Descriptive Cataloging of Scores in RDA

Descriptive Elements

CATALOGING SCORES IN RDA

Adam KubikHead of Monographic Cataloging/ Music Liaison

Clayton State University

GaCOMO/SELA – October 1, 2014 - Augusta, GA

WHAT WE WILL COVER

• Summary of important changes between

AACR2 and RDA that affect descriptive

cataloging of scores

• Discussion of descriptive cataloging

instructions, focusing on concepts that are

peculiar to cataloging of scores

WHAT WE WILL NOT COVER

• Basic concepts of monographic cataloging

• Cataloging of serials or monographic series

• Subject cataloging, including the use of:• Library of Congress Genre/Form Terms (LCGFT)

• Library of Congress Medium of Performance Terms

(LCMPT)

• Authorized access points and relationships

WHAT STANDARDS ARE BEING

FOLLOWED

• Resource Description and Access

• Library of Congress/Program for Cooperative

Cataloging Policy Statements (LC-PCC PS)

• Music Library Association Best Practices for

Music Cataloging (Best Practices)

RECORDING VERSUS

TRANSCRIBING

“Transcribed” elements vs. “Recorded” elements

• “Transcribe” means to faithfully present the data

as it is found in the resource being cataloged,

making changes only as and when specifically

permitted or instructed to do so

• “Record” means to present information in some

way, bound only by the general guidelines found

in the instructions

WHAT ELEMENTS ARE

TRANSCRIBED?

• Title (245 $a, $b, [$n, $p])

• Statement of responsibility (245 $c)

• Edition statement (250 $a, $b)

• Producer, publisher, distributor and/or

manufacturer name and place (264 $a, $b)

• Series statement (490 $a, $v)

Taken from “PCC RDA BIBCO Standard Record (BSR) Metadata Application Profile” at

http://www.loc.gov/aba/pcc/scs/documents/PCC-RDA-BSR.pdf

ABBREVIATIONS

Many abbreviations prescribed in AACR2 are no

longer used (except in transcription)…

• p.

• ca.

• i.e.

• acc.

• unacc.

• arr.

• ill.

• col.

• facsim.

• ed.

• s.l.

• s.n.

• n.d.

• pages

• approximately

• that is

• accompanied

• unaccompanied

• arranged

• illustrations

• color

• facsimile

• edition

• place of publication not identified.

• publisher not identified

• date of publication not identified

ABBREVIATIONS

… but some abbreviations can still be used in

non-transcribed fields

• Non-metric units of measurement (“in.”)

• Abbreviations that are regularly used in music

resources and commonly understood by users:• Indication of voice parts - “SATBarB”

• “No.” and “op.”

• Names of thematic catalogs - “BWV”, “K.”

CAPITALIZATION

• “For capitalization of transcribed elements,

catalogers are encouraged (but not required) to

follow Appendix A; [however] it is permitted to

‘take what you see’ on the resource. For other

elements, follow this appendix.” (LC-PCC PS

A.1)

• RDA Appendix A gives capitalization rules that

broadly align with AACR2 Appendix A

PUNCTUATION

• “Transcribe punctuation as it appears on the source” “Omit

punctuation that separates data to be recorded as one element

from data to be recorded as a different element” (1.7.3)

• It is no longer appropriate to replace ellipses and square

brackets with dashes and parentheses

• When transcribing, square brackets are required only when

data is taken from outside the resource

• “When adjacent elements within one area are to be enclosed in

square brackets, enclose each in its own set of square

brackets” (D.1.2.1)

• Add punctuation to conform to ISBD, or for clarity

DIACRITICS

• “Transcribe diacritical marks such as accents as

they appear on the source of information”

(1.7.4)

• Optionally, “add diacritical marks that are not

present on the source of information in

accordance with standard usage for the language

of the data” (1.7.4)

INACCURACIES

• Transcribe inaccuracies as they appear

• “Make a note correcting the inaccuracy if considered

important for identification or access” (1.7.9)

• “If the inaccuracy appears in a title and a corrected

form of the title is considered important for

identification or access, record a corrected form of

the title as a variant title” (1.7.9)

245 10 Momento capricioso

246 1# $i Title should read: $a Momento capriccioso

CHIEF/PREFERRED SOURCE

AACR2 (5.0B1) RDA (2.2.2.2)

• Title page (if the title page is

a “list title page” use the list

title page, cover, or caption)

• Caption

• Cover

• Colophon

• Other preliminaries

• Other sources

• Title page

• Cover

• Caption

• Masthead

• Colophon

• Another source within the

resource

CHIEF/PREFERRED SOURCE

• The most significant change is that the cover is

now preferred over the caption

• “Use cataloger's judgment in determining

whether or not the resource has a cover.

Generally consider a cover to be made of

substantially different material (e.g., heavier or

different colored paper) than the paper on which

the music is printed.” (Best Practices 2.2.2.2)

EDITION STATEMENT

In addition to statements of vocal range, the edition

statement may now include statements that were not

considered edition statements in AACR2 (see 2.5.2.1):

• Musical presentation statements, such as “Full score”

(formerly in 254)

• Statements of responsibility relating to the format of

music, such as “vocal score by John Doe” (formerly in

245 $c)

PUBLICATION, ETC. STATEMENT

• Now recorded in the 264 field

• The 2nd indicator indicates whether the statement is a

production, publication, distribution or manufacture

statement

• Only the first publisher name is required (2.8.4)

• “Transcribe the names of all publishers appearing on the

preferred source” (Best Practices 2.8.4)

• There is no longer an option to shorten a publisher’s name to

the “shortest form in which it can be understood and

identified internationally”


• Only the first place of publication is required (2.8.2)

• LC policy is to also record the first U.S. place of

publication

• When recording dates, do not convert Roman

numerals to Arabic, but substitute numerals for

numbers expressed as words (RDA and LC-PCC PS

1.8.2, 1.8.3)


• When place, name or date of publication is not

provided on the resource, the cataloger supplies

[place of publication not identified], [publisher not

identified], [date of publication not identified] as

appropriate

• LC/PCC policy is to “Supply a probable place of

publication if possible rather than give [Place of

publication not identified]” (LC-PCC PS 2.8.2.6)

PUBLICATION/COPYRIGHT DATE

• A copyright date is not required if a publication date

is given

• However, “For notated music, routinely record the

latest copyright date in 264 (2nd indicator 4) $c. Do

not transcribe a copyright renewal date as the

copyright date. Do not transcribe a date of copyright

transfer as the copyright date.” (Best Practices 2.11)

264 #1 $c [2011]

264 #4 $c ©2011

EXTENT/PHYSICAL

DESCRIPTION

AACR2 (5.0B1) RDA (7.20.1.3)

• v. of music, p. of music,

leaves of music, score

• close score

• miniature score

• piano [violin, etc.] conductor

part

• vocal score

• piano score

• chorus score

• part

• score

• condensed score

• study score

• Piano [violin] conductor part

• vocal score

• piano score

• chorus score

• part

EXTENT/PHYSICAL

DESCRIPTION

• The phrases “v./p./leaves of music” are no

longer used

• “Score” can now be used regardless of the

number of performers or staves involved

• “Miniature scores” are now “study scores”

• “Close scores” are now “condensed scores”

GMD AND

CONTENT/MEDIA/CARRIER

The general material designation (245 $h) is

replaced by the 336-338 fields:

336 ## $a notated music $2 rdacontent

337 ## $a unmediated $2 rdamedia

338 ## $a volume $2 rdacarrier

MUSICAL NOTATION NOTE

• A note giving the type of music notation is

required by LC-PCC policy (even when the

music is in normal staff notation) (LC-PCC PS

7.13.3)

• Place the note in a 546 $b, and use a separate

546 field from any other language notes:

546 ## $a Swedish and German words.

546 ## $b Staff notation.

CHOOSING THE PREFERRED

SOURCE OF INFORMATION

• Use the title page as the preferred source of

information

• If the resource lacks a title page, use the first of the

following sources that has a title:

a) a cover or jacket issued with the resource

b) a caption

c) a masthead

d) a colophon

(2.2.2.2)



Resource issued as a single unit (2.1.2.2)

• Choose a source that identifies “the resource as a whole” (if

the resource contains multiple works, the source should have a

“collective title”)

• If no source has a collective title, choose a source that “has a

title identifying the main or predominant work or content”

• If no source identifies a main or predominant work or

content, “treat the sources identifying its individual contents as

a collective source of information for the resource as a whole”



Resource issued in more than one part (2.1.2.3)

• Serials cataloging, and collected set records for

monographic series, are beyond the scope of this

workshop

• However, 2.1.2.3 is also applied to scores issued with

parts, and to sets of parts

• The parts of 2.1.2.3 (a,d,e) that apply in this case

work in the same way as 2.1.2.2



Resources issued as an unnumbered set, or with numbering

that does not help to establish an order (2.1.2.3 a,d,e)

• Choose a source “identifying the resource as a whole,”

preferring a “collective title” (2.1.2.3a)

• Failing that, a source that “has a title identifying a main or

predominant work or content” (2.1.2.3d)

• Failing that, “treat the sources identifying its individual

contents as a collective source of information for the

resource as a whole” (2.1.2.3e)



For a score issued with part(s):

• In general, apply 2.1.2.3a and “treat the score (along

with a cover or wrapper [or container] if present) as a

source of information identifying the resource as a

whole” (Best Practices 2.1.2.3)

• Add a note on the source of the title if not taken from

a title page (2.17.2.3)



For sets of parts with no accompanying score:

• In general, if the set of parts has a cover or wrapper or

container, then “treat it as a source of information identifying

the resource as a whole” and apply 2.1.2.3a

• If not, select a source from one of the parts with a title that

identifies “the main or predominant work or content” and

apply 2.1.2.3d (use judgment in choosing the part, but prefer

parts that would appear first in score order)

• In both cases, add a note on the source of the title (2.17.2.3)

(Best Practices 2.1.2.3)

TITLE PROPER

• “Take the title proper from the preferred source of

information” (2.3.2.2)

• If there is no title provided in the resource itself, it

may be taken from one of the sources given in 2.2.4

• Make a note on the source of the title proper if not

taken from a title page (2.17.2.3)

TITLE PROPER

“If a music title consists only of the name or names of one or

more types of composition, or the name or names of one or

more types of composition and one or more of the following:

• medium of performance

• numeric designation

• date of composition

• key

Treat all the elements together (in the order in which they appear

on the source of information) as the title proper” (2.3.2.8.1)

245 10 $a Serenade in D major for violin, viola and cello, op. 8

TITLE PROPER

“In all other cases, treat statements of medium of

performance, key, date of composition, and/or number

as other title information” (2.3.2.8.1)

These other cases are known as “distinctive” titles

245 10 $a Elegiac song : $b in G minor, for violin, viola

and cello, op. 8

TITLE PROPER

• If the name of a type of composition is used in the

title of a work that is definitely not of that type, treat

the title as distinctive

• Titles combining words, each of which alone would

have been the name of a type of composition, will in

general be treated as a distinctive title

(Best Practices 2.3.2.8.1)

245 10 $a Symphony trio : $b for violin, cello and flute

TITLE PROPER

Consult the list “Types of Compositions for Use in

Authorized Access Points for Music”

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

to determine whether a term should be considered a

“type of composition” or distinctive for the purpose of

2.3.2.8.1 (Best Practices 2.3.2.8.1)

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

TITLE PROPER

245 10 $a Studies, op. 18,

piano solo / $c Béla Bartók.

As “Studies” is considered a

type of composition, both the

opus number and the medium

of performance are included

in the title proper

TITLE PROPER

245 10 $a Allegro barbaro

: $b piano solo / $c Béla

Bartók.

“Allegro barbaro” is not

considered a type of

composition, so the

medium of performance

is not included in the title

proper

TITLES OF PARTS

• If the title of a separately issued part and the title of the

whole both appear on the same source, and the title of the

part alone is insufficient to identify the resource, give the title

of the whole followed by the title of the part (2.3.1.7.1)

• “If the title proper contains a part or a designation of a part

or both, make a variant title (usually for the part) when it is

judged intelligible enough to be a likely candidate for access”

(LC-PCC PS 2.3.6.3)

• “Generally do not make a variant title that is not sufficiently

distinctive to be a useful access point” (LC-PCC PS 2.3.6.3)

TITLES OF PARTS

245 10 $a Aesop’s Fables. $n 9, $p The boy and his false alarms : $b for four-

part chorus of mixed voices and piano accompaniment / $c Gregg Smith.

246 30 $a Boy and his false alarms

TITLES OF PARTS

• As will be discussed later, when the title of the part is

also a voice range, then the voice range should

sometimes be treated as a designation of edition,

instead (Best Practices 2.3.1.7 – see examples)

PARALLEL TITLE PROPER

• “Take parallel titles proper from any source within

the resource” (2.3.3.2)

• Make a note on the source of parallel title proper if

not from the same source as the title proper (2.17.2.3)


• If feasible, record all parallel titles proper appearing

on the preferred source. Optionally, record parallel

titles appearing elsewhere in the item (Best Practices

2.3.3)

• “If a title in another language appears on the

resource, make a variant title for it” (LC-PCC PS

2.3.6.3)

• “Generally do not make a variant title that is not

sufficiently distinctive to be a useful access point”

(LC-PCC PS 2.3.6.3)


245 10 $a I. Konzert für

Klavier und Orchester = $b

Concerto I for piano and

orchestra / $c Béla Bartók.

• As “concerto” is a type of

composition, the medium of

performance is included in the

title proper

• No 246 for parallel title (title

not sufficiently distinctive)

OTHER TITLE / PARALLEL

OTHER TITLE INFORMATION

• “Take other title information from the same source as

the title proper ” (2.3.4.2)

• “Take parallel other title information from the same

source as the corresponding parallel title proper. If

there is no corresponding parallel title proper, take

parallel other title information from the same source

as the title proper” (2.3.5.2)



“Routinely transcribe other title information appearing

in the same source as the title proper” (Best Practices

2.3.4)

“If feasible, transcribe all parallel other title

information” (Best Practices 2.3.5)

In any case, all other title information / parallel other

information must come from the same source as the title

proper



245 10 $a Lyrische Suite : $b

für Streichquartett = Lyric

suite : for string quartet =

Suite lyrique : pour quatuor à

cordes / $c Alban Berg.

246 31 $a Lyric suite

246 31 $a Suite lyrique

“Lyric suite” is a distinctive title, so

the medium of performance is

treated as other title information

VARIANT TITLES

• “Take variant titles from any source” (2.3.6.2)

• “Make a note on the source or basis for the

variant title (see 2.17.2.3) if considered

important for identification or access” (2.3.6.3)

• “Do not make a variant title that is not

sufficiently distinctive to be a useful access

point” (LC-PC PSS 2.3.6.3)

VARIANT TITLES

Some uses of variant titles have already come up:

• Corrected titles245 10 Momento capricioso

246 1# $i Title should read: $a Momento capriccioso

• Titles of parts245 10 $a Aesop’s Fables. $n 9, $p The boy and his false alarms

246 30 $a Boy and his false alarms

• Parallel titles245 10 $a Lyrische Suite : $b für Streichquartett = Lyric suite :

for string quartet = Suite lyrique : pour quatuor à cordes

246 31 $a Lyric suite AND 246 31 $a Suite lyrique

VARIANT TITLES

Other uses of variant titles include, among others:

• Alternative titles

• Spelling out Arabic numerals

• Titles in resources lacking a collective title

(See LC-PCC PS 2.3.6.3 for the full policy on

creating access points for variant titles, which is

largely carried over from AACR2)

ALTERNATIVE TITLES

245 13 $a La cenerentola, ossia, La bontà in trionfo

246 30 $a Cenerentola

246 30 $a Bontà in trionfo

“For titles proper that contain an “alternative title,”

insure title access to the complete title proper; to the

first part of the title proper up to the word “or” or its

equivalent in another language that signals an alternative

title; and to the part following the word “or” or its

equivalent in another language” (LC-PCC PS 2.3.6.3)

SPELLING OUT ARABIC

NUMERALS

245 10 $a 4 last songs

246 3# $a Four last songs

“Make a variant title substituting the corresponding

spelled-out form of the number in the language of the

title proper if it is thought that some users of the

catalog might reasonably expect that the form was

spelled out in words in the source” (LC-PCC PS 2.3.6.3)

245 10 $a 4 letzte Lieder

246 3# $a Vier letzte Lieder

RESOURCES LACKING A

COLLECTIVE TITLE

245 10 $a Bacchanale ; $b Totem ancestor ; Primitive

740 02 $a Totem ancestor.

740 02 $a Primitive.

“Provide access to independent titles in a compilation, if

considered important” (LC-PCC PS 2.3.6.3)

TITLES - FACSIMILES

When describing a facsimile or reproduction, record the title that

relates to the facsimile (2.3.1.1)

If the title of the original manifestation appears on the same

source of information as the title of the facsimile, then record it

as either:

• A parallel title, if it is in a different language

• Other title information, or

• As the title of a related manifestation

If the title of the original manifestation appears elsewhere in the

resource, record it as the title of a related manifestation (2.3.2.3)

BREAK FOR EXERCISES

Let’s look at the examples in the packet, and try to

construct:

• the proper 245 $a and $b

• any variant titles in a 246 or 740 that might be

required

STATEMENT OF RESPONSIBILITY

• Take statements of responsibility relating to the title proper

from the following sources (in order of preference):

a) the same source as the title proper

b) another source within the resource itself

c) one of the other sources of information specified

under 2.2.4

(2.4.2.2)

• Take parallel statements of responsibility relating to title

proper from the same source as the corresponding parallel

title proper. If there is no corresponding parallel title proper,

take parallel statements of responsibility relating to title

proper from the same source as the title proper (2.4.3.2)


“If feasible, record all statements of responsibility relating to

title proper appearing on the preferred source. Optionally, record

statements of responsibility relating to title proper appearing

elsewhere in the item” (Best Practices 2.4.2)

“If feasible, transcribe all parallel statements of responsibility

relating to the title proper” (Best Practices 2.4.3)

“If a noun or noun phrase occurs with a statement of

responsibility, treat the noun or noun phrase as part of the

statement of responsibility” (2.4.1.8)


245 10 $a Salome / $c Richard

Strauss ; Musikdrama in einem

Aufzuge nach Oscar Wilde’s

gleichnamiger Dichtung in

deutscher Übersetzung von

Hedwig Lachmann = music

drama in one act after Oscar

Wilde’s poem with modifications

for use on the English stage by

Alfred Kalisch.


245 10 $a Guillaume Tell. $p

Overture to the opera / $c

Gioacchino Rossini ; edited by

Lionel Salter = herausgegeben von

Lionel Salter.

In the transcription the name

“Lionel Salter” is repeated per 1.7.7

DESIGNATION OF EDITION

Take designations of edition and parallel designations of

edition from the following sources (in order of

preference):




at 2.2.4

(2.5.2.2, 2.5.3.2)


In case of doubt, consider a statement indicating “a

particular voice range or format for notated music” to

be a designation of edition (2.5.2.1)

Note: The 250 field is now repeatable


Particular voice range

“Treat a statement indicating a particular voice range

that is not grammatically linked to the title, other title

information, etc. as a designation of edition”

(Best Practices 2.5.2)

However, sometimes a statement indicating a particular

voice range must be treated as a title of a part, instead



• If the same content is issued in versions for different

voice ranges, treat a statement indicating voice range

as a designation of edition

• If a set with a common title is issued with volumes

for different voice ranges containing different

content, treat a statement indicating voice range as a

title of a part, instead

(Best Practices 2.5.2 – see examples)



245 10 Songs of separation / $c William Grant Still.

250 Baritone.

This piece is published in tenor and baritone versions.

but 245 00 Musical theatre for classical singers. $p Soprano

The compilations with this title for other voice ranges contain

different songs.

(Best Practices 2.5.2 - examples)


245 10 $a Musical theatre for classical

singers. $p Soprano / $c edited by

Richard Walters.

245 10 $a Musical theatre for classical

singers. $p Mezzo-soprano / $c

edited by Richard Walters.


245 10 $a 90 songs : $b for

voice and piano / $c

Schumann ; selected by

Sergius Kagen.

250 ## $a Low.


Format for notated music

When determining if a statement indicates a format for

notated music, refer to the list of formats given in

7.20.1.3 (Best Practices 2.5.2)

• score

• condensed score

• study score

• piano conductor part

• violin conductor part

• vocal score

• piano score

• chorus score

• part

• choir book

• table book


245 10 $a Symphonie in Es

für grosses Orchester / $c

Paul Hindemith.

250 ## $a Studien-Partitur.

“Studien-Partitur” or

“study score” is a format

for notated music


• Vocal scores and chorus scores have a dual nature:

they are both types of arrangement and formats of

notated music

• With those two exceptions, “do not treat other

statements of arrangement, transposition, etc. as

designations of edition; [instead] transcribe those

statements as statements of responsibility, per 2.4.

When in doubt, treat the statement as a statement of

responsibility” (Best Practices 2.5.2)


245 10 Così fan tutte = $b Women

are like that : an opera in two acts

/ $c libretto by Lorenzo da Ponte ;

music by W. A. Mozart ; English

version by Ruth and Thomas

Martin ; with an essay on the story

of the opera by Nathan Broder.

246 31 $a Women are like that

250 ## $a Vocal score, including

the secco recitatives.


“Take statements of responsibility relating to the edition

from the same source as the designation of edition”

(2.5.4.2)

If feasible, transcribe in a 250 $b all:

• parallel designations of edition

• statements of responsibility relating to the edition

• parallel statements of responsibility relating to the

edition

(Best Practices 2.5.3-2.5.5)


250 ## $a Klavierauszug /

$b von Otto Singer = Vocal

score / by Otto Singer.

BREAK FOR EXERCISES

Now let’s look at the examples in the packet, and

try to construct:

• the proper 245 $c

• the proper 250

PUBLISHER’S NAMES

• Take names of producers, publishers, distributors, and

manufacturers from the following sources (in order of

preference):




under 2.2.4

(2.7.4.2, 2.8.4.2, 2.9.4.2, 2.10.4.2)

• “Transcribe the names of all publishers appearing on the

preferred source. If feasible, transcribe the names of all

publishers appearing anywhere in the item. Encode in 264

(2nd indicator 1) $b.” (Best Practices 2.8.4)

PUBLISHER’S NAMES

• Sometimes it is hard to distinguish a possible

publisher’s name from a series statement

• For prolific music publishers, check the authority file

or (failing that) previous LC-PCC cataloging for

possible guidance

PLACE OF PUBLICATION

Take places of production, publication, distribution, and

manufacture from the following sources (in order of preference):

a) the same source as the producer's name, publisher's

name, distributor's name, or manufacturer's name



under 2.2.4

(2.7.2.2, 2.8.2.2, 2.9.2.2, 2.10.2.2)

PLACE OF PUBLICATION

“If the first place of publication is not in the U.S., and all places

of publication are not being recorded for CIP records, also

record the first U.S. place of publication” (LC-PCC PS 2.8.2)

“If more than one place is given in the resource and it is unclear

which is the “true” place of publication and which is a place of

distribution, foreign office, etc., give all places.” (Best Practices

2.8.2)

PUBLICATION DATE

Take date of publication and date of distribution from the

following sources (in order of preference):




under 2.2.4

(2.8.6.2, 2.9.6.2)

PUBLICATION/COPYRIGHT DATE

A copyright date may be used as an assumed date of publication,

(place in square brackets) (LC-PCC PS 2.8.6.6)

“For notated music, routinely record the latest copyright date in

264 (2nd indicator 4) $c. Do not transcribe a copyright renewal

date as the copyright date. Do not transcribe a date of copyright

transfer as the copyright date.” (Best Practices 2.11)

264 #1 $c [2011]

264 #4 $c ©2011

264 #1 $c 2012.

264 #4 $c ©2011

PUBLICATION DATA

Cover

First page of music

264 #1 $a Ft. Lauderdale, FL : $b Music for Percussion, Inc., $c [1957]

264 #4 $c ©1957

Title proper taken from cover

BREAK FOR EXERCISES

Look at the examples in the packet again, and try

to construct:

• the proper 264 $a and 264 $b

MANIFESTATION IDENTIFIERS

If feasible, record all standard identifiers present on the

item, including:

• ISBN (020)

• ISMN (024 1st indicator 2)

• EAN (024 1st indicator 3)

• UPC (024 1st indicator 1)

Record qualifying information following the identifier as

appropriate

(Best Practices 2.15)

MANIFESTATION IDENTIFIERS

020 ## $a 9783795794668

024 2# $a 9790001193474

PUBLISHER AND PLATE

NUMBERS

What are plate and publisher’s numbers?

A plate number is a number that appears repeatedly on

every page (or almost every page), usually at the bottom

028 22 $a E.E. 3704 $b Ernst Eulenburg Ltd.

PUBLISHER AND PLATE

NUMBERS

What are plate and publisher’s numbers?

A publisher’s number will appear only once or a few

times on the resource, perhaps on the cover, title page,

caption, or the first page of music

PUBLISHER AND PLATE

NUMBERS

• Sometimes it is not clear if a number should be

treated as a publisher’s number, or as series

numeration

• For apparently prolific sets, check the title authority

file or (failing that) previous LC-PCC cataloging for

possible guidance

PUBLISHER AND PLATE

NUMBERS

If feasible, record all publisher’s numbers, distributor’s

numbers, and plate numbers appearing on the item

“Record the name of the publisher or distributor

associated with the number in 028 $b, in the same form

as that transcribed in the publisher’s/distributor’s name

element. However, do not include levels of corporate

hierarchy”


PUBLISHER AND PLATE

NUMBERS

• When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr."

appears with a plate or publisher's number, do not consider it

to be part of the number

• “If, however, initials, abbreviations, or words identifying the

publisher also appear with the number, transcribe the entire

statement as it appears in 028 or a 500 note, even if this

means giving again a publisher's name already transcribed as

such. Do this in addition to recording the number alone in

028; set 2nd indicator to 0 in this case.”

• “For reprint scores, optionally record the number(s)

pertaining to the original manifestation in 028”


PUBLISHER AND PLATE

NUMBERS

028 32 $a 17 0316 01 $b Novello

“Cat. No.” is not treated as part

of the number

PUBLISHER AND PLATE

NUMBERS

028 30 $a 9500 $b C.F. Peters

500 ## $a Publisher’s number: Edition Peters Nr. 9500.

OR028 30 $a 9500 $b C.F. Peters

028 32 $a Edition Peters Nr. 9500 $b C.F. Peters

PUBLISHER AND PLATE

NUMBERS

028 22 $a 12771 $b C.F. Peters

BREAK FOR EXERCISES

Look at the examples in the packet, and try to

construct:

• the proper 028 and/or 500 for any publisher’s

numbers appearing on the title pages

EXTENT AND DIMENSIONS

• score

• condensed score

• study score

• piano conductor part

• violin conductor part

• vocal score

Record the extent of the resource using one of

the terms from 7.20.1.3:

• piano score

• chorus score

• part

• choir book

• table book


“Specify the number of volumes and/or pages, leaves, or

columns as instructed at 3.4.5. Record this information in

parentheses, following the term for the format of notated

music” (3.4.3.2)

“If the resource contains a set of parts, record the number of

parts but omit the number of volumes and/or pages, leaves, or

columns applicable to the parts” (3.4.3.2)

300 ## $a 1 score (xx, 97 pages)

300 ## $a 1 vocal score (83 pages)

300 ## $a 1 study score (52 pages)

300 ## $a 1 part (6 leaves)

300 ## $a 5 parts


“If the resource consists of both a score and one

or more parts in a single physical unit, record the

extent in the form ‘1 score and 4 parts’, etc.,

followed by the number of pages, leaves, or

columns, in parentheses” (3.4.3.2)

300 ## $a 1 score and 1 part (15 pages)


“For resources consisting of more than one type

of unit, separate each type by space-“+”-space.

Alternatively, encode extent for scores and parts

in separate 300 fields” (Best Practices 3.4.3)

300 ## $a 1 score (5 pages) + 1 part (1 unnumbered leaf)

300 ## $a 1 score (59 pages) + 3 parts


“If the resource consists of more than one carrier, and

the carriers are all of the same type and size, record the

dimensions of a single carrier” (3.5.1.6)

Score and parts are considered the same “type of

carrier” (a “volume”, see 3.5.1.4.14)

300 ## $a 1 score (25 leaves) + 1 part (15 leaves) ; $c 32 cm

OR300 ## $a 1 score (25 leaves) ; $c 32 cm

300 ## $a 1 part (15 leaves) ; $c 32 cm


“For notated music, if the resource consists of

more than one carrier of differing sizes, record

the dimensions of each carrier containing a

different type of unit” (3.5.1.6)

300 ## $a 1 score (25 leaves) ; $c 30 cm + $a 1 part (15 leaves) ; $c 32 cm

OR300 ## $a 1 score (25 leaves) ; $c 30 cm

300 ## $a 1 part (15 leaves) ; $c 32 cm

GENRE/FORM NOTES

“Make a note describing the genre/form of one or more

of the works or expressions embodied in the resource if

deemed useful for identification or selection (i.e., if the

work or expression is not adequately described by the

title or by using appropriate genre/form

or subject headings)” (Best Practices 7.2)

500 ## $a Fantasy based on themes from Wagner’s opera.

FORM/MEDIUM OF

PERFORMANCE NOTES

Combined notes

“Notes may be constructed stating both genre/form

and medium of performance (see 7.21),

especially if compilations of diverse works can be thus

described more concisely than by giving

the elements separately.” (Best Practices 7.2)

MEDIUM OF PERFORMANCE

NOTES

“Apply this element when the medium of performance

is not adequately described by the title or by using

controlled vocabularies” (such as LCMPT)


500 ## $a For prepared piano, typewriter and tape

recorder.


NOTES

Can also use to indicate any of the following:

• Specific choral or solo voice parts (e.g., SMzABarTB)

• Key and/or range of specific instruments

• Original medium of work of which an arrangement

is being cataloged

• Alternative medium specified in the resource

• Presence/absence of figured bass and realization of a

continuo part



NOTES

500 ## $a For solo voices (MzBar), chorus (SATB) and

orchestra.

500 ## $a For viola with the lowest string tuned down to B.

500 ## $a Originally for piano, 4 hands (1st work); orchestra

(2nd-3rd works); and voice and piano (remainder).

500 ## $a Figured bass realized for keyboard instrument.

500 ## $a Figured bass not realized.

FORM/MEDIUM OF

PERFORMANCE NOTES

“Notes may be constructed stating both genre/form

(see 7.2) and medium of performance, especially if

compilations of diverse works can be thus described

more concisely than by giving the elements separately”


500 ## $a Chance composition for prepared piano,

typewriter and tape recorder.

LANGUAGE NOTES

Language(s) of the resource (041, 546, 500)

Routinely record the language(s) for:

• Text underlying printed music (scores) (041$a)

• Text presented separately (e.g., librettos) (041$e)

• Accompanying text (e.g., critical commentary) (041$g)


LANGUAGE NOTES

Original language(s) of the content (041, 546, 500)

Also, record the original language(s) if readily

ascertainable:

• Of the text underlying printed music (041$h)

• Of the text presented separately (041$m)

• Of the accompanying text (041$n)


LANGUAGE NOTES

Routinely encode language in 008/35-37 and 041

as applicable. Optionally, explain the language

content in a 546 and/or 500 field as appropriate,

if deemed useful for identification or selection.


LANGUAGE NOTES

041 1# $a eng $h ger

546 ## $a English words; originally in German.

From Haydn’s

Die Schöpfung

LANGUAGE NOTES

041 1# $a eng $e eng $h ger $n ger

546 ## $a English words; originally in German.

500 ## $a Words also printed as text in English before the score.

Same resource,

libretto also

printed as text

LANGUAGE NOTES

041 1# $a ger $a eng $h ger

546 ## $a German words with English translation.

From Haydn’s

Die Jahreszeiten

LANGUAGE NOTES

Record the language(s) of any supplementary

materials in notes about those materials

041 1# $a cze $a eng $g eng $h cze

546 ## $a Czech words with English translation.

500 ## $a Includes critical commentary in

English (pages 203-254).

LANGUAGE NOTES

Scripts

“Record details of the script or scripts used to express

the language content of the resource if considered

important for identification or selection” (7.13.2.4)

546 ## $a English and Russian (Cyrillic) words.

546 ## $a Russian words with transliteration.

FORM OF NOTATION NOTES

“Record the form of musical notation used to express

the musical content of the resource using one or more

appropriate terms from the following list:

• graphic notation

• letter notation

• mensural notation

• neumatic notation

• number notation

(7.13.3.3)

• solmization

• staff notation

• tablature

• tonic sol-fa


Staff notation


Tablature


Graphic notation


546 ## Staff notation.

546 ## Tablature.

546 ## Staff notation and graphic notation in the 4th movement.

“Routinely record form of musical notation. Encode in

a separate 546 field. Capitalize the first word” (Best

Practices 7.13)

SUPPLEMENTARY CONTENT

NOTES

500 ## $a Includes instructions for performance.

500 ## $a Includes preface and critical commentary

(pages vii-liii) in English and German.

DURATION NOTES

“For notated music and notated movement, if the

performance time is stated on the resource, record the

time stated” (7.22.1.4)

“If the time is approximate, record the approximate

time preceded by approximately” (LC-PCC PS 7.22.1.4)

DURATION NOTES

Use both a 306 and a

500 note

306 ## $a 000500

500 ## $a Duration: 5:00.

Education

Descriptive Cataloging of Scores in RDA