College and Research Libraries ELAINE ZAREMBA JENNERICH and BESSIE HESS SMITH A Bibliographic Instruction Program in Music A course-integrated program of bibliographic instruction for undergraduate music majors was developed by an instructional team of the music librarian, refer-ence librarian , and introductory course instructor. Through the use of a lecture/worksheet method, students significantly improved their skills in the use of the music library card catalog and the Music Index. Use of refer- ·ence tools and the libraries in general was taught through a gu.ided written project that could be used by students in subsequent courses. The key fac- tors in the success of the program were: ( 1 ) the instruction was given early in the curriculum; (2) the instruction was totally integrated into the course; and (3 ) the results were measured and evaluated. THE LITERATURE of academic bibliographic instruction has been growing ·over the years, and varied and creative programs are now being tried at many institutions. 1 With the recognition of the importance of biblio- graphic instruction have come standards; 2 Project LOEX, the clearinghouse for academic library orientation and instruction information materials at Eastern Michigan University; and the recently established ALA Library Instruction Round Table and the ACRL Bibliographic Instruction Section. Reading the literature , one becomes aware that specific course-related instruction often has the most success and that mea- surement of the results is absolutely essen.:. tial. The sooner bibliographic instruction is incorporated into the curriculum of a disci-z- pline, the earlier students can be convinced that the library is a necessary and essential component of their academic endeavors. While many students are given general in- struction in the library , some programs have been developed in specific disciplines and in special libraries to acquaint students not Elaine Zaremba jennerich is head of reference services, Moody Library , and Bessie Hess Smith is music librarian , A. Guy Crouch Music Li- brary, both at Baylor University, Waco, Texas. 226 I only with the materials available to them but also with the skills to use them . 3~6 A study of course- and discipline-related instruction programs as well as other litera- ture was the first step toward an expansion and strengthenmg of an existing program for music majors at Baylor University. Begin- ning in 1976, instruction was planned usmg the elements of other programs that seemed most appropriate and combining them with ideas , methods, and objectives specifically needed at Baylor. DEVELOPMENT AND IMPLEMENTATION Each fall approximately one hundred freshmen music majors are enrolled in a basic muSic litemtute course. The course serves as a prerequisite for the upper-level music history course. It is the study of styles and idioms of art (concert) music and touches on popular and non-Western music. The course is divided into four sections of ·approximately twenty-five students each. Library services ate provided through the A. Guy Crouch Music Library, a special li- brary housing printed music, recorded music, music microforms, current music pe- riodicals , and a music reference collection, and located in the Moody Library , the uni- versity's main library. The Crouch Music Library has its own card catalog and classi- fication system for printed and recorded music. Due to the physical plan, music stu- dents must learn to use the main library as w:ell as the special library that serves their major field of study. Throughout the summer of 1976, the in- structional team (music librarian, course in- structor , and head of reference services ) worked to determine objectives and to de- sign a program to meet certain objective s. The general objectives were divided .into two parts: to teach students the use of the music library, specifically the card catalog and the Music Index , and to teach them to use the card catalog and basic reference tools in the main library while at the same time developing topics for an investigative theme. PART ONE The skills in part one , use of the music card catalog and Music Index , are measured using a pretest and posttest design . (The test is reproduced as appendix A. ) Each sec- tion is given the pretest by the instructor and then taken to the music library for a lecture and discussion period. The music li- brarian , using illustrative transparenci es , explains policies and procedures in the music library and emphasizes use of the card catalog and Music Index. At the end of the lecture students are given a work sheet to complete (appendix B). Students are given on e week to complete the work sheet and the n are given the posttest. The work sheets and tests are graded by the music li- brarian . The first semester th e program was used , three sections (control groups) were given the pretest, then the lecture , followed by the posttest. To determine if the work sheet could improve posttest scores significantly, the fourth section (experimental group) re- ceived the pretest, lecture, the work sheet, and finally the posttest. The average pretest score (100 was a perfect score) of students in the experimental section was significantly lower than average scores in the three con- trol sections . Following the posttest, the av- erage scores of all but one control group improved significantly. The second semester the program was used , the same experiment was rep eated. Bibliographic Instruction Program I 227 The average pretest score of the experimen- tal group was significantly lower than the control groups . Following the posttest , three groups improved significantly, but one control group did not . . The major factor in each experiment was that , while the experimental group had sig- nificantly lower average scores on the pre- test , it generally had significantly higher scores on the posttest. It was concluded, therefore, that the work sheet should be given to every student. Table 1 shows the results of the most re cent experiment. TABLE 1 A \'ERACE S CORES Croup Experimental (E ) Control #1 (C1) Control #2 (C2) Control #3 (C3) An~ rage or Numhe r of Mea n Sco res Stude nts Prete~! Posttes t 21 43 20 20 71.90 81.65 79.10 82.60 88.57 84.69 80.15 87.45 With the use of a t-test on dependent means , table 2 shows the results of the comparison betwe e n pre test and posttest scores. The experimental group and control groups 1 and 3 improved significantly, but control group 2 did not improve sig- nificantly. Using a t-test on independent means , the experimental group scores on the pretests and posttests were compared with each con- trol group ' s scores. Table 3 show s this result. The experim e ntal group scored sig- nificantly lower than control groups 1, 2 , and 3 on th e pretest and significantly higher Pretest Posttest Pretest Posttest Pretest Posttest Pretest Posttest TABLE 2 T-T EST ON D E PEN D EN T MEANS ( SIG N IFICANCE L E \ 'EL 0 .05) Stand ard C roup ~ean Deviati on E 71.90 15.30 88 .57 5.92 C1 81.65 9.26 84.69 13.19 C2 79 .10 14.46 80 . 15 20.03 C3 82 .60 10.50 87.45 9 .92 *No signifi cant diffe rence. Yalu e oft 5 .29 2. 10 0 .33* 6.06 228 I College & Research Libraries • May 1979 TABLE 3 T-TEST O N I NDEPENDE T MEAN S ( SI GN IFI CA C E LEVEL 0.05) Standard Value Group Mean Deviation oft Pretest E 71.90 15.30 Posttest 88 .57 5.92 Pretest C1 81.65 9.26 4 .43 Posttest 84 .69 13.19 1.34 Pretest C2 79.10 14.46 2.01 Posttest 80.15 20.03 1.52 Pretest C3 82 .60 10.50 4.00 Posttest 87 .45 9.92 0.27* • No si!(nificant differe nce. than control groups 1 and 2 on the posttest. There was no significant difference between the experimental group and control group 3 on the posttest; but control group 3 scored the highest on the pretest. Each time the experiment was conducted , one control group did not improve significantly between the pretest and the posttest, but the ex- perimental group always improved sig- nificantly. It was concluded, therefore, that the work sheet was necessary to significantly improve the skills of using the music card catalog and the Music Index. PART Two After a few weeks the second part of the program begins. Each student chooses a topic , which is approved by the instructor. Examples of types of topics are: ragtime, jazz, or blues; American musicals ; the style of a particular composer; motets or madri- gals; development of a given instrument. The topic will be used as the basis for an investigative theme during the second semester of the course. Each student is assigned a library project (appendix C) and given one month to com- plete it . The purpose of the project is ~hreefold: to teach students to use library tools they will find useful in building a criti- cal bibliography on their topics ; to familiarize students with specific resources that the instructor and music librarian feel are essential to the core of music knowl- edge; and to help students to feel at home in the library and to ask professional staff for help. Two weeks after the projects are as- signed, the music librarian and a reference librarian go to each section to help students with any problems they might be having and to answer questions. Illustrative slides are taken along that include sample pages from Book Review Digest , Essay and Gen- eral Literature Index, Music Index , and other indexes to aid in explaining their use. These sessions are informal and always well received by students. The session ena- bles them to see their instructor and librar- ians working as a team for their benefit and assures them that the project, while chal- lenging, is not meant to be a difficult task. From the students' standpoint, they enjoy getting some extra help before they are graded and are pleased that their knowledge of library skills is being strengthened early in their academic careers. Projects are graded in the following man- ner: the music librarian evaluates questions I, VII , VIII , and IX; the instructor evaluates II, III , V, and VI ; and a reference librarian evaluates IV. The instructor assigns the final overall grade for the project . The members of the team take time to look through each project and make written comments on the questions they are evaluating. Projects are returned to students before the end of the semester, and they can begin using them to build the critical bibliography for their theme as soon as the next semester starts. CONCLUSIONS AND DISCUSSIONS The most important result of the instruc- tion is the positive change in library skills that students achieve. When they have completed the program, they have a solid working ability to locate and use materials in the music library and in the main library. There are several points that are felt to be essential to the success of the program . These, of course , can be generalized to any course-related instruction . First, the library instruction is not an ad- junct to the course. It is totally integrated with the course and an essential require- ment for its completion. As such, it em- phasizes to music students in their first semester that library use is expected and necessary in their course work. Second, several opportunities are given students to interact with librarians and their instructor about library use . While librar- ians and the instructor may be charged with spoon-feeding, it appears to pay off in en- thusiasm and motivation on the part of the students to complete the projects well. Li- brary staff have observed a positive change in students' attitudes toward the use of the library that carries through to subsequent years . Third , students have all work graded and returned and are able to see clearly the re- sults of their work. While tests , work sheets, and some questions are graded by librarians, the instructor has the ultimate responsibility and assigns final grades. This provides consistency in grading with other examinations and assignments in the course. Fourth , measuring improvement in the Bibliographic Instruction Program I 229 skills of using the card catalog and Music Index enables the music librarian to judge the effectiveness of the lecture/work sheet teaching mode and gives students positive proof of their progress . The combination of measurement and evaluation with early instruction in a spe- cific discipline has proved very successful. The majority of students find the music and main libraries easy and enjoyable to use when they are familiar with library mate- rials, when they know whom to ask for as- sistance, and when they realize that use of the library is specifically related to their academic success. REFERENCES 1. Maureen Krier, " Bibliographic Instruction : A Checklist of the Literature, 1931-1975," Ref- erence Services Review 4 :7-12 (Jan. 1976). See also Deborah L. Lockwood, comp. , Library Instruction : A Bibliography (Westport, Conn .: Greenwood Pr., 1979). 2. " Guidelines for Bibliographic Instruction in Academic Libraries, " College & Research Li- braries News 38:92 (April 1977). 3. Martha Bailey, "Bibliography and Reference Aids in the Physics Library," Special Libraries 67:202-7 (April 1976). 4 . Elizabeth F . Adkins, "Library Orientation for Student Nurses : A New Approach, " Special Libraries 61:21-25 (Jan. 1970). 5. Connie Koppelman , "Orientation and Instruc- tion in Academic Art Libraries," Special Li- braries 67:256-60 (May/June 1976). 6. Thomas Kirk, "A Comparison of Two Methods of Library Instruction in Introductory Biol- ogy, " College & Research Libraries 32:465-74 (Nov. 1971). APPE NDIX A TEST Name : Section ________ _ Last First Middle Score 1. To locate books about music in Moody Library , you would look in : 1. General card catalog in the Reference Department ___ _ 2 . Card catalog in the Music Library ___ _ 3 . Periodical catalog in the Reference Department _ __ _ STUDY CATALOG CARDS A, B, C , AND D, AND ANSWER THE FOLLOWING: H-S B813 J op.53 Brahms, Johannes, 1833 - 1897. cRhapsody, alto, men• s voices & orchestra, op. 53, Rhapsodie fur eine altstinme, Hannerchor und Orchester, op. 53. Wiesbaden, Breitkopf & Hartel. pl. no. J.B. 92 full score 0 A H-P B813 J op.53 Brahms, Johannes, 1833 - 1897. cRhapsody, alto, men's voices & orchestra, op. 53, Rhapsodie from Goethe's "Harzreise im Win- ter. " Op. 53. Tr. into English by R. H. Ben- son. New York, G. Schirmer. pl. no. BM Co. 1936 vocal score 0 230 I College & Research Libraries • May 1979 M-Po B813 J op. 53-2 Brahms, Johannes, 1833 - 1897. .Rhapsody, alto, men's voices & orchestra, op. 53, Rhapsodie. Op. 53. New York, Edwin F. Kalmus. 44 v. no pl. no. flute I bassoon I 8 violin I flute II bassoon II 8 violin II oboe I horn I 7 viola oboe II horn II 6 cello clarinet I 0 5 bass clarinet II M-R B813 J op. 53-4 c. 2 MBT 1851 Brahms, Johannes, 1833 - 1897. .Rhapsody, alto, men's voices & orchestra, op. 53, Alto rhapsody, op. 53. Columbia ML 5888. c. 2 MS 6488. Mildred Hiller; The Occidental College Con- cert Choir; The Columbia Symphony Orchestra; Bruno Walter, conductor. With the composer's Schicksalslied. Hahlen Lieder e i nes fahrenden Gesellen. 0 2. Cards A, B, C , and D would be found in which sections of the card catalog in the Music Library? 1. Main entry ___ _ 2. Main entry and subject headings ___ _ 3. Subject headings _ _ _ _ 4 . Title ___ _ 3. Which card shows that the library has a recording of the rhapsody? 1. Card A ___ _ 2. Card B ___ _ 3 . Card C _ __ _ 4 . Card D ___ _ 5. None ___ _ 4 . The complete call number for card A is: _ ___ 1. M-S B813 J ___ 2. M-S B813 J _ __ 3. M-R B813 J op . 53 op . 53-4 5. Based on cards A, B, C, D , does the library have the following? 1. Vocal score of the rh~psody? yes no ____ _ 2. An arrangement of the rhapsody for a string quartet? yes no ____ _ 3. A recording of the rhapsody with Kathleen Ferrier singing alto? yes no ____ _ 4 . A tape of the rhapsody? yes no ____ _ 5. An Engli sh translation of the rhapsody 's libre tto? yes _____ no ____ _ SINGERS Warum der Applaus? E. Schwaiger . See Schwa1ger under BOOK REVIEWS SINGING Oawloping VO!Ces . W. Vennard . See Vennard under BOOK REVIEWS Obucheniato po peena v purvi klas na narodnostna osnove . B . Totev . Sea Totav under BOOK REVIEWS Treining of thl individuel voice through chorel singing. J . F . Williemson . CHORAL J 14 :24-6 n8 1974 Study end Teaching Gedlnken zur Verbeswrung der SingequelitMt in dan Kl1111n 5 bis 10 . H . Helm . MUS IN SCHULE 25 : 115·19 n3 1974 Orel intarpratllion : An aid in developing singing skill. P . Bravander . bibliog NATS 30 :26-31+ n3 1974 Moy metod reboty 1 pavtwmi . V . Lukenin . Sea Lukenin under BOOK REVIEWS Tha singing teacher in a changing world . J . Ross . NATS 30 : 12·15+ n3 1974 Use this excerpt from The Music Index to answer the following question. 6 . The article "Training of the Individual Voice through Choral Singing" appears in which periodical? 1. NATS ___ _ 2. Choral journal ___ _ 3 . Musik in der Schule ___ _ 4. None of the above ---~ 7. The article is in 1. Issue no.1, 1974 ___ _ 2. Issue no .8, 1974 ___ _ 3. Issue no.6, 1974 ___ _ Bibliographic Instruction Program I 231 8. The article appears on what page? 1. 56---- 2. 54 __ _ 3. 24 ___ _ 9. The author of the article is 1. J. Ross ___ _ 2. V. Lukanin ___ _ 3. J. F. Williamson ___ _ 4. None of the above ___ _ 10. The volume number of the periodical is 1. 6 ___ _ 2. 12 ___ _ 3. 14 __ _ 4. 24 ___ _ APPENDIX B WORK SHEET Name: Last First Middle 1. Give the call number for the full score for Verdi: Falstaff. Section --------- Score 2. Under which subject headings will you find Meuleman: Suite pour Quatre Trombones? 3. What is the call number for a tape of Donizetti: Lucia di Lammermoor? 4. What is the call number for Schonberg: Von Heute auf Morgen in his complete works? 5. What are the names of the quartets performing on the recordings that Baylor has of the Shos- takovich: String Quartet No. 1, Op. 49? 6. In which periodical will you find the following articles? Check which periodical Baylor has. A. Philip E. Hager: "The Kinship of Music & Writing." 1. periodical, volume, pages, date: 2. Baylor holding: yes no ___ _ B. Lydia Hailparn: "The Oboe; a Short History." 1. periodical, volume, pages, date: 2. Baylor holding: yes no ___ _ C. Graham George: "Tonality and the Narrative in Tristan." 1. periodical, volume, pages, date: · 2. Baylor holding: yes no ___ _ Music Literature 1318 Library Project APPENDIX C Name Section This project is designed to introduce you to the library and for you to learn how to use it. Please work alone on this assignment so you, personally, will gain its benefits. As an introductory note, may we remind you of two valuable resources in the library: first, the general card catalog (on the first floor) for books in the collection; second, the music card catalog (in the A. Guy Crouch Music Library) for printed music and recordings. Several questions in this project ask you to name books or sets of books. When naming them, please include (1) the author or editor, (2) the title, (3) the publisher, (4) the place and date of publication, and (5) the call number. Please remember that the library staff is friendly and helpful. They are one of your most valuable resources in this project. 232 I College & Research Libraries • May 1979 Select a musical topic of interest to you, one on which you might expect to find enough information in standard reference works to serve as the basis for an investigative theme. TOPIC: I. Examine the following dictionaries and encyclopedias of music, look up your topic in each, and briefly describe the manner of presentation in each (thoroughness of discussion of subject, pres- ence or absence of musical examples, lists of compositions, etc.). If there is no entry for your topic, indicate that fact, but give a brief general comment concerning the usefulness of the work. A. Baker's Biographical Dictionary of Musicians B. Apel : Harvard Dictionary of Music C. Groves : Dictionary of Music and Musicians Hint: You must ask at the music library charge desk for A and B. List three other dictionaries or encyclopedias available in the music library. II. Using the general card catalog on the first floor, locate three books relating to your topic. Find the books, look at them, and comment on their usefulness as source material for your topic. III. Find a book review on any book you have previously listed on question II. Read the review. In which book or periodical does it appear? Give full bibliographic information. What does the reviewer think of the book? Hint: You may use: Th e Music Index ML 145 M916 Book Review Digest Ref. Z 1219 C95 Index to Book Rev iews in Humanities Ref. Z 1035 A1 Book Review Index Ref. Z 1035 A1 B6 Ask a librarian to help you find and use these . IV . The following periodical indexes located in the Reference area on the first floor can be used in conjunction with Music Index to find periodical articles or essays in books about your topic . Examine each index for relevance to your topic: Art Index Biography Index Education Index Humanities Index (formerly Social Scie nces and Humanities Index) Index to Religious Perio dical Lite rature Essay and General Literature Index List two articles or essays that relate to your topic. Give full bibliographic information for each article. Indicate the title and date of the index of each article or essay. Each article should be from a different index. V. Out 9f the following performance areas, circle your field: string wind church music keyboard voice percussion Name one specialized periodical which our library has in that field . Read and report briefly on one article of interest to you in the periodical. Give full bibliographic information. VI. Examine the current issues of High Fidelity/Musical America, Music journal , and the Inst rume n- talist . A. Where are these housed? B. Where are the back issues housed? C . List one article of general interest to you in each periodical. Examine the current issue of the entertainment section of the Sunday New York Times . List one article of general interest to you. Older issues of the New York Times are on microfilm on the garden floor. Write down your birthdate . Find that month and year on microfilm and look at the Sunday entertainment section closest to your birthday. What was the lead story that day? VII. The Schwann catalog is a selective guide to recorded music that, in the judgment of Schwann , is generally available. New listings are so marked and each month any recording no longer avail- able is deleted. It is shelved across from Mrs . Smith's desk. A. Give all the information available in Schwann about one of the re~ordings of Vivaldi's Four Seasons. B. What is the cost of the above recording? VIII. A thematic catalog is a list that supplies themes or incipits (opening bars) of all known and trace- able works by a composer. The list is usually either chronological or by genre (a distinctive Bibliographic Instruction Program I 233 group as to form or instrumentation). The following are three thematic catalogs of a composer's works in our music library. ML 134 B 1 S3 Schmieder: Bach-Werke Verzeichnis 781.9735 Kinsky: Beethoven Verzeichnis B41 781.9735 Kochel: Wolfgang Amade Mozarts M93C K76 1964 What do Beethoven's op. 123, Bach 's BWV 232 , and Mozart's K. 246a(262) have in common? Hint: The titles are your best clue. IX . The librarians at Moody Library are eager to help you use the library effectively and easily. Before you turn in this assignment, get the signature of one of the two music librarians and one of the four reference librarians. t