CLARK, David Lindsey 1926-

PERSONAL: Born August 1, 1926, in London, England; son of Philip (a sculptor) and Gertrude (Calnan) Lindsey Clark; married July 17, 1954; wife's name Maria; children: Martin, Sarah Farrell, Jeremy. Education: Attended City Literary Institute, London, England, 1950–51.

ADDRESSES: Home—19 Lower King's Ave., Exeter, Devon EX4 6JT, England.

CAREER: Writer. Central Music Library, London, England, assistant to music librarian, 1952–59; Blackwell's Music Shop, Oxford, England, assistant to manager, 1959–62; Bodleian Library, Oxford University, Oxford, assistant to music librarian, 1962–65; Exeter City Library, Exeter, England, music librarian, 1965–72; Oxford County Library, Oxford, music librarian, 1972–91. Presenter of concerts in libraries. Military service: British Army, Grenadier Guards, 1944–47.

MEMBER: International Association of Music Libraries, Archives, and Documentation Centres, Library Association (fellow).

AWARDS, HONORS: C. B. Oldman Prize, International Association of Music Libraries, Archives, and Documentation Centres, 1997, for Wind Ensemble Source-book and Biographical Guide.

WRITINGS:

Music for Wind Instruments: A Survey of Anthologies in Print, University Microfilms (Ann Arbor, MI), 1970.

(Compiler) Music for Guitar and Lute, Exeter City Library (Exeter, England), 1972.

(With Marshall Stoneham and Jon A. Gillaspie) Wind Ensemble Sourcebook and Biographical Guide, Greenwood Press (Westport, CT), 1997.

(With Marshall Stoneham and Jon A. Gillaspie) The Wind Ensemble Catalog, Greenwood Press (Westport, CT), 1998.

Appraisals of Original Wind Music: A Survey and Guide, Greenwood Press (Westport, CT), 1999.

WORK IN PROGRESS: Settings for Shakespeare Plays in Music of His Time: A Survey and Guide.

SIDELIGHTS: David Lindsey Clark told CA: "I have been working on Shakespeare Plays in Music of His Time: A Survey and Guide off and on for the last several years. This enterprise incorporates passages of text relating to music and dancing, transcriptions of over 1,000 snippets of both courtly and popular music, and bibliographic identification of related printed material and recordings.

"Having been a practicing music librarian, I have found guidance to the use of song and instrumental music in Shakespeare plays spread over many sources (with some gaps where text or stage directions imply music is heard). My bibliographical guide should help the drama producer, who may well be unfamiliar with sixteenth-century music suited for stage use, to track down appropriate repertoire."