Transcript Cataloging Digital Sound Files: AACR2 Chapters 6 and 9

Cataloging Digital Sound Files:
AACR2 Chapters 6 and 9
Robert B. Freeborn
Pennsylvania State University
10th Biennial OLAC Conference, St. Paul, Minnesota, 2002
1
Workshop Outline





Brief introduction to digital sound files
Collection development
Examination of the rules and their
corresponding MARC tags
Examples
Resources
2
Brief Introduction to Digital
Sound Files

Common types of digital sound files




MP3 (.mp3) – "MPEG [Motion Picture Entertainment Group] 1,
Layer III." Codec (encoding algorithm that compresses and
decompresses digital information) created by Fraunhofer
Gesellschaft in the late 1980s.
AAC (.aac) – "MPEG-2 AAC [Advanced Audio Coding]." Codec
created jointly by AT&T, Dolby, Fraunhofer, Sony and others.
RealAudio (.ra) – Codec created by RealNetworks for their
RealOne Media Player.
WMA (.wma) – "Windows Media Audio." Codec created by
Microsoft for their Window Media Player.
3
Brief Introduction to Digital
Sound Files (Cont.)

Compression


Most digital sound files are compressed to save space and to allow
for easier transmission (often to 1/10th the size of the original CD
audio file). Using a knowledge of psychoacoustics, most codecs
remove those signals present in standard audio that the brain
can't distinguish and compress the rest. Because they remove or
"lose" some information during the compression stage, these
types of codecs are labeled "lossy." Sound quality and file size are
all dependent on the encoding level (high encoding level = high
sound quality but large file size, and vice versa).
ID3 tags

"Sound file's catalog record." A small identification file attached
to the digital sound file which can contain information such as
composer, title, artist, location, publisher, year, genre, etc. ID3v2
(ID3 version 2) tags can hold up to 256 MB of data (including
images).
4
Brief Introduction to Digital
Sound Files (Cont.)

Sources

Direct-access
1. DIRECTMEDIA Publishing's Digitale Bibliothek
<http://www.digitale-bibliothek.de>
2. ISIS Publishing <www.isis-publishing.co.uk>
3. Simon & Schuster Audio <http://www.simonsays.com>
4. Tantor Media <http://www.tantor.com>

Remote-access
1. Audible.com <http://www.audible.com>
2. eMusic.com <http://www.emusic.com>
3. mp3.com <http://www.mp3.com>

Reading
Hacker, Scott. MP3: the Definitive Guide. Sebastopol, CA: O'Reilly, 2002.
5
Collection Development


Establish and maintain a collection
development policy for handling the
acquisition of sound files (for both firm
orders and gifts). Make sure to utilize
your institution's legal counsel (if
present).
MLA's Copyright for Music Librarians
<http://www.lib.jmu.edu/org/mla/>
6
6.0/9.0 – General Rules

6.0A – Scope


Covers the description of sound recordings in all media, and sound
recordings on film (except for those accompanying visual images).
Doesn't cover specifically recordings in other forms (e.g., wires,
cylinders) or in various experimental media.
6.0B – Sources of information

6.0B1 – Chief source

The physical item itself plus any labels affixed to it. If there happens to be two or more chief
sources (e.g., double-sided disc with labels on each side), then treat them as a single chief
source. Treat accompanying textual material or container as the chief source if it provides a
collective title and the items themselves and their labels don't (add a note indicating source).
If the information is not present on the chief source, take it form these sources in this order:
1. accompanying textual material
2. container
3. other sources

For cataloging, prefer textual data over the actual sound data.
7
6.0/9.0 – General Rules
(Cont.)

6.0B2 – Prescribed sources
Title/Statement of Responsibility
Edition
Publication, Distribution, etc.
Physical Description
Series
Note
Standard Number/Availability

Chief source
Chief source, accompanying text, container
Chief source, accompanying text, container
Any source
Chief source, accompanying text, container
Any source
Any source
9.0A – Scope


Covers the description of electronic resources, which are
comprised of data (text, graphics, sound, etc.), programs
(instructions, etc. that process the data for use), or a combination
of data and programs.
Electronic resources can be either direct access (has a physical
carrier [e.g., CD-ROM]) or remote access (has no physical carrier
8
[e.g., web site])
6.0/9.0 – General Rules
(Cont.)

9.0B – Sources of information

9.0B1 – Chief source

The resource itself. Take the information from any "formally presented evidence." This can
include, but not limited to, title screens, main menus, program statements, initial displays of
information, home pages, file headers, encoded metadata (e.g., ID3v2 meta tags), physical
carriers and their labels. Always prefer the source which provides the fullest information for the
entire resource. If the information isn't present on the chief source, take it from these sources
in this order:
1. printed or online documentation, or other accompanying material
2. information printed on container by publisher, distributor, etc.


If resource consists of two or more separate parts, treat the container or its label as the chief
source if it provides a collective title and the formally presented information doesn't.
9.0B2 – Prescribed sources
Title/Statement of Responsibility
Edition
Publication, Distribution, etc.
Physical Description
Series
Note
Standard Number/Availability
Chief source
Chief source, accompanying text, container
Chief source, accompanying text, container
Any source
Chief source, accompanying text, container
Any source
Any source
9
6.1/9.1 – Title and Statement
of Responsibility Area

6.1B – Title proper [245 $a]


Enter the title as stated in rule 1.1B (e.g., exactly as to wording,
order and spelling, but not necessarily to punctuation or
capitalization. Include any accent or diacritic marks that appear
on the chief source).
LCRI (Library of Congress Rule Interpretation) 6.1B1 adds that if
the chief source has the name of an author or performer listed
before the titles of individual works and one isn't sure if the
publisher, distributor, etc. intended the name to be a collective
title proper or a statement of responsibility, treat it as the former.
The exception is if the titles are musical works and the name is the
composer of the works. In this instance, treat the name as a
statement of responsibility.
10
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1B – Title proper (Cont.)

For musical works, consult rule 5.1B. This states that if the title is
created using a type or types of composition and/or any of the
following (see below), then include all of this information in the
title proper.
1. performance medium
2. musical key
3. composition date
4. number

If the title consists of a distinctive title rather than a type(s) of
composition, then enter the information previously listed by
numbers 1-4 as other title information (245 $b).
Examples:
245 10 Concerto for violin, with chamber music ensemble, op. 36 (1966)
245 10 Harvest moon : $b for flute and piano
11
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1B – Title proper (Cont.)

MCD (Music Cataloging Decision) 5.1B1 adds the following:
1. If two or more types of composition are linked together by a conjunction or similar connection
term, then include any information concerning medium, key, etc. in the title proper.
245 10 Preludes and fugues for organ, op. 12
245 10 Two sonatas and partitas for solo violin, BWV 1001-1002
2. If the title consists of two words which would normally represent types of composition on their
own but combined create a distinctive title, treat any information concerning medium, key, etc.
as other title information. The only exceptions to this are "trio sonata" and "chorale prelude"
because each are one specific type of composition.
245 10 Fantaisie-improptu : $b in G minor, op. 22
245 10 Humoresque-bagatelles : $b op. 1
12
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1B – Title proper (Cont.)


If the title proper for a musical work is being supplied by the
cataloger as instructed in rule 1.1B7 (e.g., create a brief
descriptive title and enclose in brackets), then give all the
prescribed elements for music uniform titles as listed in rules
25.25-25.35.
Uniform Titles [240 (700)]

Formulate uniform titles along these lines:
$a ($t) initial title element, $m medium of performance, $n serial number, opus number, $r key. $p
part name

Other elements can include:
$k form subheading (e.g., Selections)
$l language
$o arrangement (arr.)
$s version (e.g., Vocal score)
13
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1B – Title proper (Cont.)


If the title proper doesn't come from the chief source of
information, or if it is taken from a container which is acting as a
unifying element, add a note stating the source of the title.
6.1C – General material designation
[245 $h]

6.1C1 instructs one to add the gmd (general material designation)
immediately after the title proper and enclosed in brackets.
1. sound recording
2. electronic resource

use for standard compact discs and enhanced CDs
use for CD-ROMS and remote access sound files
6.1C2 states that one should use "multimedia" or "kit" for
multipart items where no one part is predominant.
14
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1D – Parallel titles [245 $b]




Enter parallel titles as instructed by rules 1.1D (enter them in the
same order as they appear on the chief source) and 5.1D (enter
statements of medium, key, etc. that are included in the title
proper and appear in multiple languages on the chief source in the
same order as they appear).
Separate each parallel title with an equals sign.
Parallel titles that don't appear on the chief source should be
entered in a note.
Example
245 10 Concerto, D-Dur, für Horn und Orchester $h [gmd] = $b Concerto, D major, for horn and
orchestra = Concerto, ré majeur, pour cor et orchestre
15
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1E – Other title information [245 $b]


Enter all other title information that appears on the chief source
as instructed in 1.1B (see earlier instructions).
Examples
245 10 Star wars $h [gmd] : $b original motion picture soundtrack
245 10 War of the worlds $h [gmd] : $b a play for radio
16
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1F – Statements of responsibility [245
$c]



6.1F1 states that one should enter those individuals or groups that
are directly responsible for the creation of a sound recording's
intellectual content as main entries (1XX). This includes those
persons whose contribution goes beyond the performance,
execution or interpretation of a work (as with popular musicians).
Enter those persons responsible only for work's performance,
execution, etc. in a note (and as added entries (7XX)).
6.1F2 instructs one to enter the individual names of a performing
group that are listed on the chief source in a note (added entry) if
they're considered important. Otherwise one can omit them.
6.1F3 allows for the addition of a word or short phrase to the
statement of responsibility if the relationship between the title
and the aforementioned persons isn't clear. Enclose this added
17
word or phrase in brackets.
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

6.1G – Items without a collective title


6.1G1 allows one to describe a sound recording without a
collective title either as a single unit, or make individual entries
for each title. LCRI 6.1G1 advises catalogers to describe the item
as a unit.
6.1G2 instructs one to consult 1.1G3 when describing the item as
a single unit.

Two or more works by one composer
245 10 Symphony no. 5 $h [gmd] ; $b Saga drøm / $c Carl Nielsen.

Works by two or more composers
245 10 Symphony in C $h [gmd] / $c Bizet. Ma mere l'oye / Ravel.

6.1G3 states that one can add a word or short phrase to the
statement of responsibility as noted in 6.1F3.
18
6.1/9.1 – Title and Statement
of Responsibility Area (Cont.)

9.1B – Title proper




9.1B1 => Refer to instructions in 6.1B.
9.1B2 states that the source of title proper is always given in a
note.
9.1B3 instructs not to enter a file name or data set name as the
title proper unless it is the only name given in the chief source.
9.1C – 9.1G

Refer to instructions given in 6.1C through 6.1G.
19
6.2/9.2 – Edition Area

6.2B – Edition statement [250]

6.2B1 instructs one to enter an edition statement according to
rule 1.2B (transcribe the statement as it appears on the item, and
utilize abbreviations and numerals according to AACR2
Appendices B and C respectively).
250
250
250


Rev. ed.
Version 10.1
3rd ed.
6.2B2 states that if there is doubt about an edition statement, look
for the presence of such words as "edition," "issue" or "version" as
positive proof.
9.2B – Edition statement

Consult the instructions given above.
20
6.3/9.3 – Material (or Type of
Publication) Specific Details Area

6.3 => This area is not used for
standard sound recordings
21
6.3/9.3 – Material Specific Details
Area (Cont.)

9.3 – Type and extent of resource [256]

9.3B1 says that one should indicate what type of electronic
resource is being described by using one of the following terms:
1. electronic data
2. electronic programs
3. electronic data and programs

9.3B2 instructs to include the extent of the resource (if readily
available) after the term used. Include the number of files
present and size of each in either full or abbreviated form.
256
256

Electronic data (1 file : 5.2 MB)
Electronic programs (3 files : 4.5, 6, 5.6 megabytes)
LCRI 9.3B1 states that it's not LC practice to include this
information in their original cataloging, but they do accept it on
copy cataloging records.
22
6.4/9.4 – Publication,
Distribution, Etc. Area

6.4C – Place of publication, distribution,
etc. [260 $a]


6.4C1 instructs one to give the place of publication, distribution,
etc. according to 1.4C (enter the place in the form and
grammatical case as it appears; add the name of the country,
state, etc. after the place if considered important or needed to
break a conflict; if two or more places for a publisher, distributor,
etc. are given on item, use the first one listed; if the place is
uncertain, enter either a probable location or "S.l." (both enclosed
by brackets)).
6.4C2 states that one shouldn't enter any place information, not
even "S.l.," for nonprocessed sound recordings (noncommercial
recording that usually exists as a unique copy).
23
6.4/9.4 – Publication,
Distribution, Etc. Area (Cont.)

6.4D – Name of publisher, distributor,
etc. [260 $b]


6.4D1 says to enter the name of the publisher, an optionally the
distributor, according to 1.4D (give the name following the
place(s) to which it relates; enter the name in the shortest form in
which it can be understood and identified internationally; retain
any words or phrases that either indicate the function of the
publisher, etc. (other than just publishing) or break conflicts
between publishers; if the item has two or more publishers, use
the first one named and its corresponding place; optionally give
the place and name of the distributor when the first named entity
is the publisher; if name is unknown, enter "s.n.").
LCRIs 6.4D1 and 1.4D6 recommends to accept both options
mentioned above.
24
6.4/9.4 – Publication,
Distribution, Etc. Area (Cont.)

6.4D – Name of publisher, distributor,
etc. (Cont.)



6.4D2 states that if a sound recording contains both the name of a
publishing company and the name of a subdivision of that
company (or a trade name/brand name for that company), then
use the subdivision (trade name/brand name).
6.4D3 cautions that if the trade name appears to be a series
subdivision rather than a publishing one, then add it as a series
title.
6.4D4 instructs one not to enter any publisher, distributor, etc.
name, including "s.n.," for nonprocessed sound recordings.
25
6.4/9.4 – Publication,
Distribution, Etc. Area (Cont.)

6.4E – Statement of function of
publisher, distributor, etc. [optional]

Add a statement of function (enclosed in brackets) to the name of
a publisher, distributor, etc. according to 1.4E (add statement
unless the phrase naming the publisher, etc. clearly indicates their
function, or if their function is clearly evident from the context).
260
260
New York : $b Sunflower ; $a [London] : $b Virgin Records [distributor]
Stockholm : $b Grammofon AB BIS ; $a New York : $b Distributed by Qualiton Imports
26
6.4/9.4 – Publication,
Distribution, Etc. Area (Cont.)

6.4F – Date of publication, distribution,
etc. [260 $c]


6.4F1 says that one should enter the date for a published sound
recording according to 1.4F (enter the year as it appears in the
edition statement; use Western-style Arabic numerals; if date
doesn't correspond to the Gregorian or Julian calendars, enter the
date as it appears and follow it with its Gregorian/Julian
equivalent; give date even if known to be incorrect, and add
correct date if known; if publication and distribution dates differ,
enter both if the distribution date is considered significant; if date
is unknown, give an approximate date using rule 1.4F7 and
enclose it within brackets).
LCRI 6.4F1 states that one shouldn't consider dates proceeded by
a "©" that appear on the container or accompanying material as
the copyright date for the sound recording. One can utilize these
dates, however, when estimating a date if there isn't a "p" date. 27
6.4/9.4 – Publication,
Distribution, Etc. Area (Cont.)

6.4F – Date of publication, distribution,
etc. (Cont.)



6.4F2 instructs one to enter the date of recording in a note if
known.
6.4F3 says that one should enter the date of recording for a
nonprocessed sound recording.
Examples:
260
[S.l.] : $b Concord (Concerto) : $b eMusic.com [distributor], $c [2000]
260
Hayes, Middlesex, England : $b EMI Classics, $c p1989.
260
[New York] : $b Simon & Schuster Audio ; $a Wayne, NJ : $b Distributed by Audible, $c
2000.
28
6.4/9.4 – Publication,
Distribution, Etc. Area (Cont.)

9.4 => Refer to instructions in 6.4



9.4B2 states all remote access electronic resources to be
published.
9.4F4 instructs that if there isn't a date that applies to the item as
a whole, and the item has multiple copyright dates applying to
various aspects of the production (e.g., programming,
documentation, etc.), enter the latest copyright date only. The
other copyright dates can optionally be included a note or
contents note.
LCRI 9.4F4 says that their practice is to apply the above option on
a case-by-case basis.
29
6.5/9.5 – Physical
Description Area

6.5B – Extent of item (including specific
material designation) [300 $a]



6.5B1 instructs one to record the number of physical parts by
giving the number of parts in Arabic numerals followed "sound
disc(s)."
6.5B2 says to add the playing time according to 1.5B4 (give time
in hours, minutes and seconds as it appears on the item; use
abbreviations for hours [hr.], minutes [min.] and seconds [sec.]; if
not stated one can give an approximate time preceded by "ca."; if
the parts of a multipart item have a uniform playing time, give the
time for each part followed by "each")
LCRI 6.5B2 advises that if the total playing time isn't stated, but
the times of all individual parts are stated, one can add all the
times together and record the total (round up to the next minute if
total exceeds 5 minutes).
30
6.5/9.5 – Physical
Description Area (Cont.)

6.5B – Extent of item (Cont.)


MCD 6.5B2, however, states that one should add the playing time
only if the sound recording contains one work. If it contains
multiple works, put their playing times in a note or contents note.
6.5C – Other physical details [300 $b]



6.5C2 (Type of recording) instructs one to enter the manner that
the sound was encoded on the item (e.g., digital)
6.5C7 (Number of sound channels) allows one to give the number
of sound channels (mono., stereo., or quad.) if the information is
readily available.
MCD 6.5C7 says that one should only add this sound channel
information if it is explicitly stated on the item.
31
6.5/9.5 – Physical
Description Area (Cont.)

6.5C – Other physical details (Cont.)



6.5C8 (Recording and reproduction characteristics) gives one the
option to input the recording and reproduction characteristics
(e.g., Dolby processed) if known.
Both LCRI and MCD 6.5C8 recommend entering this option if it
would be needed in selecting playback equipment.
6.5D – Dimensions [300 $c]

6.5D2 instructs one to give the diameter of a sound disc in inches
(i.e. compact disc = 4 3/4 in.)
32
6.5/9.5 – Physical
Description Area (Cont.)

6.5E – Accompanying material [300 $e]


6.5E1 states that one should enter the details according to 1.5E
(do one of the following: 1.) make a separate entry; 2.) make a
multilevel description; 3.) make a note; or 4.) add the information
to the end of the physical description area).
9.5B – Extent of item [300 $a]


9.5B1 instructs one to record the number of physical parts by
giving the number of parts in Arabic numerals followed "computer
optical disc(s)." When new physical carriers are created for which
none of the SMDs are appropriate, give the name of the physical
carrier as concisely as possible and preferably preceded by
"computer." Optionally, one can utilize conventional terminology.
LCRI 9.5B1 says that LC will use the conventional terminology
option.
33
6.5/9.5 – Physical
Description Area (Cont.)

9.5C – Other physical details [300 $b]




9.5C1 states that one should add "sd." and/or "col." if the item
contains sound and/or color images respectively.
9.5C2 allows one to optionally add other physical characteristics
(e.g., recording density, sectoring) if considered important.
LCRI 9.5C2 recommends using this option on a case-by-case basis.
9.5D – Dimensions [300 $c]

9.5D1 instructs one to enter the dimensions as follows:
1. Discs => inches (in.)
2. New carriers => inches (in.) or centimeters (cm.)
34
6.5/9.5 – Physical
Description Area (Cont.)

9.5E – Accompanying material [300 $e]



9.5E1 => Refer to instructions in 6.5E1.
9.5E2 says that if no physical description given (e.g., remote
access materials), enter the accompanying material in a note.
Examples:
300
300
300
1 sound disc (40 min., 35 sec.) : $b digital ; $c 4 3/4 in.
1 computer optical disc : $b sd. ; $c 4 3/4 in.
1 CD-ROM : $b sd. ; $c 4 3/4 in. + $e 1 user guide (22 p. : ill. ; 20 cm.)
35
6.6/9.6 – Series Area

Both 6.6B1 and 9.6B1 instruct one to
record series statements according to
1.6:




Enter the series statement's title proper exactly as to wording,
order, and spelling, not always to capitalization and punctuation;
include accents and diacritics.
If the series' title proper includes numbering as an integral part,
include this numbering as part of the title proper.
If there are different forms of the series title, choose the title in
the first of the prescribed sources for the series area as the title
proper and add the others in notes.
Enter parallel titles in the order that they appear on the item, and
separated by equals signs.
36
6.6/9.6 – Series Area (Cont.)




Enter other title information and statements of responsibility for
series if considered important for the identification of the series.
Enter the numbering of an item within a series using the terms
given on the item. Use abbreviations as instructed in AACR2
Appendices B and C.
If the parts of a multipart item have separate series numbers, give
the first and last numbers if they are contiguous. Otherwise, list
all the numbers.
Examples:
440 0 Souvenir series
440 0 Audio library for librarians ; $v L-522-L-530
440 0 Digital music series ; $v 22, 45, 67
37
6.7/9.7 – Note Area

Preferred order of notes
Note Label
MARC Tag
AACR2 Rule
Nature of artistic form and medium or performance
Nature and scope
System requirements
500
500
538
6.7B1
9.7B1
9.7B1
Language
546
6.7B2, 9.7B2
Source of title proper
500
6.7B3, 9.7B3
Variations in title
500
6.7B4, 9.7B4
Parallel titles and other title information
500
6.7B5, 9.7B5
Statements of responsibility (Participant or Performer)
500 (511)
6.7B6, 9.7B6
Edition and history (Date/Time and Place of Event)
500 (518)
6.7B7, 9.7B7
Type and extent of resource
516
9.7B8
Publication, distribution, etc.
500
6.7B9, 9.7B9
Physical description
500
6.7B10, 9.7B10
Accompanying material
500
6.7B11, 9.7B11
Series
500
6.7B12, 9.7B12
38
6.7/9.7 – Note Area (Cont.)

Preferred order of notes (Cont.)
Note Label
MARC Tag
AACR2 Rule
Dissertations
502
6.7B13, 9.7B13
Audience
521
6.7B14, 9.7B14
Other formats
530
6.7B16, 9.7B16
Summary
520
6.7B17, 9.7B17
Contents
505
6.7B18, 9.7B18
Publishers' numbers
500
6.7B19, 9.7B19
Copy being described, library's holdings, and
restrictions on use (Local note)
500 (59X)
6.7B20, 9.7B20
"With" notes
501
6.7B21, 9.7B21
Item described
500
9.7B22
39
6.7/9.7 – Note Area (Cont.)

6.7B1 – Nature or artistic form and
medium of performance [500]


Include a note on the form of a literary or musical work unless it is
apparent from the rest of the description.
Name the performance medium when necessary.
500
500

For soprano, baritone, chorus and orchestra.
The 1st work is a ballet, and the second work is a symphonic poem.
6.7B2 – Language [546]

Give the language(s) of the sung or spoken text unless it is
apparent from the rest of the description.
546
546
Sung in French.
In German, introduced in Spanish.
40
6.7/9.7 – Note Area (Cont.)

6.7B3 – Source of title proper [500]

Give the source of the title proper if it is other than the chief
source (or if it comes from the container or accompanying textual
material as referred to in 6.0B1).
500

6.7B4 – Variations in title [500]

Make entries for titles from the item of than the title proper.
500

Title from container.
Title on container: The four seasons.
6.7B5 – Parallel titles and other title
information [500]

Enter titles in other languages and other title information that
aren't covered in the title and statement of responsibility area if 41
they are considered important.
6.7/9.7 – Note Area (Cont.)

6.7B5 – Parallel titles and other title
information (Cont.)
500

Subtitle: Songs of faith and love.
6.7B6 – Statements of responsibility
[500 (511)]

Make entries on variant names or persons/bodies named in
statements of responsibility. Give the names of performers and
their performance mediums if not named in the statements of
responsibility and considered necessary. Enter notes on
persons/bodies connected with the work that aren't named in the
statements of responsibility.
511 0 Rembrandt Trio (Valerie Tryon, piano ; Gerard Kantarjian, violin ; Coenraad Bloemendal,
cello).
42
500
Based on music by Franz Schubert.
6.7/9.7 – Note Area (Cont.)

6.7B7 – Edition and history [500 (518)]

Make entries pertaining to the edition being described, to the
edition of the work being performed, or to the history of the
recording. For nonprocessed recordings, give the available details
of the event.
500
518

Reissue of EMI 224 (1963).
Recorded in Philadelphia in 1972.
6.7B9 – Publication distribution, etc.
[500]

Enter notes on publication, distribution, etc. information that don't
appear in the publication, distribution, etc. area but are
considered important.
500
Distributed in the US by Century Media.
43
6.7/9.7 – Note Area (Cont.)

6.7B10 – Physical description [500]

Enter notes on important physical details that don't appear in the
physical description area, especially those that effect the item's
use.
500


Compact disc.
Give the duration of each part in an item without a collective title
and described as a unit.
LCRI 6.7B10 says to list the durations of individual items
identified in the title and statement of responsibility in a note. If
the individual items are listed in a contents note, enter their
durations there. Enter durations as they appear on the item. If
only the durations of the parts of an item are given, one can add
the durations together and record the total in minutes (round off
to the next minute). Precede a duration statement with "ca." only
if the statement is approximated on the item itself.
44
6.7/9.7 – Note Area (Cont.)

MCD 6.7B10 advises not to give more than six durations in a note
unless the cataloger considers them important. It also
recommends that a duration's digits for hours, minutes and
seconds should be separated by colons. If the duration is in
seconds only, precede them by a colon.
500
500

Duration: 10 min. ; 5 min. ; 8 min.
Duration: 1:25:00; :47; 14:12.
6.7B11 – Accompanying material [500]


Make entries on the location of accompanying material if
appropriate. Add details for accompanying material that is neither
mentioned in the physical description area nor in a separate
description.
MCD 6.7B11 recommends to make notes on accompanying
material such as program notes only if they're considered
important because of their content or because they can be
physically separated from the item.
45
6.7/9.7 – Note Area (Cont.)

6.7B11 – Accompanying material
(Cont.)
500

6.7B12 – Series [500]

Enter notes on series information that cannot be given in the
series area.
500

Lyrics on sheets in container.
Originally issued in the series: Current trends.
6.7B13 – Dissertations [502]

If the item is a dissertation, make a note as instructed by 1.7B13.
502
Thesis (Ph.D.)—Pennsylvania State University, 2002.
46
6.7/9.7 – Note Area (Cont.)

6.7B14 – Audience [521]

Add a note on the intended audience for, or intellectual level of, a
sound recording if the information is stated on the item, container,
or accompanying material.
521

6.7B16 – Other formats [530]

Provide the details of other formats in which the content of the
item has been issued.
530

Graduate students.
Also issued on cassette and vinyl disc.
6.7B17 – Summary [520]

Give a brief objective summary of the content of a nonmusic
sound recording if necessary.
520
A brief historical account of 1940's Pennsylvania.
47
6.7/9.7 – Note Area (Cont.)

6.7B18 – Contents [505]



List the titles of individual works on a sound recording. Add to
each title statements of responsibility that aren't included in the
title and statement of responsibility area and the duration of each
piece.
LCRI6.7B18 states that one should consult LCRI6.7B10 when
entering durations in a formal contents note.
MCD 6.7B18 instructs one to transcribe titles in a contents note
from the section of the item that provides the best information. If
the musical works in an item are all of the same musical form, and
that form is named in the item's title proper, don't repeat the form
in the contents note. Add opus numbers or thematic index
numbers to individual musical titles if necessary for their
identification
505 0 Piano trio no. 1 in B major, op. 8 / Brahms (30:00) – Piano trio in E minor, op. 90 / Dvořák
48
(31:00).
6.7/9.7 – Note Area (Cont.)

6.7B19 – Publishers' numbers [500]



Enter the publisher's stock number as found on the item. Precede
the number with the publisher's trade or brand name and a colon.
LCRI 6.7B19 advises making this note the first one if utilized.
When the item bears both a set number and the numbers of the
individual items, input only the set number unless this number
doesn't appear on every item. In this case add the set number
followed by the individual numbers in parentheses.
MCD6.7B19 states that when the publisher's number appears in
variant forms on a sound recording, enter only the one appearing
on the recording itself. When two or more distinct publisher's
number appear on a recording, enter each in a separate note
followed by an indication of the number's location in parentheses.
500
500
Hungaroton: LPX 18124--LPX 18128.
Island: ILPS 921.
49
6.7/9.7 – Note Area (Cont.)

6.7B20 – Copy being described, library's
holdings, and restrictions on use [500,
59X]

Make these notes as instructed by 1.7B20.
590

Library's copy contains limited quantities of background noise.
6.7B21 – "With notes" [501]

If the title and statement of responsibility contains a title applying
to only part of an item without a collective title and for which
more than one entry is made, enter a note beginning with "With:"
followed by the separately titled works in the order that they
appear.
501
With: Two nocturnes, op. 32, no.1 in B major / Chopin -- Sonata in E flat, op. 18 / Strauss.
50
6.7/9.7 – Note Area (Cont.)

9.7B1 – Nature and scope and system
requirements [500 (538)]

Enter notes on the nature or scope of the resource unless it is
obvious from the rest of the description.
500

Spoken audio file.
Enter notes on the system requirements for the resource if the
information is readily available. Begin note with "System
requirements:" and enter the information (if known) in this order:
1.
2.
3.
4.
5.
6.
make and model of computer needed to run the resource
amount of memory required
name of operating system
software requirements (including programming language)
kind and characteristics of any required or recommended peripherals
type of any required or recommended hardware modifications
538
System requirements: IBM PC or 100% compatible; 32MB RAM; Windows 95; CD-ROM 51
drive.
6.7/9.7 – Note Area (Cont.)

9.7B1 – Nature and scope and system
requirements (Cont.)

For remote-access resources, specify the mode of access. Always
begin note with "Mode of access:".
538

9.7B2 – Language [546]

Give the languages and/or scripts of the resource's spoken or
written content unless it is apparent from the description.
546

Mode of access: World Wide Web.
In German and Russian.
9.7B3 – Source of title proper [500]

Always give the source of the title proper.
500
Title from Web page.
52
6.7/9.7 – Note Area (Cont.)

9.7B4 – Variations in title [500]


Enter notes on titles from the item other than the title proper.
Optionally one can either enter the romanization of the title
proper, or transcribe a file name or data set name if different from
the title proper.
LCRI 9.7B4 accepts the second option, but advises against the
first.
500

Title in HTML header: Penn State University Libraries home page.
9.7B5 – Parallel titles and other title
information [500]

Refer to instructions in 6.7B5.
500
Subtitle on container: Life and work of archaeologist Howard Carter.
53
6.7/9.7 – Note Area (Cont.)

9.7B6 – Statements of responsibility
[500]

Refer to instructions in 6.7B6 (except for those referring to
performers and participants).
500

Systems designer, Sam Smith ; sound, Tadcaster Acoustics.
9.7B7 – Edition and history [500]

Give the source of the edition statement if it is different from that
of the title proper. Make notes pertaining to the edition being
described or to the history of the item. One can also cite other
works on which the item is dependent on for its content. Finally,
one can enter the date(s) covered by a resources content, the
date(s) when data was collected, or the date(s) of accompanying
material not described separately if they are considered important
to understanding a resource's content, use or nature.
500
Includes supplementary file dated 1997.
54
6.7/9.7 – Note Area (Cont.)

9.7B8 – Type and extent of resource
[516]

Enter information on the type and extent of the resource if
considered important and not described elsewhere.
516

Available in multiple electronic file formats.
9.7B9 – Publication, distribution, etc.
[500]

Refer to instructions in 6.7B9.
500
Solely distributed by Vivendi Universal.
55
6.7/9.7 – Note Area (Cont.)

9.7B10 – Physical description [500]

Make notes on important physical details that are not listed in the
physical description area, especially if they effect the item's use.
For remote-access resources, give physical details (e.g., sound) if
readily available and considered important.
500

9.7B11 – Accompanying material [500]

Refer to instructions in 6.7B11.
500

Stereo. sd.
Accompanied by user's guide and quick-reference template.
9.7B12 – Series [500]

Refer to instructions in 6.7B12.
500
Originally issued in series: European Community study series.
56
6.7/9.7 – Note Area (Cont.)

9.7B13 – Dissertations [502]

Refer to instructions in 6.7B13.
502

9.7B14 – Audience [521]

Refer to instructions in 6.7B14.
521

Thesis (M.M.)—Kansas State University, 1991.
For ages 7-12.
9.7B16 – Other formats [530]

Refer to instructions in 6.7B16.
530
530
Issued also as digital sound discs and sound cassettes.
Issued also for Macintosh computers using OS X.
57
6.7/9.7 – Note Area (Cont.)

9.7B17 – Summary [520]

Give a brief objective summary of the purpose and content of an
item unless it is obvious from the description.
520
Summary: Role-playing computer game for 1+ players. Create a character from one of
seven classes and do battle with animals, demons and the undead in order to face and defeat the
three prime evils.

9.7B18 – Contents [505]

List the parts of a resource. Make notes on additional or partial
contents as appropriate.
505 0

Contents: Raven -- Tell-tale heart -- Pit and the pendulum -- Fall of the house of Usher.
9.7B19 – Numbers [500]

Enter important numbers on the item aside from ISBNs and ISSNs.
500
ABC-102534
58
6.7/9.7 – Note Area (Cont.)

9.7B20 – Copy being described, library's
holdings, and restrictions on use [500,
59X]

Refer to instructions in 6.7B20.
590

9.7B21 – "With" notes [501]

Refer to instruction in 6.7B21.
501

Library's copy is lacking CD-ROM four.
With: US states and capitals -- European nations and capitals.
9.7B22 – Item described [500]

For remote-access resources, give date on which it was viewed.
500
Description based on contents viewed Sept. 13, 2002.
59
6.8/9.8 – Standard Number and
Terms of Availability Area

6.8B – Standard number [020 $a, 022
$a, 500]



6.8B2 says to give any other numbers in a note according to
6.7B19.
6.8C – Key-title [222]


6.8B1 states that one should enter the International Standard
Book Number [ISBN] or International Standard Serial Number
[ISSN] for the item as instructed in 1.8B.
Give the key-title of a serial as instructed in 1.8C
6.8D – Terms of availability [020 $c,
022 $c]

Give the terms on which the item is available according to 1.8D. 60
6.8/9.8 – Standard Number and
Terms of Availability (Cont.)

6.8E – Qualification [020 $c, 022 $c]



Add qualifications to the standard number and terms of availability
according to 1.8E (enter a brief qualification in parentheses after
the standard number or the terms of availability if present).
9.8B-9.8E => Refer to instructions in
6.8B-6.8E.
Examples:
020
022
0491001304 (guide) $c $12.95
0376-4583
020
500
0379005506 (set)
BAC-14953
61
6.9/9.9 – Supplementary
Items

Both 6.9 and 9.9 refer to the
instructions in 1.9.


Supplementary items being described independently should be
entered as separate items according to 1.1B9.
Supplementary items being described dependently can be entered
as follows:
1. as accompanying material (see 1.5E1d)
2. in a note (see 1.7B11)
3. as a multilevel description (see 13.6)
62
6.10/9.10 – Items Made Up
of Several Types of Material

Both 6.10 and 9.10 refer to the
instructions in 1.10.


1.10B states that if an item as a predominant component, describe
the item according to that component and describe the other
components either as accompanying material or in a note.
1.10C instructs that if the item has no predominant component,
then consult 10.C1-10.C3 plus the relevant rules from the
appropriate chapters.
63
Fixed Fields

Type (Leader/06) – Type of Record


Code m = Includes the following classes of electronic resources: computer software
(including programs, games, fonts), numeric data, computer-oriented multimedia,
online systems or services. For these classes of materials, if there is a significant
aspect that causes it to fall into another Leader/06 category, the code for that
significant aspect is used instead of code m (e.g., vector data that is cartographic is
not coded as numeric but cartographic). Other classes of electronic resources are
coded for their most significant aspect (e.g., language material, graphic,
cartographic material, sound, music, moving image). In case of doubt or if the
most significant aspect cannot be determined, consider the item a computer file.
(MARC 21 Concise Bibliographic: Leader and Directory)
Code digital sound files as you would sound recordings.
i
j
nonmusical sound recording
musical sound recording
64
Fixed Fields (Cont.)

DtSt (008/06) – Type of Date


Code as “s” (single date) if there is a just one date present, or if
the date of recording and the date of distribution are the same.
Enter the date in the “Date 1” area, and leave the “Date 2” area
blank.
Code as “p” (Distribution date/production date) if the dates of
recording and distribution differ. The distribution date goes in the
“Date 1” area, while the earliest recording date goes in “Date 2.”
The distribution date also goes in the 260 $c, and the recording
date(s) go in a note.
65
Fixed Fields (Cont.)

DtSt (008/06) – Type of Date (Cont.)

Code as “r” (Reprint/original date) of reissues of sound recordings
when:



Issued with a new manufacturer number
Issued on a new label or in a new format
Consists of a collection of previously released material from numerous
sources
Enter the reproduction date in “Date 1” and the original date in
“Date 2.”

Other date codes include:
m
n
q
t
multiple dates
unknown date
questionable date
publication date/copyright date
66
Fixed Fields (Cont.)

Comp (008/18-19) – Form of
Composition


Enter the appropriate two-digit code from the list reproduced on
the following page (also available from both LC’s MARC Standards
and OCLC’s Bibliographic Formats and Standards web sites.)
If the code “mu” is used, then one must enter a 047 field and add
the multiple composition codes.
67
Fixed Fields (Cont.)

an
bd
bt
bg
bl
cn
ct
cz
cr
ca
cs
cp
cc
cb
cl
ch
cg
co
cy
df
dv
ft
Comp (008/18-19) (Cont.)
Anthems, antiphons, and magnificats
Ballads
Ballets
Bluegrass music
Blues
Canons and rounds
Cantatas
Canzonas
Carols
Chaconnes
Chance compositions
Chansons, polyphonic
Chant, Christian
Chant, relgiions other than Christian
Chorale preludes
Chorales
Concerti grossi
Concertos
Country music
Dance forms (except Mazurkas, Minuets,
Pavane, Polonaise, and Waltzes)
Divertimentos, serenades, cassations, divertissements,
and notturni.
Fantaisias, fancies, fantasies, etc.
fm
fg
gm
hy
jz
md
mr
ms
mz
mi
mo
mp
nc
nn
op
or
ov
pt
ps
pm
pv
po
pp
pr
Folk music (incl. folk songs)
Fugues
Gospel music
Hymns
Jazz
Madrigals
Marches
Masses
Mazurkas
Minuets
Motets
Moving picture music
Nocturnes
Not a musical sound recording
Operas
Oratorios
Overtures
Part-songs
Passcaglias
Passion music
Pavanne
Polonaise
Popular music
Preludes
68
Fixed Fields (Cont.)

Comp (008/18-19) (Cont.)
pg
rg
rq
rp
ri
rc
rd
sn
sg
sd
st
su
sp
sy
tc
ts
uu
vr
wz
zz
Program music
Ragtime music
Requiems
Rhapsodies
Ricercars
Rock music
Rondos and instrumental rondeaux
Sonatas
Songs
Square dance music
Studies, exercises, and etudes
Suites
Symphonic poems
Symphonies
Toccatas
Trio-sonatas
Unknown
Variations
Waltzes
Other specified genres or forms that don't appear on the list.
69
Fixed Fields (Cont.)

FMus (008/20) – Format of Music


Refers to the format of printed and manuscript music only. Code
as "n" (not applicable)
Form (008/23) – Form of Item

Use code “s” (electronic) if the item requires a computer. Don’t
apply this to items that can be utilized by a computer, but don’t
require one (e.g., compact discs). For the latter, leave the field
blank.
70
Fixed Fields (Cont.)

AccM (008/24-29) – Accompanying
Matter

Enter up to six codes from the following list to describe the
contents of any accompanying material:
[blank]
a
b
c
d
e
f
g
h
i
k
r
s
z
No accompanying matter
Discography
Bibliography
Thematic index
Libretto or text
Biography of composer or author
Biography of performer or history of ensemble
Technical and/or historical information on instruments
Technical information on music
Historical information
Ethnological information
Instructional materials
Music
Other accompanying matter
71
Fixed Fields (Cont.)

LTxt (008/30-31) – Literary Text for
Sound Recordings

Enter up to two codes form the following list to best describe the
material on a nonmusical sound recording. If only one code is
used, leave the second position blank.
[blank]
a
b
c
d
e
f
g
h
i
j
k
l
m
o
p
Item is a musical sound recording
Autobiography
Biography
Conference proceedings
Drama
Essays
Fiction
Reporting
History
Instruction (How to...)
Instruction, language
Comedy, comedy routines
Lectures, speeches
Memoirs
Folktales
Poetry
r
s
t
z
Rehearsals of any nonmusical productions
Sounds (Nonmusical utterances and vocalizations)
Interviews
Other types of literary text
72
Fixed Fields (Cont.)

Lang (008/35-37) – Language




In terms of sound recordings, this refers to the language of the
sung or spoken text.
Enter the three-digit code for the single or predominant language
from the MARC Code List for Languages. If there are multiple
languages or if the item includes a translation, enter this
additional information in a 041 field.
Code “N/A” if there is no text sung or spoken (e.g., instrumental
works)
Code “und” for vocalises, humming, or texts comprised of
nonsense syllables.
73
Variable Control Fields
(006 and 007)

006 – Additional characteristics

Computer files
T006 (006/00)
Audn (006/05)
File (006/09) h (Sound)
GPub (006/11)

m (Computer file)
[variable]
[variable]
Sound recordings
T006 (006/00)
Comp (006/01-02)
FMus (006/03)
Audn (006/05)
Form (006/06)
AccM (006/07-12)
LTxt (006/13-14)
i (Nonmusical sound recording)
j (Musical sound recording)
[variable; consult Comp 008/18-19)]
n (Not applicable)
[variable]
s (Electronic)
[variable; consult AccM (008/24-29)]
[variable; consult LTxt (008/30-31)]
74
Variable Control Fields
(Cont.)

007 – Physical Description Fixed Field

Computer files
$a (007/00) [Category of material]
$b (007/01) [Specific material designation]
$d (007/03) [Color]
$e (007/04) [Dimensions]
$f (007/05) [Sound]
$g (007/06-08) [Image bit depth]
$h (007/09) [File formats]
$k (007/12) [Compression level]
c (Computer file)
o (Optical disc)
r (Remote)
n (Not applicable)
g (4 3/4 in.)
n (Not applicable)
a (Sound)
nnn (Not applicable)
a (One file format)
m (Multiple file formats)
a (Uncompressed)
d (Lossy)
m (Mixed)
75
Variable Control Fields
(Cont.)

007 – Physical Description (Cont.)

Sound recordings
$a (007/00) [Category of material]
$b (007/01) [Specific material designation]
$d (007/03) [Speed]
$e (007/04) [Config. of playback channels]
$f (007/05) [Groove width & pitch]
$g (007/06) [Dimensions]
$h (007/07) [Tape width]
$i (007/08) [Tape configuration]
$m (007/12) [Special playback char.]
$n (007/13) [Capture/storage technique]
s (Sound recording)
d (Sound disc)
z (Other)
f (1.4 m per sec.)
z (Other)
m (Mono.)
s (Stereo.)
u (Unknown)
n (Not applicable)
g (4 3/4 in.)
n (Not applicable)
n (Not applicable)
n (Not a tape)
e (Digital recording)
d (Digital storage)
e (Analog electrical storage)
u (Unknown)
76
Variable Data Fields
(020-048)

020 – International Std. Book Number

Enter the ten-digit number without any spaces or hyphens. If the
last digit is an “x”, enter it as an uppercase “X”.
020
020

0786195665
012345678X
024 – Other Standard Identifier

For Universal Product Codes (UPC), enter the number (usually 12digits in length) without any spaces or hyphens. Set the first
indicator to “1”.
024 1 731451415623
77
Variable Data Fields (Cont.)

028 – Publisher Number

Code the first indicator “0” for a sound recording issue number.
The second indicator is coded from the following list according to
one’s local cataloging practices:
0
1
2
3

no note, no added entry
note, added entry
note, no added entry
no note, added entry
Enter the number as it appears on the item in the $a. The
publisher’s name is entered into the $b.
028 02 zm2621 $b Blackstone Audiobooks
78
Variable Data Fields (Cont.)

028 – Publisher Number (Cont.)

Consecutive publisher numbers can be entered together through
the use of hyphens.
028 02 SC202--SC206 $b State College Recordings

For direct access sound recordings, if the disc itself has one
publisher number, and the container or insert has either a variant
form or a completely different number, one can list each number
in separate 028 fields.
028 02 SC204 $b State College Recordings
028 00 204 $b State College Recordings
028 00 74112-521 $b State College Recordings
79
Variable Data Fields (Cont.)

033 – Date/Time and Place of Event


Enter the date, time and place of a recording session if stated on
the item, the container, or the accompanying material.
The first indicator corresponds to the date:
[blank]
0
1
2

no date information
single date
multiple single dates
range of dates
The second indicator corresponds to the type of event:
[blank]
0
1
2
no information provided
capture information
broadcast information
finding information
80
Variable Data Fields (Cont.)

033 – Date/Time and Place (Cont.)




Enter the date of capture in the subfield $a. This date can contain
up to eight numbers (year = 4 digits; month = 2 digits; day = 2
digits). Enter hyphens for any part of the date that is unknown.
Enter the geographic classification area code in the subfield $b.
This code contains 4 digits, and can be found in the LC Class G
(Geography) schedule.
Enter the geographic classification subarea code in the subfield
$c. This two-digit code corresponds to a geographic region,
natural feature of political subdivision found within the area
represented in subfield $b. This code is also found in the G
schedule.
All three subfields are repeatable.
81
Variable Data Fields (Cont.)

033 – Date/Time and Place (Cont.)

The information contained in a 033 must also be present in a 518
field.
033 00 20010213 $b 3824 $c P5
518
Recorded in Philadelphia on Feb. 13, 2001.
033 10 19770115 $a 19770210 $b 3824 $c P5 $b 3804 $c N4
033 20 19710614 $b 3804 $c N4:2C3
518
Recorded in Philadelphia and New York on January 15 and February 10, 1977 and during
the week of June 7, 1971 in New York at Carnegie Hall.
82
Variable Data Fields (Cont.)

041 – Language

The first indicator represents the presence of a translation:
0
1

The second indicator represents the source of the language code:
[blank]
7


item is not a translation or does not include a translation
item is a translation
MARC Code List for Languages
source specified in subfield $2
If the language for the sung/spoken text and any accompanying
text are the same, and there isn’t any translation, then the code
given in the Lang fixed field is all that is needed and don’t add a
041.
Don’t utilize the subfield $a for sound recordings.
83
Variable Data Fields (Cont.)

041 – Language (Cont.)

All of the following subfields (except for $2) are now repeatable:
$d
$e
$g
$h
$2

language of recording’s sung/spoken text
language of the text or libretto as it appears on the container or in the program
notes
language of the program notes
original language of any sung/spoken text that has been translated
source of code
Example: A work is sung in German; the words are printed in
German and English; the original language is German.
Lang: ger
AccM: d
041 0 $d ger $e ger $e eng $h ger
84
Variable Data Fields (Cont.)

043 – Geographical Area


Code represents countries that appear as subject headings or as
geographic subdivisions to subject headings, or if a specific area or
country is emphasized (e.g., Scottish fiddle tunes).
Each code is made up of seven digits (Unused digits receive
hyphens):
1st digit
3rd-4th “
6th-7th “
045
045

continent
country
state, province or other subdivision (Canada, United Kingdom, and United States
only)
n-us-pa [North America-United States-Pennsylvania]
e-gx--- [Europe-Germany]
Codes are taken from the MARC Code List for Geographic Areas.
85
Variable Data Fields (Cont.)

045 – Date Period of Content


For sound recordings, this pertains to the date of composition and
not to either the date of performance or the date of encoding.
First indicator represents the date (Second indicator is blank):
[blank]
0
1
2

no specific date
one work with one composition date
more than one work with a composition date for each work
one work with a range of compositions dates
Subfields $a-$c represent different date code formats. Sound
recordings will use subfield $b (9999 B.C. through C.E. time
period). The date is recorded in the style of yyyymmdd and
preceded by either a "c" for B.C. or a "d" for C.E.
045 0 $b d20020622 [One composition, one date of composition, 06-22-2002]
86
Variable Data Fields (Cont.)

047 – Form of Musical Composition


If the Comp (008/19-19; 006/10-12) has been coded "mu," then
use the 047 to list the multiple composition forms.
Codes are taken from the Comp fixed field list. Each code is
proceeded by a subfield $a.
047
co $a ov $a sn [Contains a concerto, an overture, and a sonata]
87
Variable Data Fields (Cont.)

048 – Number of Musical Instruments
or Voices

Use to note a composition's instrumentation except in the
following instances:
1.
2.
3.
4.

operas or other large vocal works with unspecified instrumentation
collections with miscellaneous instrumentation
folk song and folk music
hymns and liturgical music
Both indicators are blank. Subfield $a is used for the following:
1. solo instrument without accompaniment
2. individual instruments/voices of a chamber group
3. ensembles

Subfield $b represents a solo instrument with accompaniment
(the accompaniment goes in a subfield $a).
88
Variable Data Fields (Cont.)

048 – Number of Musical Instruments
or Voices (Cont.)

Each instrument/voice is comprised of a two-digit code
representing a type of instrument, voice or ensemble (see
following pages, or consult either OCLC's Bibliographic Formats
and Standards or LC's MARC Standards web sites), and a two-digit
number representing the number of instruments, voices, etc.
present except in the following instances:
1. keyboard instruments are coded for the number of players per instrument
2. percussion instruments are coded for the number of players required
3. large ensemble codes are not followed by a number unless there is more than one of a specific
ensemble present
4. choruses are coded for the number of vocal parts
048
048
048
ka01 [for solo piano]
pc05 [for 5 marimba players]
$b sa01 $a oa [for solo violin and orchestra]
89
Variable Data Fields (Cont.)

048 – Number of Musical Instruments
or Voices (Cont.)
Brass
Choruses
Electronic
Keyboard
ba – Horn
ca – Mixed
ea – Synthesizer
ka – Piano
bb – Trumpet
cb – Women's
eb – Tape
kb – Organ
bc – Cornet
cc – Men's
ec – Computer
kc – Harpsichord
bd – Trombone
cd – Children's
ed – Ondes Martinot
kd – Clavichord
be – Tuba
cn – Unspecified
en – Unspecified
ke – Continuo
bf – Baritone
cu – Unknown
eu – Unknown
kf – Celeste
bn - Unspecified
cy – Ethnic
ez – Other
kn – Unspecifed
bu – Unknown
ku – Unknown
by – Ethnic
ky – Ethnic
bz – Other
kz - Other
90
Variable Data Fields (Cont.)

048 – Number of Musical Instruments
or Voices (Cont.)
Large Ensembles
Percussion
Strings, Bowed
Strings, Plucked
oa – Full orchestra
pa – Timpani
sa – Violin
ta – Harp
ob – Chamber orchestra
pb – Xylophone
sb – Viola
tb – Guitar
oc – String orchestra
pc – Marimba
sc – Violoncello
tc – Lute
od – Band
pd – Drum
sd- Double bass
td – Mandolin
oe – Dance orchestra
pn – Unspecified
se – Viol
tn – Unspecified
of – Brass band
pu – Unknown
sf – Viola d'amore
tu – Unknown
on – Unspecified
py – Ethnic
sg – Viola da gamba
ty – Ethnic
ou – Unknown
pz – Other
sn – Unspecified
tz - Other
oy – Ethnic
su – Unknown
oz – Other
sy – Ethnic
sz – Other
91
Variable Data Fields (Cont.)

048 – Number of Musical Instruments
or Voices (Cont.)
Voices
Woodwinds
??????
va – Soprano
wa – Flute
zn – Unspecified instruments
vb – Mezzo Soprano
wb – Oboes
zu - Unknown
vc – Alto
wc – Clarinet
vd – Tenor
wd – Bassoon
ve – Baritone
we – Piccolo
vf – Bass
wf – English horn
vg – Counter tenor
wg – Bass clarinet
vh – High voice
wh – Recorder
vi – Medium voice
wi – Saxophone
vj – Low voice
wn – Unspecified
vn – Unspecified
wu – Unknown
vu – Unknown
wy – Ethnic
vy – Ethnic
wz – Other
92
Examples
1. Direct-access non-music sound recording
Type: i
BLvl: m
Desc: a
040
006
007
007
020
028 02
090
049
100 1
245 10
260
300
500
538
538
511 0
ELvl: I Srce: d Audn:
Ctrl:
Lang: eng
Form: s Comp: nn AccM:
MRec:
Ctry: oru
FMus: n LTxt: f DtSt: s
Dates: 2000,
XXX $c XXX
[m
h
]
s $b d $d u $e u $f n $g g $h n $i n $m e $n u
c $b o $d n $e g $f a $g nnn $h a $i u $j a $k d $l u
0786195665
zm2621 $b Blackstone Audiobooks
UPMM
Austen, Jane, $d 1775-1817.
Sense and sensibility $h [electronic resource] / $c by Jane Austen.
Ashland, Or. : $b Blackstone Audiobooks, $c p2000.
1 computer optical disc : $b sd. ; $c 4 3/4 in.
Spoken audio file. Indexed by chapter.
MP3 format.
System requirements: CD/MP3 player or PC with MP3-capable software.
Read by Nadia May.
93
1. Direct-access non-music sound recording
(Cont.)
500
Unabridged.
500
Duration: ca. 12 hrs.
520
Two sisters, the discreet Elinor, representing sense, and the reckless Marianne, representing sensibility,
pursue love and happiness around the pillars of genteel society.
650 0 Young women $v Fiction.
651 0 England $v Fiction.
650 0 Audiobooks.
655 7 Domestic fiction. $2 lcsh
655 7 Love stories. $2 gsafd
700 1
May, Nadia.
94
2. Remote-access non-music sound recording
Type: i ELvl: I Srce: d Audn: g
Ctrl:
Lang: eng
BLvl: m Form: s Comp: nn AccM:
MRec:
Ctry: nyu
Desc: a FMus: n LTxt: f DtSt: s
Dates: 2000,
040
XXX $c XXX
006
[m g h
]
007
s $b z $d z $e u $f n $g n $h n $i n $m e $n u
007
c $b r $d n $e n $f a $g nnn
090
049
UPMM
100 1
King, Stephen, $d 1947245 10 Blood and smoke $h [electronic resource] / $c [written and narrated by] Stephen King.
256
Electronic data.
260
[New York, NY] : $b Simon & Schuster Audio ; $a Wayne, NJ : $b Distributed by Audible, $c p2000.
500
Spoken audio file that can be streamed from the Audible.com website or downloaded and listened to
from a desktop computer or portable audio device.
538
System requirements for PC: Pentium processor or higher; 32MB RAM; 25MB hard disk space for full
installation and content files; Windows 95 or later, or Windows NT 4.0 Workstation or Server with Service Pack 3;
audio card and speakers; VGA graphics card or compatible at 256 color or higher; Windows Media Player and the
WMP Filter for Audible, or RealPlayer or AudiblePlayer 3.0; AudibleManager (for transfer to portable devices);
RioPort Audio Manager software (for transfer to Rio player); 28.8 kbps or higher modem (56 kbps or alternate
method of Internet connection recommended); free serial, parallel or USB (1.0 compliant) port (for transfer to
portable devices); Internet and email access.
538
System requirements for Macintosh: Real Player.
538
System requirements for pocket PC: 500KB of free storage space for application files; at least 4MB of
extra storage space for audio content files; Windows CE 2.0; AudiblePlayer; for synchronization between the
Ps/PC and the desktop computer, ActiveSync 3.0+; stereo headphone jack and headphones.
538
Mode of access: World Wide Web.
95
2. Remote-access non-music sound recording
(Cont.)
500
Title from Audible.com website.
511 0
Read by the author.
500
Unabridged.
516
Available in multiple electronic file formats.
500
Duration: 3:00:00.
530
Issued also as digital sound discs and sound cassettes.
520
"Stephen King takes us inside a world of yearning and paranoia, isolation and addiction. It is the world
of the smoker. In this audio-only collection, the now politically incorrect habit plays a key role in the fates of
three different men in three unabridged stories of unfiltered suspense." --from web page.
505 0
Lunch at the Gotham Cafe -- 1408 -- In the deathroom.
500
Description based on contents viewed Mar. 12, 2001.
650 0 Horror tales, American.
650 0 Audiobooks.
710 2
Simon & Schuster Audio (Firm) $4 pbl
710 2
Audible, Inc. $4 dst
856 42 $3 audible.com homepage $u http://www.audible.com $z Click for homepage, then search for title to
obtain access options.
96
3. Direct-access music sound recording
Type: j ELvl: I Srce: d Audn:
Ctrl:
Lang: N/A
BLvl: m Form:
Comp: zz AccM: f
MRec:
Ctry: cau
Desc: a FMus: n LTxt:
DtSt: s
Dates: 200u,
040
XXX $c XXX
006
[m
i
]
007
s $b d $d f $e s $f n $g g $h n $i n $n d
007
c $b o $d n $e g $f a $g nnn $h a $k d
028 02 045961437997-49616 $b mp3.com
090
049
UPMM
100 1
McKinley, William Thomas, $d 1938245 10 Selected works. $n volume II $h [sound recording] / $c William Thomas McKinley.
260
San Diego, CA : $b mp3.com, $c [2000]
300
1 sound disc : $b digital ; $c 4 3/4 in.
538
System requirements: MP3 player.
511 0
The Seattle Symphony Orchestra ; the New York Chamber Symphony ; Gerard Schwarz, conductor ;
Andrew Kohji Taylor, violin (2nd work) ; Richard Stoltzman, clarinet ; William Thomas McKinley, piano (3rd
work).
500
Compact disc.
500
Includes multimedia section containing photos, artists info., lyrics and MP3s.
500
Biographical notes inserted in container.
505 0
Flyin' home -- Tango for violin and orchestra -- Intermezzo for violin and orchestra -- Dance for violin
and orchestra -- Goin' home on a theme of A. Dvorak.
650 0 Violin with orchestra.
650 0 Orchestral music.
700 1
Schwarz, Gerard, $d 1947- $4 cnd
700 1
Kohji Taylor, Andrew. $4 prf
700 1
Stoltzman, Richard. $4 prf
700 12 McKinley, William Thomas, $d 1938- $t Works. $k Selections.
710 2
Seattle Symphony Orchestra. $4 prf
97
710 2
New York Chamber Symphony. $4 prf
4. Remote-access music sound recording
(Multiple files)
Type: j ELvl: I Srce: d Audn:
Ctrl:
Lang: N/A
BLvl: m Form: s Comp: mu AccM:
MRec:
Ctry: xxu
Desc: a FMus: n LTxt:
DtSt: s
Dates: 2000,
040
XXX $c XXX
006
[m
i
]
007
s $b z $d z $e u $f n $g n $h n $i n $j n $m e $n d
007
c $b r $d n $e n $f a $g nnn $h a $k d
047
df $a pr $a su
090
049
UPMM
245 04 The art of the guitar $h [electronic resource] / $c Andrés Segovia and John Williams.
256
Electronic data (19 files)
260
[S. l.] : $b Bescol Records : $b eMusic.com, Inc. [distributor], $c [2000]
538
Mode of access: World Wide Web.
538
System requirements: personal computer ; MP3 player.
500
Title from eMusic.com web site.
500
All works originally composed by Johann Sebastian Bach, and arr. for guitar by Andrés Segovia and John
Williams.
511 0
Andrés Segovia, John Williams, guitars.
505 0
Suite no. 1 in G major (2.3, 3.5, 2.9, 3.2, 3, 1.8 MB) -- Suite no. 3 in C major (3.8, 3.9, 3.3, 3.9, 4, 3.5 MB)
– Partita no. 3 in E major, BWV 1006. Gavotte on rondeau (2.7 MB) -- Partita no. 2 in D major, BWV 1004.
Chaconne (11.3 MB) -- Suite no. 6 in D major, BWV 1012. Gavottes I & II (3.5 MB) -- Lute suite in E minor, BWV
996. Sarabande (3.1 MB) ; Bourree (1.4 MB) -- Prelude in C minor, BWV 999 (1.1 MB) -- Suite no. 6 in C major,
BWV 1009. Courante (2.5 MB).
500
Description based on contents viewed Feb. 9, 2001.
98
4. Remote-access music sound recording
(Multiple files – Cont.)
650 0
Guitar music, Arranged.
650 0
Suites (Guitar), Arranged.
650 0
Suites (Lute)
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m violoncello, $n BWV 1007, $r G major; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m violoncello, $n BWV 1009, $r C major; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Sonaten und Partiten, $m violin, $n BWV 1001-1006. $p
Partita, $n no. 3.
$p Gavotte en rondeau; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Sonaten und Partiten, $m violin, $n BWV 1001-1006. $p
Partita, $n no. 2.
$p Chaconne; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m violoncello, $n BWV 1012, $r D major. $p Gavotte,
$n no. 1; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m violoncello, $n BWV 1012, $r D major. $p Gavotte,
$n no. 2; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m lute, $n BWV 996, $r E minor. $p Sarabande; $o
arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m lute, $n BWV 996, $r E minor. $p Bourrée; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Preludes, $m lute, $n BWV 999, $r C minor; $o arr.
700 12 Bach, Johann Sebastian, $d 1685-1750. $t Suites, $m violoncello, $n BWV 1009, $r C major. $p
Courante; $o arr.
700 1
Segovia, Andrés, $d 1893700 1
Williams, John, $d 1941856 40 $u http://www.libraries.psu.edu/audio/music/art%5Fof%5Fthe%5Fguitar.html
99
5. Remote-access music sound recording
(Single file)
Type: j ELvl: I Srce: d Audn:
Ctrl:
Lang: N/A
BLvl: m Form: s Comp: zz AccM:
MRec:
Ctry: xxu
Desc: a FMus: n LTxt:
DtSt: s
Dates: 2000,
040
XXX $c XXX
006
[m
i
]
007
s $b z $d z $e u $f n $g n $h n $i n $j n $m e $n d
007
c $b r $d n $e n $f a $g nnn $h a $k d
090
049
UPMM
100 1
Schoenberg, Arnold, $d 1874-1951.
240 10 Stücke, $m piano, $n op. 33a
245 10 Klavierstuck, op.33a (1928) $h [electronic resource] / $c Schonberg.
256
Electronic data (1 file, 5.2 MB)
260
[S.l.] $b Concord (Concerto) : $b eMusic.com, Inc. [distributor], $c [2000]
538
Mode of access: World Wide Web.
538
System requirements: personal computer ; MP3 player.
500
Title from ID3v2 tag.
511 0
Grete Sultan, piano.
590
With: Two nocturnes, op.32, no.1 in B major ; Four mazurkas, op.6, no.2 in C-sharp minor / Chopin -Sonata in E flat, op. 18. Allegro, ma non troppo / Richard Strauss -- Romantic pieces, op. 75. Allegro maestoso /
Antonin Dvorak -- Polka from the age of gold / Shostakovich -- Marche Hongroise from the damnation of Faust /
Berlioz -- Hora staccato / Dinicu ; Heifetz -- William Tell overture / Rossini -- October from the seasons op.37b,
no.10 / Tchaikovsky.
500
Description based on contents viewed Jan. 17, 2001.
650 0
Piano music.
700 1
Sultan, Grete. $4 prf
856 40 $u http://www.libraries.psu.edu/audio/music/
schonberg%5Fklavierstuck%5Fop%5F33a%5F(1928).mp3
100
Resources

Archives of [email protected], 2002. <http://listserv.indiana.edu/archives/mla-

[email protected], 2002.









l.html> [Accessed September 1, 2002].
<http://listserv.acsu.buffalo.edu/archives/autocat.html> [Accessed September 1, 2002].
Gorman, Michael and Winkler, Paul W., eds., Anglo-American Cataloguing Rules, 2nd ed.,
1998 revision with Amendments 1999 & 2001. Chicago: American Library Association,
2001.
Koth, Michelle, and Margaret Kaus. Sound recording cataloging [handout], 1998
<http://ublib.buffalo.edu/libraries/units/cts/olac/conferences/1998/kaus-koth.pdf>
Library of Congress Network Development and MARC Standards Office. MARC Standards,
2002. <http://www.loc.gov/marc/marc.html> [Accessed September 1, 2002].
OCLC. Bibliographic Formats and Standards, 3rd ed., 2002.
<http://www.oclc.org/bibformats/> [Accessed: September 1, 2002].
[email protected], 2002.
<http://listserv.acsu.buffalo.edu/archives/olac-list.html> [Accessed: September 1, 2002].
Olson, Nancy B. Cataloging of Audiovisual Materials and Other Special Materials: A Manual
Based on AACR2, 4th ed. Dekalb, Ill.: Minnesota Scholarly Press, 1998.
Roe, Sandra K., ed. The Audiovisual Cataloging Current. Binghamton, N.Y.: Haworth Press,
2001.
Smiraglia, Richard P. Describing Music Materials: A Manual for Descriptive Cataloging of
Printed and Recorded Music, Music Videos, and Archival Music Collections, 3rd ed. Lake
Crystal, Minn.: Soldier Creek Press, 1997.
Weitz, Jay. Music Coding and Tagging: MARC Content Designation for Scores and Sound
Recordings. Lake Crystal, Minn.: Soldier Creek Press, 1990.
101