OLACMOUG Joint Conference Cleveland 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 ID: 597276
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Slide1
Basic Sound Recordings Cataloging Workshop
OLAC/MOUG Joint Conference
Cleveland, Ohio, September 2008Slide2
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 Slide3
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/ecbdhome.html
OCLC Bibliographic Formats & StandardsSlide4
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)Slide5
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 labelSlide6
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. 22Slide7
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 / BrahmsSlide8
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 slideSlide9
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)Slide10
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 informationSlide11
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 pianoSlide12
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
Slide13
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)Slide14
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 transcriptionSlide15
GMD Placement
Current standard—[sound recording]
Placement—immediately following title proper (MARC 245 $a)
Change in coding for non-collective titlesSlide16
Publication Area
Place of publication
Label name vs. publisher vs. series
DistributorsSlide17
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)Slide18
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. 3
rd
ed., rev. and enl. with the assistance of Taras Pavlovsky.
Lake Crystal, MN: Soldier Creek Press, 1997.Slide19
Dates
Other sorts of dates
Reissues
Various formats
CompositionSlide20
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,1986Slide21
Numbers
Issue numbers (“label numbers”)
For a set
For individual discs
Variant forms, truncated forms
ReissuesSlide22
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”Slide23
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?Slide24
Some Notes About Notes
Issue numbers the 1
st
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.
Slide25
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 chartSlide26
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 1
st
the main entrySlide27
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)Slide28
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 1
st
work
Added entries per AACR2 21.23D1 (performers) and LCRI 21.7C, section on sound recordings (works)Slide29
Added Entries
Performers
AACR2—resrictive
LC guidelines—less restrictive
Agency needs may exceed AACR2 or LCRI
Relator codesSlide30
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
SeriesSlide31
Some Miscellaneous Stuff
Lng fixed field—code properly
007—highly recommend coding it
“Subfield n”—don’t confuse playback with capture
Analytical added entries—2
nd
indicator “2”Slide32
Questions?
Mark Scharff, Music Cataloger
Gaylord Music Library, Washington University in St. Louis
mscharff@wustl.eduSlide33
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)