Basic Sound Recordings Cataloging Workshop

OLAC/MOUG Joint ConferenceCleveland, Ohio, September 2008

Topics to Cover

• sources of information • identifying the title proper • the various dates and numbers associated

with sound recordings • presenting information on performers and

contents• choice of entry• added entries

Basic Documents Used

• AACR2, 2002 Revision• Library of Congress Rule Interpretations– Former Music Cataloging Decisions are now either

subsumed in LCRI’s or cancelled.• MARC21 Format for Bibliographic Data– Through Update 8 (Oct. 2007):– http://www.loc.gov/marc/bibliographic/ecbdhom

e.html

• OCLC Bibliographic Formats & Standards

Sources of Information

• Chief source of information for CD—”label”– Leftover terminology from vinyl era– Take it to mean the data printed on the CD face

• Other sources of information– Container—includes anything that can be seen

through a jewel case (including cover of booklet) and boxes or cardboard sleeves.

– Accompanying textual material (insert)

Choosing the Title to Record

• Collective title—the Holy Grail– If the label doesn’t bear one and someplace else

in the resource does, use that location as the chief source (6.0B1).

– Specify source of title if not taken from label

Choosing the Title to Record• Collective title that isn’t–A title on the container or accompanying

material that names two works of same type (e.g. sonata, symphony) by one composer whose title is that of type plus one or more identifying elements (serial no., opus no., thematic index no., key) (LCRI 6.0B1)• Symphonies nos. 88 and 104 (London)• Sonatas no. 4, op. 7 and no. 11, op. 22

Choosing the Title to Record

• Collective title that is– Title on container or in accompanying

materials that is name of type alone or with medium of performance (LCRI 6.01B)• The violin concertos / Beethoven.• Les deux sonates pour violoncello et piano /

Brahms

Transcribing the Title

• Be ready to go back to Chapter 1 for general instructions

• Special situations for CDs– A name that is presented as the title proper– Title is that of a musical work—see 5.1B and next

slide

Transcribing Titles of Musical Works• What is the title proper?• 5.1B1—”generic” vs. “distinctive” titles– “Type of composition”–Defined (sort of) in AACR2 25.27A1, footnote

9• Form• Genre• “Generic term used frequently by different

composers” (standard combinations of performers, names of some liturgical texts, tempo/expression markings)

Identifying the Title Proper• Process:– Identifying “title proper fodder”–Crossing terms from the 5.1B1 list out

(medium of performance, key, date of composition, and/or numbering)– Evaluating what’s left (“omissions testing”)• Name of one or more types of composition:

add back the deleted stuff (but see LCRI 5.1B1)• Something else: treat the deleted stuff as other

title information

Omissions Testing

• Sonata no. 3, A minor, opus 28 (1907/1917) for piano

• Sonata no. 3, A minor, opus 28 (1907/1917)• Sonata no. 3, opus 28 (1907/1917)• Sonata no. 3, opus 28• Sonata• Sonata no. 3, A minor, opus 28 (1907/1917)

for piano

Omissions testing

• Slavonic rhapsody in G minor, op. 45, no. 2• Slavonic rhapsody, op. 45, no. 2• Slavonic rhapsody• Slavonic rhapsody : in G minor : op. 45, no. 2• Generic vs. distinctive titles help:

http://www.library.yale.edu/cataloging/music/types.htm

Transcribing Titles of Musical Works

• Other considerations– Parallel titles, especially partial parallel titles (see LCRI

5.1B1)– Serial numbers associated with distinctive titles.– Part titles and/or numbering

• Statements of responsibility in title area– Emphasis on creators of intellectual content of

resource (i.e. the plays, musical compositions, collector of field material)

– Performers have to “go beyond” (6.1F1)

Items Without a Collective Title

• AACR2—either describe item as a unit, or prepare separate descriptions for each separately titled part (6.1G1)

• OCLC—same, with preference for description as a unit

• LC—description as a unit• Follow rules in 1.1G3 for transcription

GMD Placement

• Current standard—[sound recording]• Placement—immediately following title

proper (MARC 245 $a)• Change in coding for non-collective titles

Publication Area

• Place of publication• Label name vs. publisher vs. series• Distributors

• 010 n 98027522 • 040 DLC ǂb eng ǂc DLC ǂd DLC ǂd IAhCCS• 130 0 Masterworks• 430 0 Columbia Masterworks• 430 0 Columbia Master Works• 430 0 CBS Records Masterworks• 643 United States ǂb Columbia Masterworks• 667 Transcribe "Masterworks" as part of the label name

Columbia Masterworks, when present; otherwise ignore.• 670 Checkmate, 1951?: ǂb labels (Columbia Masterworks)• 670 Spirate pur, spirate, 19-- : ǂb label (Columbia; Master

Works)• 670 Perahia plays Schumann, 1987: ǂb label (CBS Records

Masterworks)Series Fixed Field = c (Series-like phrase)

Dates

• Basic dates– Publication date(s) (rarely)– Copyright date(s) (usually)– Recording dates (sometimes)• Richard Smiraglia, Describing Music Materials: A

Manual For Descriptive Cataloging of Printed and Recorded Music, Music Videos, and Archival Music Collections for Use with AACR2 and APPM. 3rd ed., rev. and enl. with the assistance of Taras Pavlovsky. Lake Crystal, MN: Soldier Creek Press, 1997.

Dates

• Other sorts of dates– Reissues– Various formats– Composition

Dates in the Fixed Fields

• Order of precedence when multiple conditions apply

• Change in practice for treatment of questionable dates (DtSt “q”)– Old: 260 $c [198-] = DtSt q; Dates 1980 ,1989– New: 260 $c [198-] = DtSt s; Dates 198u,[blanks]– Old: 260 $c [199-], p1986 = DtSt q; Dates

1990,1999– New: 260 $c [199-], p1986 = DtSt t; Dates

199u,1986

Numbers

• Issue numbers (“label numbers”)– For a set– For individual discs– Variant forms, truncated forms– Reissues

Numbers

• Other standard numbers– Universal Product Code– International Article Number– ISBN or ISSN (very rare)– GTIN-14

• Numbers to take or leave (usually leave)– DIDP/DIDC/DIDX/DIDZ/DIDY prefixes– EMI geography-based numbers– “LC numbers”

Performers

• Generally transcribed from chief source if found there

• 245 $c, 511 field or as part of contents note• Order of presentation• What about producers?– Mention?– 508 or 500?

Some Notes About Notes

• Issue numbers the 1st note• “Compact disc”• Language note--546 vs. 500.• 505 contents notes• Useful source (if you can find it):– Hartsock, Ralph. Notes for Music Catalogers:

Examples Illustrating AACR2 in the Online Bibliographic Record. Lake Crystal, MN: Soldier Creek Press, 1994.

Choice of Entry

• Nearly all sound recordings are works of mixed responsibility … BUT

• Special rules for sound recordings (21.23)• The concept of “principal performer”– Prominence in the chief source of information– “Rule of three”– Ensembles—who’s in, who’s out– Name of person plus group—what to do?

• See main entry flow chart

Choice of Entry• One work—– entry under heading for the work– added entries as pertain to the work– principal-performer added entries as

appropriate (21.23A1)• Two or more works by the same

person(s)/body (bodies)– Entry under the heading for the works– Added entries as before– Two works—heading for 1st the main entry

Choice of Entry

• Works by different person(s)/body (bodies)—collective title– Enter under principal performer (or first of

two or three)–More than three principal performers/no

principal performer—enter under title–Added entries per AACR2 21.23C1

(performers) and LCRI 21.7B, section on sound recordings (works)

Choice of Entry

• Works by different person(s)/body (bodies)—no collective title–Does the performer(s) “go beyond?”• Yes—entry under principal performer• No—entry under 1st work

–Added entries per AACR2 21.23D1 (performers) and LCRI 21.7C, section on sound recordings (works)

Added Entries

• Performers–AACR2—resrictive– LC guidelines—less restrictive–Agency needs may exceed AACR2 or LCRI–Relator codes

Added Entries• Works–Contributors–Uncontrolled—analytical titles from 245 field,

variants, contents note–Controlled—analytical added entries• AACR2 vs. LCRI (21.7B1, 21.7C1, 21.30M)• Categories of sound recordings excluded (LCRI

21.7B1)–Related works– Series

Some Miscellaneous Stuff

• Lng fixed field—code properly• 007—highly recommend coding it– “Subfield n”—don’t confuse playback with

capture• Analytical added entries—2nd indicator

“2”

Questions?

Mark Scharff, Music CatalogerGaylord Music Library, Washington University in

St. Louismscharff@wustl.edu

URLS Mentioned Re: Numbers

Keith Hirsch posting on the Sony pressing nos.:http://www.keithhirsch.com/japan-for-us-am-cds-with-didx-and-didz-numbers

Posting on EMI numbers:

http://forums.musicbrainz.org/viewtopic.php?id=665 (look for posting #12)