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Before I arrive at discussing the fundamentals of music bibliography I think we should take a very close look at the word ‘bibliography’ and make sure that we know what it really means. In countless books and dictionaries I have looked up the definition, and the general consensus of opinion is that it may have two meanings. Firstly, a list of books relating to a given subject or author and, secondly, the careful and accurate description of certain books, either by an author or on a specific subject, with literal transcriptions of the title‐pages, sufficient information for identification between one edition or issue and another, size, gatherings, pages, measurements, and so forth. This is a fact of which I need not remind a company of librarians, but I want to make a clear distinction between the two forms that a bibliography may have. Personally, I do not care for the first meaning at all and can never stretch my imagination so far as to flatter a mere list of books by calling it a bibliography. It is not a bibliography at all, it is a checklist, a simple list of books for guidance to the reader wanting to refer to other books on the same subject or, alternatively, by the same author. In Mr. Arundell Esdaile's A student's manual of bibliography (Allen & Unwin, 1931) all such are called ‘List of Books’, and this, I maintain, is the correct heading. A bibliography is something far larger, more involved, intricate, and detailed. The new Grove uses the word ‘bibliography’ for a list of books about a composer, and a list of works composed by the composer is designated ‘Catalogue of Works’.

The following classified, annotated list of titles is intended to provide reference librarians with a current checklist of new reference books, and is designed to supplement the RSR review column, “Recent Reference Books,” by Frances Neel Cheney. “Reference Books in Print” includes all additional books received prior to the inclusion deadline established for this issue. Appearance in this column does not preclude a later review in RSR. Publishers are urged to send a copy of all new reference books directly to RSR as soon as published, for immediate listing in “Reference Books in Print.” Reference books with imprints older than two years will not be included (with the exception of current reprints or older books newly acquired for distribution by another publisher). The column shall also occasionally include library science or other library related publications of other than a reference character.

Harold Samuel, music librarian and professor of music at Yale University, provides an excellent overview of the growth and development of musicology and the implications for library music collections in his recent article “Music and the Music Library” (Library Trends, April, 1977, pp. 833–845.). He notes that the musicologist's narrow emphasis on the “serious music” of Western Europe has broadened to include serious study of ethnomusicology, popular music, “serious” music of the United States, and musical performance. While my survey does not cover popular music, the growing importance of the other three areas is reflected in the best reference books of the past year.

The purpose of this paper is to present a new web‐based cataloguing system for the global music bibliography project, Répertoire International des Sources Musicales (RISM), and discuss the implications for the manipulation and discovery of musical heritage materials.

The paper is designed to illustrate the workflow and tools used in creating a global musical catalogue, and to present the experiences of the Swiss RISM working group in developing new tools and re‐thinking traditional music bibliography tools.

The new tools developed present a further decrease in latency between source cataloguing and availability to users by integrating both the cataloguing and exploration interfaces into a single web application.

For music researchers, the opportunity to search and manipulate a global musical source database opens up new possibilities for data‐driven computational musicology and analysis.

This paper reports preliminary work in musical incipit searching in the Swiss RISM database, as well as the latest developments in integrating digital facsimile images and sound resources.

Not many weeks back, according to newspaper reports, three members of the library staff of the School of Slavonic and East European Studies in London were dismissed. All had refused to carry out issue desk duty. All, according to the newspaper account, were members of ASTMS. None, according to the Library Association yearbook, was a member of the appropriate professional organisation for librarians in Great Britain.

This article aims to introduces generalist librarians who have music among their subject responsibilities to jazz fake-books as a library resource.

The article begins with a review of jazz as a subject in the professional literature of both librarianship and music education. The second section discusses the origin and history of fake-books, while the third offers suggested selection criteria. This is followed by a bibliography of recommended fake-books, all of which were in print at the time of writing, along with information to facilitate the acquisition process.

Although fake-books in electronic form have become available in recent years, they require an investment in both hardware and software on the purchaser's part. They also carry end-user licensing agreements that make them impractical as library purchases. Print fake-books remain a worthwhile area of study for collection development librarians.

In preparing this article the author discovered that jazz as printed music has been largely ignored in library literature, and has been treated only occasionally in scholarly literature in general.

THE summer is not a good time for writing editorials. In the first place it has been too warm, but more particularly, no matter how hot the topic at the time of writing, it will be cold as mutton before it eventually reaches its readers. Secondly our thoughts seem to have been devoted to anything except libraries: a little light reading perhaps, or a gentle discussion of next season's lecture programme? So now, not an editorial proper (or improper), but some editorial miscellany, beginning with the late but unregretted printing dispute. The LIBRARY WORLD has not been affected as much as some periodicals, and this issue makes its appearance only some three weeks later than planned. We have occasionally encountered comments which suggest that our journal is not anticipated each month with undue pleasure, and is quickly placed on the Chief Librarian's desk, from which honourable position its subsequent circulation is frequently delayed. Many libraries do not appear to have a professional journal circulation scheme, and this is a regrettable state of affairs. It is important that the younger members of the profession should be well informed about library affairs, and only the regular perusal of periodicals can achieve this. May we recommend that Chiefs institute and maintain a circulation programme in their libraries; we hear that it is much appreciated in those libraries which already do so.

Sets out to provide a selected bibliography or recent resources on library instruction and information literacy.

Introduces and annotates periodical articles, monographs, and exhibition catalogues examining library instruction and information literacy.

Provides information about each source, discusses the characteristics of current scholarship, and describes sources that contain unique scholarly contributions and quality reproductions.

The information may be used by librarians and interested parties as a quick reference to literature on library instruction and information literacy.