Classical Music Library (CML) is a searchable online listening service comprising licensed classical recordings covering a variety of composers, conductors, performers, and periods. Since acquiring CML in 2004, Alexander Street Press has grown the collection to over 40,000 recordings and has license agreements with more than 30 record labels. In mid-2005, the company effected an agreement with the Canadian Broadcasting Corporation (CBC) to include all of CBC's musical tracks in its catalogue – a significant addition to CML's collection.

The Advisory Board that aids in planning and selection for CML is impressive: Julliard, University of Oxford , Ann Arbor District Library, Italy 's Braidense National Library, New York University Libraries, and more. CML's collection strategy reflects the educational focus of this group by targeting multiple recordings of one work (for analyzing interpretations), as well as attempting to collect complete repertoires (for studying the breadth of a composer's works). All genres are represented, some more comprehensively than others, and range from chamber, orchestral, and vocal music to stage and screen. Do not expect to find every major orchestra or conductor (three entries for Boston Symphony Orchestra, zero for National Symphony Orchestra and Cleveland Orchestra): that is not part of the current strategy, and licenses to more famous works may be cost-prohibitive or unavailable.

Browse and search options are clearly visible. Entries in the browsing genres are alphabetical. While both basic and advanced search options are offered, advanced search is recommended. The complex nature of classical titles can make searching for music frustrating, regardless of music knowledge or search experience. The depth of indexing in CML (work/track title, opus number, genre, key, instrument, conductor, and more) helps alleviate this frustration, so that users with only a few details about a recording can construct a useful search. Users can type terms and select their own indexes or choose the Select From List feature to obtain quick access to adding specific orchestras, composers, etc. The indexes also appear at the top of each results list as “narrowing” options. Automatic spellcheck is especially useful for the more challenging artist names (Tchaikovsky anyone?).

A few words about basic search: the default logical operator in basic search is OR (AND will be replaced by OR). CML owns up to this choice in its Help documentation. Described as “similar to Google,” this approach is aimed at the internet-trained user, but librarians may cringe. Results lists (usually large – no surprise) employ a ranking algorithm to divide records into Exact Matches and Partial Matches. This has mixed success: “Beethoven fifth symphony” worked; “Beethoven ninth symphony” failed (finally found it on page eight).

Several other aspects of CML help to distinguish it as thoughtfully designed for education. Anthology Companion playlists link instructors and students directly to recordings featured in major textbooks on music history or appreciation, eliminating the need for library reserves while allowing access anytime, anywhere. Pre-selected playlists organized by “themes” (e.g. Music for Lovers, Opera, Female Composers) are convenient for topical studies. Users can also create custom, password-protected playlists (housed on the CML server). Playlists, folders, and recordings (and by the end of 2005, individual segments in a recording) have static/permanent URLs, for ease of posting via email, course management software (Blackboard, WebCT) or for bookmarking.

Institutions who also subscribe to various Grove's or Wilsonweb databases will be able to link from CML directly to these electronic resources – giving users a one-stop shopping experience of “listening and learning”. CML has its own glossary of terms and biographies, but as noted in several other reviews, works used to develop these reference materials are not attributed (Danowitz, 2004; Anderies, 2005).

Technically speaking, implementation requirements for institutions are minimal. End users with relatively current platforms should not need to purchase special hardware or software. Institutional subscribers can activate the option of downloads (charged to personal credit cards) on-campus or off-campus, thanks to distinct internal and external URLs behind the CML design. A choice of two streaming rates is available, ensuring the best possible audio quality for different ISP connection speeds (dial-up v. broadband).

Academic libraries that support even small music programmes should strongly consider subscribing to Classical Music Library. It is an absolute bargain at current prices. A few alternatives to CML are available, but as of this writing, they do not appear to be as education-oriented or user-friendly.

Reviewer: Christine E. Ryan, Electronic Resources Librarian, University of Tennessee at Chattanooga