How does copyright work in space?

CHRIS HADFIELD has cap­tured the world’s heart, judg­ing by the 14m YouTube views of his free-fall ren­di­tion of David Bowie’s “Space Odd­ity”, recorded on the Inter­na­tional Space Sta­tion (ISS). The Cana­dian astronaut’s clear voice and capa­ble guitar-playing were com­ple­mented by his facil­ity in mov­ing around in the micro­grav­ity of low-earth orbit. But when the man fell to Earth in a neat and safe descent a few days ago, after a five-month stay in orbit, should he have been greeted by copy­right police? Com­man­der Had­field was only 250 miles (400 km) up, so he was still sub­ject to ter­res­trial intellectual-property regimes, which would have applied even if he had flown the “100,000 miles” men­tioned in the song’s lyrics, or mil­lions of kilo­me­tres to Mars. His five-minute video had the poten­tial to cre­ate a tan­gled web of intellectual-property issues. How does copy­right work in space?”

Read more at The Econ­o­mist.

New Food Policy in the Music Library

In response to the School of Music Stu­dent Advi­sory Group’s request to allow small snacks to be eaten in the library, we decided to try this out.  Begin­ning today (Thurs­day, May 23), we will allow small snacks that are not messy, noisy, or aro­matic in all parts of the Music Library (except where Rare Mate­ri­als are used).  Users will need to clean up any spills and they are also respon­si­ble for dis­pos­ing of all left­over food, wrap­pers, and trash *out­side* the Music Library and Lis­ten­ing Cen­ter.  This pilot will last until the end of the sum­mer and we will eval­u­ate at that time about rolling it out as a per­ma­nent policy.

 As before, cov­ered drinks are allowed and have the same dis­posal rule as above.

What we talked about: Spring Quarter Music Library Student Advisory Group

Music Library Stu­dent Advi­sory Group Meet­ing Notes

May 8, 2013

 Inter­ested in join­ing this group?  Email Ver­letta Kern at vkern at uw.edu

I.  Music Library Updates

  • The fund­ing for the Vari­a­tions grant to dig­i­tize record­ings in our col­lec­tion and make them avail­able for reserve is still held up in the gov­ern­ment sequester.  We don’t have a time­line as of yet to when the fund­ing will come available.
  • The Music Library has applied for an STF grant to pur­chase a com­puter with large screen mon­i­tor that could be placed upstairs for group view­ing or lis­ten­ing of reserve mate­ri­als and group work on projects.  We will learn if this grant was suc­cess­ful in June.
  • The Music Library also put in a request to keep the library open until 7PM dur­ing the week and until 6 PM on Sun­day evenings.  Since the MLSAG meet­ing we learned that fund­ing has been approved to open the library addi­tional hours.

 

II.  Music Library Website

The Libraries will be updat­ing the look and feel of the main library web­site this sum­mer.  The Music Library should also re-evaluate site con­tent dur­ing this time as well.

 

Q.  Where do you go to start your research?

A.   Stu­dents start their research on the Music Library homepage.

 

Q.  What area of the Music Library web­site do you nor­mally use when researching?

A.  Grove Music Online, JSTOR, Catalog

 

Q.  Do you ever use the Music Sub­ject Guide?

A.  We have never seen this before.

 

Q.  For ter­mi­nol­ogy on the Music Sub­ject Guide, we use the term “media” sources for locat­ing stream­ing audio/video and phys­i­cal media mate­ri­als.  Is there a term that would res­onate bet­ter with students?

A.  No.  Media works for us.

 

 

III.  Library Cat­a­log Search

The UW Libraries will be mov­ing to a new library cat­a­log begin­ning sum­mer quar­ter.  This cat­a­log will replace both UW World­Cat and the UW only catalog.

 

Stu­dent Com­ments:  Stu­dents don’t like to use UW World­Cat as they are usu­ally inter­ested in locat­ing mate­ri­als we own quickly.  UW World­Cat leaves them dis­ap­pointed when they find mate­ri­als that aren’t avail­able here in the library.  Stu­dents real­ize they can request items but are often inter­ested in what is avail­able on-site.  Could we make the cat­a­log into a search engine that is easy to nav­i­gate?  Stu­dents enjoy the abil­ity to link directly from a cat­a­log entry to JSTOR.

 

It would be nice to have a cat­a­log that could search by instru­men­ta­tion.  For exam­ple, if one was search­ing for four sax­o­phones, they could locate all scores for sax­o­phone quar­tet could be eas­ily found.  Some­thing sim­i­lar could be found at Kent State http://apps.library.kent.edu/kentlink_instrument_search/index.php  Ver­letta sug­gested we’ll know more once the new cat­a­log is up and run­ning but this would likely require addi­tional programming.

 

 

Q.  Would you like to receive train­ing on the new library cat­a­log in the Fall?  If so, what type of train­ing would you like to receive?  We could offer in-person work­shops or short, online video tutorials.

A.  Most stu­dents will want to learn the new cat­a­log sys­tem on their own by play­ing around with it.  No one will come to in-person work­shops but short video tuto­ri­als that can be accessed at any time might be inter­est­ing.  These would be more likely to be used than in-person work­shops.  It could be part of a series–how to use the library 500.

 

 

IV.  Gen­eral Comments–what has worked well/hasn’t worked well for you at the Music Library?

 

Q.  Does our library use the Library of Con­gress clas­si­fi­ca­tion sys­tem or Dewey?

A.  Both!  The major­ity of our scores are shelved using the Library of Con­gress clas­si­fi­ca­tion sys­tem.  Some of our older scores are orga­nized using the Dewey clas­si­fi­ca­tion sys­tem but are inter­filed with the Library of Con­gress scores.  You’ll find the Dewey scores around M780.

 

Q.  It is chal­leng­ing to locate organ scores in the stacks.  There doesn’t seem to be a spe­cific area where all of the organ scores are held.

A.  For brows­ing, there is a list of Library of Con­gress call num­bers that may be browsed by instru­ment type.  Unfor­tu­nately, there are no list­ings for organ music here!  The good news is that the call num­ber posters place at the end of the book stacks upstairs include call num­bers for organ.  This infor­ma­tion may also be found on BSU’s call num­ber guide.

 

 

Q.  The Music Library cur­rently keeps all reserve scores upstairs, avail­able for brows­ing and reserve record­ings down­stairs.  We have talked about mov­ing the reserve scores down­stairs to be behind the desk with the reserve record­ings.  In the down­stairs space, scores would not be avail­able for brows­ing and would need to be checked out for use.  Do you have a pref­er­ence on keep­ing mate­ri­als upstairs vs. downstairs.

A.  While isn’t con­ve­nient to have to go down­stairs for record­ings and upstairs for scores, stu­dents would much rather have the abil­ity to browse the reserve scores on the reserves shelf upstairs than to have to check them out down­stairs at the desk.

 

 

 

Com­ment:  Stu­dents will search for School of Music record­ings in the library cat­a­log and take the call num­ber to work­ers in the Music Lis­ten­ing Cen­ter but staff are often unable to find the record­ings for them.  One stu­dent had to return to the desk three times before the desired record­ing was finally retrieved.

Response:  The Music Library will work to retrain staff to place a hold on an item for you if it can’t be found and place a search on an item that is miss­ing.  Once a hold is placed, you will be noti­fied when the desired item is ready for pick up.  If staff do not take your infor­ma­tion to locate a record­ing, please let Ver­letta know.  She cat­a­logs all of the School of Music record­ings and should be able to help search for items that are missing.

 

 

Q.  Grad­u­ate students–is there any­thing more we can do to sup­port you in prepa­ra­tion for the Gen­eral Top­ics Exam/Dissertation writing?

A.  No, most of what grad stu­dents need is just sit­ting down to do the research.  Focus should be placed on serv­ing under­grad­u­ates as they often don’t know they can ask for help.

 

 

Com­ment:  Inter­li­brary loan has can­celled some of my requests for record­ings for my research.  Is there another way to get a hold of these recordings?

Response:  This can hap­pen if you request an item avail­able at the UW Libraries or avail­able through Sum­mit.  If the record­ing is really rare, it may be that an insti­tu­tion doesn’t wish to lend it.  Not every insti­tu­tion will lend record­ing either.  You could always send you can­celled request to Judy or Ver­letta.  We are happy to look into the record­ing and see if there might be another way to get a copy for your use.

 

 

Q.  Is there any way that the Music Library would con­sider allow­ing stu­dents to eat small snacks while study­ing in the library?  Stu­dents are often run­ning between class and rehearsals.  We only have a short amount of time in between to eat and study.  It would be nice to be able to eat a gra­nola bar while study­ing in the library or have a des­ig­nated table in the library where food was allowed.

A.  We will pilot allow­ing snacks in the library begin­ning next week!    Foods should fol­low the Libraries pol­icy and not be meals, messy, noisy, or aromatic.

 

 

Com­ment:  I was really skep­ti­cal of the new scan­ner when it was installed but now I love it!  It is really helpful.

 

 

Q.  The com­put­ers take for­ever to log into.  This is really annoy­ing when you just need to quickly print a paper before run­ning off to class.  PDF’s take for­ever to print.

A.  We will share your com­ments with our IT depart­ment and let you know what we hear dur­ing our Fall quar­ter meeting.

 

 

 

 

Henri Dutilleux obituary

Henri Dutilleux, who has died aged 97, was the out­stand­ing French com­poser between Mes­si­aen and Boulez and, like both of them, achieved a wholly indi­vid­ual syn­the­sis of ear-catching colours and har­monies with for­mal rigour. In a musi­cal world where many loudly pro­claim their inde­pen­dence, he was a true but dis­creet indépen­dant.”

Read the full story of his life at The Guardian.

Call for Proposals: SAM Dissertation Award

The Soci­ety for Amer­i­can Music announces its annual com­pe­ti­tion for a dis­ser­ta­tion on any topic relat­ing to Amer­i­can music. The dis­ser­ta­tion must be in Eng­lish, and must be for a degree awarded in cal­en­dar year 2012. Fur­ther infor­ma­tion for sub­mis­sion can be found at http://american-music.org/awards/HousewrightAward.php

The Wiley House­wright Dis­ser­ta­tion Award is designed to rec­og­nize a sin­gle dis­ser­ta­tion on Amer­i­can music for its excep­tional depth, clar­ity, sig­nif­i­cance, and over­all con­tri­bu­tion to the field.  Amer­i­can music is inter­preted in all its his­tor­i­cal and con­tem­po­rary styles and con­texts, includ­ing, but not lim­ited to art and pop­u­lar musics, the musics of eth­nic groups and minori­ties, and the full range of activ­i­ties asso­ci­ated with music. “Amer­ica” is under­stood here to embrace North Amer­ica (Canada, The United States, and Mex­ico), includ­ing Cen­tral Amer­ica and the Caribbean, and aspects of its cul­tures else­where in the world.

The Award car­ries with it a mon­e­tary prize as well as a cita­tion that will be pre­sented at the national con­fer­ence in the spring of 2014. A list of pre­vi­ous award win­ners, from 1995 to the present, may be viewed at http://american-music.org/awards/HousewrightDiss.php

The dead­line for sub­mis­sion is June 1, 2013. For fur­ther ques­tion about the award, please con­tact the com­mit­tee chair, Nancy Rao.

Dissertating in the Summer

‘Dis­ser­tat­ing’ is a term often used to describe the time between defend­ing your dis­ser­ta­tion pro­posal and the actual pub­lic pre­sen­ta­tion of your final dis­ser­ta­tion. In the past, I’ve taken this to mean long hours thought­fully sip­ping tea and typ­ing away at my lap­top, but since I’ve been All But Dis­ser­ta­tion (ABD), I’ve come to real­ize that it means much more. In this post, I present my top three strate­gies for dis­ser­tat­ing in the sum­mer, given that it is quite a seduc­tive time to make progress.”

Happening Today: Undergraduate Research Symposium

Are you work­ing on a poster for that final project?  Get some ideas and learn what your peers are research­ing at the Under­grad­u­ate Research Symposium.

Sched­ule of Events
Poster Ses­sion 1 — 11:00 am — 12:30 pm, Mary Gates Hall
For­mal Wel­come — 12:30 pm –12:45 pm, Mary Gates Hall
Poster Ses­sion 2 — 12:45 pm — 2:15 pm, Mary Gates Hall
Per­form­ing Arts Ses­sion — 1:00 pm — 2:30 pm, Meany Hall Stu­dio The­atre
Oral Pre­sen­ta­tion Ses­sion 1 — 1:15 pm — 2:45 pm, Mary Gates Hall
Poster Ses­sion 3 — 2:30 pm — 4:00pm, Mary Gates Hall
Oral Pre­sen­ta­tion Ses­sion 2 — 3:45 pm — 5:15 pm, Mary Gates Hall
Poster Ses­sion 4 — 4:15 pm — 5:45 pm, Mary Gates Hall

Learn more about the Under­grad­u­ate Research Sym­po­sium at the Under­grad­u­ate Research Pro­gram web­site.

A guide to Karlheinz Stockhausen’s music

Karl­heinz Stock­hausen has arguably done more to trans­form 20th– and 21st-century music than any other sin­gle com­poser: from seri­al­ism to elec­tronic music, from consciousness-expanding musi­cal hap­pen­ings to cycles of pieces for every day of the week and every hour of the day, from a musi­cal mantra to some hal­lu­cino­genic Cos­mic Pulses.”

Read more at The Guardian.

TAs: Course Announcement–GRDSCH 630: Teaching & Learning In Higher Education (Summer 2013)

Dur­ing Sum­mer Term 2013, the Grad­u­ate School will offer GRDSCH 630: Teach­ing & Learn­ing in Higher Edu­ca­tion.  This is a grad­u­ate sem­i­nar course focused on the explo­ration of tools and resources for teach­ing, and the devel­op­ment of a teach­ing portfolio.
Details:
GRDSCHL 630: Teach­ing & Learn­ing in Higher Education
Sum­mer 2013, Full Term
Gould 117
Wednes­days, 9:40–11:50
CR/NC
Co-instructors:  Theresa Ron­quillo & Karen Freisem, Instruc­tional Con­sul­tants at the Cen­ter for Teach­ing and Learning
Stu­dents will be able to:
  • Plan and teach classes in ways that pro­mote and assess stu­dent learn­ing, includ­ing top­ics such as incor­po­rat­ing tech­nol­ogy, teach­ing inclu­sively, and cre­at­ing a com­mu­nity of learn­ers in the classroom
  •   Assess one’s own teach­ing and plan­ning for future devel­op­ment as a teacher
  • Develop a teach­ing port­fo­lio as a means to reflect on and doc­u­ment one’s work as a teacher
More infor­ma­tion can be found on our web­site:  http://www.washington.edu/teaching/

Meet, Greet, Teach: Death of Art, Death of Science — May 28

An Infor­mal Con­ver­sa­tion about Inter­dis­ci­pli­nary Teach­ing on Envi­ron­men­tal Issues

Tues­day, May 28, 2013
5:00–6:30 PM
Pro­gram on the Envi­ron­ment Com­mons, Wal­lace Hall (ACC) 012

Free to attend.  RSVP requested by Thurs­day, May 23, 2013


Can the totally ratio­nal, reduc­tion­ist envi­ron­men­tal sci­en­tist really under­stand the world with­out the cre­ativ­ity of music, visual art, dance, or poetry?  Can the artist attempt­ing to cap­ture the arche­type of envi­ron­men­tal loss cre­ate a richer tableau by know­ing some­thing about how the phys­i­cal world works?   If soci­ety, or a uni­ver­sity under­go­ing bud­get cuts, slashes one side, will the other be poorer?

We learn – and teach — that art and sci­ence are worlds apart.  The right and left brains. Rig­or­ous ver­sus cre­ative.  Absinthe ver­sus beer.

Or should we recon­sider that thesis?

Join us for the final MGT of the year for provoca­tive com­ments from artists and sci­en­tists on how our worlds col­lide, even as the ships pass.

Pan­elists:

  • Jen­nifer Bean, Direc­tor, Cin­ema and Media Stud­ies; Asso­ciate Pro­fes­sor, Com­par­a­tive Literature
  • Philip Govedare, Pro­fes­sor and Grad­u­ate Coor­di­na­tor, School of Art
  • Richard Karpen, Direc­tor, School of Music; Pro­fes­sor, Dig­i­tal Arts and Exper­i­men­tal Medida (DXARTS)
  • Bruce Nel­son, Pro­fes­sor, Earth & Space Sci­ences; Asso­ciate Dean for Research, Col­lege of the Environment

ABOUT MGT:
MGT is an evening series offer­ing grad­u­ate stu­dents, post­docs, staff and fac­ulty with an inter­est in engag­ing in art­ful, inter­ac­tive, inno­v­a­tive teach­ing a chance to inter­act with col­leagues from across cam­pus who are will­ing to share their enthu­si­asm and expe­ri­ence.  
Each MGT focuses on a sin­gle “30,000 foot” issue: What is inter­dis­ci­pli­nary? The role of facts ver­sus val­ues. Can per­son­al­ized teach­ing be objec­tive teach­ing? Sav­ing STEM.

Over a glass of wine and light appe­tiz­ers, atten­dees have a chance to mix and min­gle before set­tling down to a 30-minute “fast panel” of 3–5 fac­ulty, each deliv­er­ing thought — and con­ver­sa­tion — pro­vok­ing answers. With time for both struc­tured and social inter­ac­tion, MGT presents an oppor­tu­nity for every­one to have a say, make a con­tact, find a shared direc­tion, and learn some­thing new.

Want­ing more follow-up? We’ll wrap up the ses­sion with time for more one-on-one inter­ac­tion, giv­ing every­one time to grab a speaker for a final comment.



Spon­sored by the Col­lege of the Envi­ron­ment and hosted by the Pro­gram on the Environment