University of Texas at Austin
Libraries Home | Mobile | My Account | Renew Items | Sitemap | Help |
support us

University of Texas Libraries

University of Texas Libraries
Celebrating the Life

About the Collections

Collection Policies
Endowments and Gifts
Scholarly Communication
Protecting Intellectual Property

Collection Contacts

Subject Specialist Directory

Susan Macicak,
Collection Development Officer

Merry Burlingham,
Chief Bibliographer

Carolyn Cunningham,
Collection Administration Librarian

Mary Rader,
Global Studies Coordinator

Dale Correa,
Middle Eastern Studies Librarian

Bonnie Brown Real,
Collection and Consortia Assessment Coordinator

Lexie Thompson Young,
UT System Licensing Coordinator

Emilie Algenio,
Consortia Resources Coordinator

Lisa Aguilar,
Library Specialist


I. Purpose:
To support teaching and research requirements of the Ph.D. and D.M.A. programs in Applied Music, Music Education, Music Theory and Composition and Musicology and Ethnomusicology in the School of Music through the undergraduate and graduate programs. To support faculty research in these fields.

In addition to these specific curricular interests, the collection should provide a broad base of support for general cultural interests in music its role in the history of civilization on an international scale to include a special interest in the music of Texas composers and Texas ethnic minorities.

To provide for interdepartmental; academic needs in art, drama, dance, musical acoustics, aesthetics, and psychology, linguistics, folklore, American studies, the study of ethnic and popular culture and radio-television-film production.

See the Fine Arts Audiovisual Collection Statement for acquisition of audio recordings.

II. General Collection Guidelines:

A. Languages: For music literature, English and Western European languages will be preferred. Publication in other languages and alphabets will be acquired as needed. Music scores will be purchased without regard to language.

B. Chronological Guidelines: No limitations.

C. Geographical Guidelines: No restrictions. The primary emphasis is on the Western tradition; however, all geographical locations are pertinent for ethnomusicology.

D. Treatment of Subject: Biographies of composers and performers will be collected comprehensively as well as histories, works of historical criticism and stylistic analysis. Scholarly treatment will be preferred, but a more popular presentation will be accepted if that is the only available source of information. Research methodology is of special interest in musicology, ethnomusicology and music education.

Pictorial works to include collections of musical instruments, historical studies of composers, performers, music theaters and musical performance are collected either comprehensively, as for musical instruments, or selectively, as for biographical presentation. Iconographic works are of importance.

Technical studies and methodology will be purchased selectively for music theory and instrumental and vocal music. Songbooks used as texts will be purchased for music education. Selection of textbooks will depend upon content and treatment of the subject. Few titles written on a popular or juvenile level will be selected.

E. Types of Material:
Music literature: Materials acquired will include selected primary s ources and dissertations on microform. Music reference works are collected comprehensively to include encyclopedias, dictionaries, bibliographies, discographies, indexes, thematic catalogs and library and collection catalogs. Monographs will include iconographies, festschriften, congress reports and biographies. Manuscripts are acquired selectively together with letters and other unpublished documents.

Music scores: Editions of early music, historical monuments, sets, anthologies, scores published in series and representative works from all periods to include manuscripts in facsimile and on microfilm ( See Appendix 1).

Sound recordings: See Fine Arts Library collection statement. Sound recordings are purchased primarily on compact discs. Other audio formats accompanying texts and scores are purchased as needed. Selection of format will keep abreast of current technology as appropriate.

F. Date of Publication:No restrictions. Music is primarily a historically oriented discipline and access to primary and secondary source material from all periods is a necessity. While the standard score literature does not become outdated, subsequent editions are also necessary. Reprints (including facsimile reprints) are desirable. Early publications of historical importance will be purchased on microform.

G. Other General Considerations: The Harry Ransom Humanities Research Center hold many important music and music-related items. The publication "Collection of Music Materials at The University of Texas at Austin" discusses the details of these collections.

The Benson Latin American Collection provides access to literature on music as well as musical score relevant to ethnic and folklore studies and sound recordings on discs and tapes of popular, folk, and classical music.

The Center for American History collects exhaustively materials related to music in Texas. Sheet music written by Texans or of some significance to Texas history is collected comprehensively.

III. Observations and Qualifications by Subject and LC Class:

Historical Musicology: History and Criticism of Music (See Footnote 1) ML Fine Arts Library C Music
Exception: Latin American Music ? Benson Latin American Collection ? ?
Historical Musicology: Musical Instruments (See Footnote 2) ML? Fine Arts Library ? Music
Historical Musicology: Philosophy of Music, Engraving and Publishing (See Footnote 3) M? Fine Arts Library B? Music

  • Footnote 1: The sources of music history, both general and regional, are collected from antiquity to the present. Scholarly monographs on all topics of music to include the history and appraisal of all music in all styles and through all historical periods in all geographic locations with emphases on western music. Collection of essays, correspondence and writings by composers, performers and historians. Research methodology.
  • Footnote 2: The history and construction of instruments to include pictorial representation of the instruments and their performance. General and specific organological studies of instruments will be selected.
  • Footnote 3: The historical development and current experimentation in music publishing

Ethnomusicology to include Non-Western Music:

General and regional histories. Studies in the theory and methodology of the discipline. Study of musical instruments and their performance. Description and analysis of non-western music. Emphasis on titles published by university presses, institutes and professional societies.

Collection of field recordings when available. Artistic, anthropological, socio-cultural aspects of non-western music. Representative works of western folk music to provide historical coverage. Collect Americana such as hymnals, tunebooks and songbooks. (See Appendix 1)

Music of popular cultures: Jazz, popular music, rock and roll and country/western. Emphasis on sound recordings, current and retrospective, as primary documentation. Oral tradition through recorded interviews, letter and manuscripts. (See Fine Arts Library AV Collection Statement)

Anthologies of essays and articles, dissertations on popular music as a social phenomena, songbooks, methods, fake books, arrangements, lead sheets and reference works.

Collect literature on performers and composers through biographies, discographies, bio-discographies and pictorial presentation.

Theory and composition: Elements of music including rhythm, meter, tempo, melody, harmony, counterpoint, form, orchestration, arranging, eartraining and sightsinging. Acquire monographs and textbooks on the college level.

Music theory: Historical music treatises, theoretical development for all periods, analytical techniques and analyses of specific works, anthologies of musical examples, study scores. (See Appendix 1)

Composition: Emphasis on techniques of composition for all historical periods with particular emphasis on contemporary writing. Jazz improvisation, advanced style and analysis and arranging.

Musical acoustics: General characteristics of sound, physical characteristics of tones, resonance, form or overtone structure, duration and the physical properties of all musical instruments. Acoustics for musical theaters.

Audio engineering: The history of the development of sound recordings to include the various modes of recording and the industry and continued technical developments of equipment. Preservation of sound recordings. Recording studio techniques.

Applied music: Instrumental and vocal techniques and methods. Historical treatises, emphasis is on modern practice.

Instrument maintenance and repair. Music scores for the voice and all instruments for a representative collection for all historical periods. (See Appendix 1)

General and historical treatment of performance practice and interpretation both instrumental and vocal.

Dramatic music: History and criticism of performances, music theater and production and staging. Librettos. (See Appendix 1)

Music Education: Includes instrumental and vocal pedagogy for both individual and class instruction, administration and organization of music curricula and school music programs, and instrument maintenance and repair.

On the graduate level, historical treatment of foundations and principles of music education significant publications by professional organizations, research methodology, texts and measurements. Comprehensive selection of dissertations from other institutions as a major source of research in music education. Physiology, psychology of music and music therapy, the historical development and current theories.


Music Scores:
Scores are purchased to support the instructional and research needs of all the divisions of the School of Music, with general attention given to the needs of other university academic departments and official units. Scores will be actively sought in gift collections.


  • Collect comprehensively the historical monuments, sets, anthologies and collected editions of the works of composers to provide a research reference collection. Collecting Level D
  • Collect comprehensively the works of major composers of all periods in western music. Collectiong Level D
  • Collect the works of composers of secondary importance in western music. Collectiong Level C
  • Collect broadly the works of the major Latin American composers and selectively the composers of secondary importance. Collectiong Level C
  • Collect anthologies of popular music in America to include jazz, musicals, representative works of a given genre or of an outstanding composer or performer, film music, etc., to provide historical coverage from the birth of a given genre. Collectiong Level C
  • Collect broadly collections of folk music of the Americas and selectively of European nationalities. Collectiong Level C
  • Collect manuscripts and published scores by Texas composers of national note and former or present members of the faculty. Collectiong Level C
  • Collect several different editions of major works with emphases on text editions and editions by reputable scholars. Collectiong Level C
Score Formats:
Scores will be collected in the following formats:
  • Manuscripts as available in the original copy or facsimile reprints.
  • Full scores: collect selectively for major works.
  • Study / miniature scores: This format preferred for general use for all major works. Necessary with piano vocal score for major works.
  • Piano-vocal scores: First priority for opera and major vocal and choral works with orchestra.
  • Reduction of solo literature with orchestra for solo instrument and piano.
  • Sets of parts: Performing editions of major chamber works up to and including ten parts for instrumental and vocal titles. Accepted with score when a title of lesser importance can only be purchased in that way.
  • Contemporary music in the format published, e.g. diagrammatic notation, transparencies, accompanied by tapes, etc. Duplicate copies for performance purchased very selectively.
  • Solo literature for the voice and all instruments.
  • Collections of vocal music preferred to single titles when so published.
  • For jazz, purchase fake books, lead sheets, and arrangements.

Return to Subject Policies List