Course Code Essay Example

  • Category:
  • Document type:
    Case Study
  • Level:
  • Page:
  • Words:

Understanding and Valuing Collection

1 Appraisal and Selection

All Dr. Jone’s collections would be acquired, as it is believed that the entire information resources and tools are uniquely relevant to the current needs of the library, which include ensuring that the collection depicts the diverse students’ interests, and attaining the overall goal of the library in supporting teaching and learning by providing diverse resources. A library with a deep collection of music materials and resources would be central to music scholarship and teaching (Goble 2010).

Recordings of cello music on cassette tapes, vinyl, and CDs and video-recordings of performances featuring local Australian musicians on videotape and more recently, in digital format would enable the library to motivate music students and nurture their desire to learn in a supportive environment that builds their music performance and composition by witnessing that of different artists (Hebert 2010). Therefore, the library would enable students to experience vocal and instrumental tuition, learn how recorded artists played in ensembles, and relate them to their classroom work. In short, the library will provide music student with an opportunity to learn from practised or legendary musicians (Green 2010).

Original manuscripts, including century-old hand-written manuscripts, would be acquired due to their rarity. These materials would enable the library to cultivate cross-cultural understanding among students, teachers, and the general public. The library will have an enriched collection of resource materials students can use to examine past musical cultures, and how they have changed today (Deusser 2016).

Scholarly texts and research notes would enrich the library’s collection of significant scholarly works, which have also been peer-reviewed (Solomon 2007). Availability of such resources would improve the reputation of the library as a reliable information bank that consists of up-to-date, complete, as well as convincing archive of knowledge in the field of music. In general, the quality and precision of the content of such archive would be of critical value, as they would provide the library with a means for validating certain aspects of music research (Hox & Boeije n.d.).

Copies of published or authored books provide a wealth of information on music styles, compositions, performance, and periods would add to the library collection, hence ensuring equitable access to published and authored books. These would help the library to build a collective knowledge base (University of British Columbia 2016).

Letters to and from international scholars and musicians would be acquired because of their capacity to communicate information among scholars from different parts of the world. They would provide vital resources that the library can use to set up a forum for students and scholars to debate on issues that affected different music period, including what inspired certain types of performance from the musician’s own perspective.

Copies of ‘Stringendo’ journal, published twice yearly from 1997 would be acquired due to their potential to disseminate filtered information among library users from different parts of the world. Without them, scholars are likely to be inundated with knowledge on fields of interests in music since 1997. They would also assist students and teacher to validate their quality of their current research, maintaining community standards regarding how research and scholarships should be conducted, as the journals would have filtered what was published and therefore disseminated since 1997. The journals would enable experts and students to relate scholarly community and stake out new intellectual idea (Solomon 2007).

Cellos, prints of 17th and 18th century paintings and drawings, and musical scores should also be acquired as they would enable the library to create a learning environment that allows students to be active participants individually and collaboratively within groups (Paterson 2015). The library will, therefore, allow students to take part in hands-on experience, discuss music performance and composition and to make meaningful connections (Wheeler 2014).

In conclusion, the resources would enrich the library’s capacity to assist the university in the delivery of music curriculum that can meet the learning needs of different groups of students, and to make sure that teachers, scholars, students and the general public have sufficient professional resources, support networks, and opportunities to come together to compose and share music.

2. Access policy

The contents of the access policy would generally stipulate or specify on who should be allowed to use a certain collection and the reasons for this. In general, all students, scholars, teachers, university staff, and even the public would be allowed to use the collection, as the policy is based on the principle that knowledge should be shared.

Another justification for this is because it is assumed that students, scholars, teachers, university staff, and even the public need to be skilful and knowledgeable about technological shifts and advancements, as well as be equipped with knowledge on how to use the necessary tools and resources in advancing the study of music as a subject, while simultaneously acknowledging the significance of communities coming together to compose and share music (Bauer 2016).

Teachers and students would also be allowed to access the location, and traditionally, music has been universally linked to educational policies and programs. Music ensembles and classes, as well as instructional practices have been traditionally used in teaching music. However, there is some research evidence showing that many music educators are relying on music theories instead of using technology or recording to facilitate and improve musical experiences for students (Paterson 2015). The main audience for scholarly texts include students of music and fellow scholars and experts, who would use the texts to enrich their research findings or knowledge base.

The collection would also allow progressive music teachers, scholars, and experts to explore numerous mechanisms for applying technological innovations in teaching music. The collections would improve the pedagogical knowledge of music teachers, as they would facilitate the intersection of teacher’s content and pedagogical knowledge, leading to enriched learning content (Burnard et al. 2008).

The entire collection, including recordings, original manuscripts, scholarly texts, Research notes and books adds to the teacher’s resource base. This would enable teachers to become committed to instilling in students a passion for music, as well as the skills for performing and composing music, and gaining deeper insight into how to dedicate themselves and display diligence crucial for achieving meaningful success in learning different aspects of music, including music cultures, perspectives, skills, interests and needs (Bauer 2016).

Original manuscripts, scholarly texts, Research notes and books would expose students to greater understanding of different music theories, which would allow them to read a manuscript written by composers centuries ago, and understand to automatically understand what these composers intended to play, and how they did it (Deusser 2016). The collection, including audio and video recordings, would assist in integrating students into the wider life of the community.

The public would be allowed to access the collection. Traditionally, music has been always associated with and influenced by the cultural and sociological trends (Goble 2010). The collections, including Cellos, prints of 17th and 18th century paintings and drawings, and musical scores, would lead to ‘enculturation,’ which is described as the quality of being immersed in music and musical traditions of other cultures or their cultures, including the musical styles of the past that they are familiar with or not (Elliot 2005; Morrison et al. 2008).


Bauer, W 2016, Music Learning and Technology, viewed 17 Oct 2016, <>

Burnard, P, Dillon, S, Rusinek, S & Eva, S 2008, “Inclusive pedagogies in music education: A comparative study of music teachers’ perspectives from four countries,” International Journal of Music Education, vol 26 no2, pp. 109-126

Deusser, R 2016, Great Surviving Manuscripts, viewed 17 Oct 2016, <>

Elliot, D 2005, Praxial Music Education : Reflections and Dialogues: Reflections and Dialogues, Oxford, Oxford University Press

Goble, S 2010, What’s So Important About Music Education? New York, Routledge

Green, L 2010, Informal Popular Music Learning Practice and Their Relevance for Formal Music Educators, viewed 17 Oct 2016, <>

Hebert, D 2010, «Why Recorded Music Matters; A Review Essay,» The Journal of Music and Meaning, vol 9, pp.12-15

Hox, J & Boeije, H n.d., Data Collection Primary Vs Secondary, viewed 17 Oct 2016, <,primary+versus+secondary.pdf?sequence=1>

Morrison, S, Demorest, S & Stambaugh, L 2008, «Enculturation Effects in Music Cognition: The Role of Age and Music Complexity,» Journal of Research in Music Education, vol 56, pp.118-129

Paterson, J 2015, 3 Reasons Why Music Theory Is Important for Your Students, viewed 17 Oct 2016, <>

Solomon, D 2007, «The Role of Peer Review for Scholarly Journals in the Information Age,» The Journal of Electronic Publishing, vol 10 iss 1, viewed 17 Oct 2016, <;rgn=main>

University of British Columbia 2016, Scholarly vs. Popular Sources, viewed 17 Oct 2016, <>

Wheeler, B 2014, «The Importance of Research in Educating About Music Therapy,» Voices, vol 14 no 2, viewed 17 Oct 2016, <>