ASCAP Board of Directors, was right in the middle of everything and was being interviewed by those reporters who had ignored me. Ah well, some of us have it, and some of us don't. We said hello to each other, and then he and the lovely blond woman on his arm were pulled away.
Jeannie and I found our way to our table at last, which was up in the mezzanine and afforded us a great view of the proceedings. Joining us then were the TV composer Vic Mizzy (The Addams Family), and his lovely young wife Kathryn, an actress and Hatha yoga teacher. Then Buddy Baker, a fellow member of the Board of Trustees of the Film Music Society, joined us with his charming wife. Buddy was, for many years, a composer for the Walt Disney Studio (Fox and the Hound, Winnie the Pooh), and now he is responsible for the film music program at USC.
Over the PA system came an ominous voice announcing that dinner was being served, and we eased our way to our assigned tables as the waiters descended on us. The dinner was really enjoyable. We began with a salad plate with several types of lettuce in leaves and chunks, a few radiccio leaves, chopped red peppers, a medallion of goat cheese, and a fine champagne cream dressing. The rolls were rustic and seeded with caraway. The main entree included chicken breast rolled and stuffed with a parsley and broth-flavored bread crumb dressing, along with grilled slices of onion, potato and rutabaga, asparagus spears, and a good brown sauce. Dessert was a rich coffee-flavored mousse square with a thick tart raspberry sauce plus a blueberry sauce. It came with a couple of plates of sensational oatmeal, chocolate chip and coconut macaroon cookies for each table. The tables already had good red and white wines opened and ready for us. Good eating!
Then the lights dimmed and voices trailed off as Marilyn Bergman, President and Chairman of the Board of ASCAP, came on to the stage. She welcomed the crowd of about 800 ASCAP members and guests, pointing out the role of ASCAP in preserving the rights of the composers and writers and in distributing the funds their music generates. ASCAP Board members, I noticed, were wearing around their necks on blue ribbons, large silver medallions incorporating the ASCAP logo--an eighth note in front of a film frame and a stylized TV set.
She introduced the members of the ASCAP Board of Directors who were in attendance, including Susan Borgeson, John Cacavas, Arthur Hamilton, Dean Kay, Leeds Levy, John LoFrumento, Johnny Mandel, Jay Morgenstern, and the newly elected David Raksin. Each stood to the applause of the crowd. Two giant screens on either side of the stage showed the stage action so that even those at my table on the far side of the room could see the awards and speeches.
Bergman brought out Todd Brabec, ASCAP Senior Vice President for Membership, to present the awards for the most performed TV themes of 1996. These included Dan Foliart (Roseanne, Home Improvement), Michael Karp (NBC Basketball), Richard Krizman (Sally Jessy Raphael), and Jonathan Wolff (Seinfeld). Brabec then presented awards to the composers with the most performances of underscore music for the year. These were John D'Andrea and Cory Lerios (Bay Watch, Hard Copy), Joseph LoDuca (Xena, Hercules), and Mark Snow (Millenium, X Files).
Next, Nancy Knutsen, ASCAP Assistant Vice President for Film and Television, was introduced, and presented awards to the composers of the theme music and dramatic underscore of the highest rated TV series of the year. Awards went to Ed Alton (The Single Guy, Suddenly Susan), Jay Chattaway and Dennis McCarthy (Star Trek: Deep Space Nine), Dan Foliart (Home Improvement), Joe Henry, John D'Andrea and Cory Lerios (Bay Watch), Joseph LoDuca (Xena, Hercules), James Newton Howard (E.R.), Michael Karp (Dateline NBC), Shelly Palmer (Spin City), Ron Ramin and Christopher Stone (Walker, Texas Ranger) Michael Skloff (Friends), and Jonathan Wolff (Caroline in the City, Seinfeld).
Now, while each composer was announced, and came out of the audience to pick up his award, giant monitors flashed brief scenes from the winning show, and we heard an excerpt from show's theme music. I was struck by how really impoverished the music sounded. The greater amount of the music for these television shows was obviously created with banks of synthesizers and electronic percussion machines. As Buddy Baker at our table exclaimed, "Wouldn't it be nice to hear a violin?" And the wonderfully dramatic theme music by Jerry Goldsmith for Star Trek: The Next Generation soared through my head.
Then came award to the composers of the songs from Motion Pictures which were most played during the year. These went to Diane Warren for "Because You Loved Me" from Up Close & Personal, Gordon Kennety and Tommy Sims for "Change the World" from Phenomenon, Michael Houston and Whitney Houston for "Count on Me" from Waiting to Exhale, Coolio, Larry Jame Sanders, Stevie Wonder and Douglas Rasheed for "Gangsta's Paradise" from Dangerous Minds, and Jesse Valenzuela and Robin Wilson for "'Til I Hear it From You" from Empire Records. My God! this was not great music (in my opinion).
Then Jeanie Weems, from the ASCAP Film and Television Department, presented awards to the composers of the top box office films of the year. These awards went to Paul Buckmaster (12 Monkeys), Nicholas Glennie-Smith and Hans Zimmer (The Rock), Elliot Goldenthal (A Time to Kill), James Horner (Courage Under Fire, Ransom), James Newton Howard (Primal Fear, Space Jam), Stephen Schwartz (The Hunchback of Notre Dame), Marc Shaiman (The First Wives Club), and Nancy Wilson (Jerry Maguire). Thank God the music was of higher quality, and some of the works even incorporated real orchestras.
Marilyn Bergman came to the podium to talk about ASCAP's Henry Mancini Award, which is presented to composers with outstanding career achievement and exemplifying the career of the beloved Henry Mancini. Ginny Mancini, Benny Carter and others associated with Mancini were introduced from the audience. The Mancini award was presented to Johnny Mandel. The audience was treated to a 20 minute tribute documentary film, produced by Douglass M. Stewart, Jr. and Tony Thomas. It showed scenes and main titles from, and played Mandel's music for, many of his films and television shows. In a brief video Tony Bennett told of singing Mandel's songs, and about the composer's enormous talent and creativity. Then Mandel's composer colleague David Raksin told charming anecdotes about the honored guest, pointing to his somewhat tortured early career. With wise words and more funny anecdotes producer/director Robert Altman presented the award to Mandel, and the audience rose to welcome him to the stage. He told the audience how important it was for him to be doing what he loved to do, and that, "I feel lucky to be here tonight. I feel lucky to be anywhere." Then Marilyn Bergman introduced Roger Calloway who performed an extended improvised suite on Mandel's themes for M*A*S*H and Emily on the huge Steinway piano. Then guitarist Dori Callimi played and sang a heartfelt rendition of Mandel's beautiful "The Shadow of Your Smile" from The Sandpiper.
Marilyn Bergman presented a special recognition award to the song writers Jay Livingston and Ray Evans, who's great songs from the movies (e.g., "Buttons and Bows," "I'll Always Love You," "Mona Lisa," "Que Sera, Sera" and the lyrics for many of the songs of Henry Mancini) are universally loved and sung. She then proudly introduced the newly created ASCAP Opus Award, presented in recognition of singular contributions to the music for motion pictures. Movie stars Russ Tamblyn and George Chakiris, who had played Riff and Bernardo in West Side Story, presented the Opus award to director Robert Wise. From I Want to Live, with music by Johnny Mandel, to The Day the Earth Stood Still, with music by Bernard Herrmann, to West Side Story, with music by Leonard Bernstein, Wise embodied the musically-conscious director.
Bergman and her friends on stage graciously thanked the audience for coming to the evening's event and supporting the ASCAP awards, and wished them all a safe journey home. It was with a feeling of musical saturation and yet admiration for the composers who produce this music that we walked out of the hotel's magnificent ballroom, said good bye to our friends, new and old, and returned to our homes scattered across the city of dreams and make-believe.
Stephen M. Fry
UCLA Music Library
Arnold Schoenberg Institute Moving
As the result of a legal settlement between the University of Southern California and the Schoenberg heirs on 12 July 1996, the Institute will be moving. A final contract was signed on 24 March 1997 by the Schoenberg heirs with officials from the governments of Austria and Vienna to relocate the collection to the city of Vienna at the new Arnold Schönberg Center.
The Center is organized as a non-profit foundation. Funding comes from the Center's own activities as well as from public subsidies and from private and corporate sponsors. A board of trustees comprises members of the Schoenberg family as well as representatives of the City of Vienna, the Republic of Austria, and the International Schönberg Society. Dr. Christian Meyer, the former Marketing Director of the Vienna Konzerthaus, has been elected the Center's first Secretary General. A search is currently underway for an Archivist.
The Arnold Schönberg Center, located in the historic Palais Fanto on Schwarzenbergplatz in central Vienna, physically consists of a permanent exhibition area (300 square meters), a concert hall to seat 200, a library, an archive vault and workroom, and a public shop as well as administrative, archival and general meeting rooms for the Center and the Schönberg Institut (not to be confused with the Arnold Schoenberg Institute in Los Angeles which will no longer exist) of the Hochschule für Musik und darstellende Kunst in Wien (Academy of Music and the Performing Arts in Vienna). The Center, which will occupy the first floor of the Palais (i.e. the second story), is currently undergoing renovation which should be completed by the end of 1997.
The move of the Institute will be complete by 1 January 1999. Between now and then the Institute in Los Angeles will be in operation (albeit minimally) as long as possible in its current location. Packing has already begun. Some of the archive's operations in Los Angeles will continue through the end of 1998. However, the latest date the archive will be open for scholars and researchers to visit in Los Angeles will be 26 September 1997. In addition, virtually all off-site reference inquiries (telephone, fax, e-mail, mail) have ceased to be answered (as of 1 June 1997).
What will be transferred? The entire Arnold Schoenberg legacy, along with virtually all the satellite collections (materials given by various individuals after the initial gift of the legacy) and the entire reference collection will be transferred to the new site. In addition, the replica of Schoenberg's study, various equipment, and furniture from the existing Institute will be transferred.
The upper level of the Institute building at the University of Southern California is now operated by the School of Music. Prior to the Institute's move there will be no additional Institute events scheduled for the upper level. The Seminar Room on the lower level is currently in use as an office/storage area, thus classes will be no longer be meeting in this room.
The last volumes of the Journal of the Arnold Schoenberg Institute will be published in June or July 1997. These volumes-actually a double volume (18 & 19)-include a comprehensive inventory of Schoenberg's correspondence. At this time planning is underway for a bilingual journal to be published out of the Center in Vienna to continue in the tradition of the Journal of the Arnold Schoenberg Institute.
Until the move is complete, the staffing in Los Angeles will consist of an Archivist, Assistant Archivist, and a Research Associate. Acting in the capacity of Director will be the Advisory Board (Lawrence Schoenberg, Ronald Schoenberg, Nuria Schoenberg Nono).
R. Wayne Shoaf
Archivist
Arnold Schoenberg Institute
MLA/SCC Executive Board
Chair: John Thornbury, California State University, LA
Vice Chair: Stephen Davison,UCLA
Secretary/Treasurer: Nanette Schneir, Santa Monica Public Library
Members-At-Large: Joan Flintoff LoPear, UCLA
Valencia Mitchell, Cerritos CollegePast Chair: Don Brown, El Camino College
MLA/SCC Newsletter, No. 67, July 1997
Co-editors:
Stephen Davison, UCLA
Valencia Mitchell, Cerritos College
The MLA/SCC Newsletter is published three times a year. Please send articles, reviews, conference summaries, communications, and membership news to: Stephen Davison, UCLA Music Library, 1102 Schoenberg Hall, Box 951490, Los Angeles, CA 90095-1490; e-mail:sdavison@library.ucla.edu; phone: (310) 825-3369; fax: (310) 206-7322 or: Valencia Mitchell, Cerritos College Library, 11110 Alondra Boulevard, Norwalk, CA 90650; (310) 860-2451, ext. 2416; fax: (310) 467-5002; e-mail: vmitchell@cerritos.edu
Music Library Association, Southern California Chapter