Ideally, "training for orchestra librarianship should include a broad and intensive education in all aspects of music and the liberal arts.
"[1] Experience, formal education, and references provided on the auditionee's résumé play an important role, but the candidate may be required to pass this live audition and interview component, as well.
As noted, larger orchestras and the more prestigious summer fellowships may require a candidate to pass a written exam demonstrating knowledge of composers, important historical facts, publishers, and repertoire.
Librarians wishing to pursue this career study long hours in order to prepare for these auditions and therefore, professional ensemble librarianship is becoming a competitive field in North America.
[7] An important component of the acquisition process, particularly in the case of renting works under copyright, can be obtaining permission and licensing for any recording, broadcast (radio or World Wide Web), or other types of mechanical use that may be planned.
Upon receipt of purchased or donated materials, the librarian inventories the scores and parts, stamps or otherwise marks them with the organization's name and identifying information, and prepares them for storage.
This most frequently includes marking string bowings, fixing bad page turns, adding and/or coordinating rehearsal figures, clarifying illegible notation and correcting errata.
In addition to the purchase cost of printed sheet music, the value of the library collection increases with information added during rehearsals and preparation work done to the parts.
Damage to printed music may occur due to environmental sources (sunlight, temperature, humidity, pests, dust), physical handling, and improper storage.
[3] Many ensemble librarians use a comprehensive computerized database such as OPAS that integrates information about the composer, instrumentation, and performance history of standard orchestral works.
[1] The tools traditionally used for the part preparation process are very elementary: writing utensils (pencils of various graphite hardness, colored pencils, ink pens, felt tipped pens, electric and manual erasers, correction fluid and tape), office supplies (pencil sharpeners, staplers, staple removers, scissors, rulers, drafting templates, straight-edges, non-yellowing permanent and removable adhesive tapes, paper clips, packing tape, shipping materials, and property stamps).
On occasion, digital image processing software (such as Adobe Photoshop) is used for correcting errata and enhancing print quality of problematic performance materials of public domain musical works.
Use of digital technology is becoming common in the task of preparing audition excerpts for the musician recruitment process.,[4][13] In addition to the artistic roles ensemble librarians play within their organizations, many also manage duties that are administrative in nature.
The ensemble librarian's administrative tasks can range from control of the receipt and delivery of the performance materials to managing invoices and payments and creating an annual budget for the library; support for the program planning on issues related to instrumentation (music), off-stage music, different versions or editions, correct instrumentation.
; providing assistance and support to the conductors, musicians, singers, choir, soloists and all professionals involved in concert production; managing the lending of musical materials to other institutions; providing additional notes or information for the printed concert program; coordinating the obtaining of rights for performance, recording or broadcast.
Opera productions are often subject to revision; occasionally sections of the music are skipped ("cuts" are made) or otherwise altered, and some excerpts may be transposed to a different key to accommodate the vocal range of the soloists.
Professionals often hold staff positions with the institution and job titles can range from "Music Librarian" to "Band Department Administrative Assistant" or "Orchestra Manager."
Librarians in the university setting can oversee not only orchestras, bands, and choirs, but also wind or brass repertoire, conducting, and master classes; placement auditions; chamber music ensembles and more.
[16] In addition, the academic librarian may be obligated to coordinate greater circulation of materials to faculty, rotating and guest conductors, student recitals, and community organizations.
Therefore, challenges arise, such as the deterioration of materials only available on a rental basis, the need to meet the recommended requirements for editing music in terms of format, size, page turns, etc.
; the problem of errata present in many editions; the delivery of materials in digital format (common in the case of direct distribution from composers to the user), from which the librarian must then create physical parts for performance; the quality of service provided by music publishers and the accessibility of the information they provide; the emergence of digital music stands and the associated changes such media may bring.
[19] In addition to the typical concerns professional ensemble librarians face, another major issue is ensuring compliance with copyright laws.
With the constant evolution of new technology, streaming performances on the Internet and other digital use of recorded music have become reality, and new forms of copyright-related questions therefore arise.
For example, the performed work may be in the public domain where the orchestra originates, but may still be under copyright in some of the geographical areas where, for instance, a webcast may be accessible.
The modern ensemble librarian is charged with the duty to self-educate regarding these new technological advances, in order to avoid violation of copyright law and to protect the organization for which they work.