Transcript Basic Sound Recordings Cataloging Workshop

Basic Sound Recordings
Cataloging Workshop
OLAC/MOUG 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
• choice of entry
• added entries
Basic Documents Used
• AACR2, 2002 Revision
• Library of Congress Rule Interpretations
– Former Music Cataloging Decisions are now either
subsumed in LCRI’s or cancelled.
• MARC21 Format for Bibliographic Data
– Through Update 8 (Oct. 2007):
– http://www.loc.gov/marc/bibliographic/ecbdhom
e.html
• OCLC Bibliographic Formats & Standards
Sources of Information
• Chief source of information for CD—”label”
– Leftover terminology from vinyl era
– Take it to mean the data printed on the CD face
• Other sources of information
– Container—includes anything that can be seen
through a jewel case (including cover of booklet)
and boxes or cardboard sleeves.
– Accompanying textual material (insert)
Choosing the Title to Record
• Collective title—the Holy Grail
– If the label doesn’t bear one and someplace else
in the resource does, use that location as the chief
source (6.0B1).
– Specify source of title if not taken from label
Choosing the Title to Record
• Collective title that isn’t
– A title on the container or accompanying
material that names two works of same
type (e.g. sonata, symphony) by one
composer whose title is that of type plus
one or more identifying elements (serial
no., opus no., thematic index no., key) (LCRI
6.0B1)
• Symphonies nos. 88 and 104 (London)
• Sonatas no. 4, op. 7 and no. 11, op. 22
Choosing the Title to Record
• Collective title that is
– Title on container or in accompanying
materials that is name of type alone or with
medium of performance (LCRI 6.01B)
• The violin concertos / Beethoven.
• Les deux sonates pour violoncello et piano /
Brahms
Transcribing the Title
• Be ready to go back to Chapter 1 for general
instructions
• Special situations for CDs
– A name that is presented as the title proper
– Title is that of a musical work—see 5.1B and next
slide
Transcribing Titles of Musical Works
• What is the title proper?
• 5.1B1—”generic” vs. “distinctive” titles
– “Type of composition”
– Defined (sort of) in AACR2 25.27A1,
footnote 9
• Form
• Genre
• “Generic term used frequently by different
composers” (standard combinations of
performers, names of some liturgical texts,
tempo/expression markings)
Identifying the Title Proper
• Process:
– Identifying “title proper fodder”
– Crossing terms from the 5.1B1 list out
(medium of performance, key, date of
composition, and/or numbering)
– Evaluating what’s left (“omissions testing”)
• Name of one or more types of composition:
add back the deleted stuff (but see LCRI 5.1B1)
• Something else: treat the deleted stuff as other
title information
Omissions Testing
• Sonata no. 3, A minor, opus 28 (1907/1917)
for piano
• Sonata no. 3, A minor, opus 28 (1907/1917)
• Sonata no. 3, opus 28 (1907/1917)
• Sonata no. 3, opus 28
• Sonata
• Sonata no. 3, A minor, opus 28 (1907/1917)
for piano
Omissions testing
•
•
•
•
•
Slavonic rhapsody in G minor, op. 45, no. 2
Slavonic rhapsody, op. 45, no. 2
Slavonic rhapsody
Slavonic rhapsody : in G minor : op. 45, no. 2
Generic vs. distinctive titles help:
http://www.library.yale.edu/cataloging/music
/types.htm
Transcribing Titles of Musical Works
• Other considerations
– Parallel titles, especially partial parallel titles (see LCRI
5.1B1)
– Serial numbers associated with distinctive titles.
– Part titles and/or numbering
• Statements of responsibility in title area
– Emphasis on creators of intellectual content of
resource (i.e. the plays, musical compositions,
collector of field material)
– Performers have to “go beyond” (6.1F1)
Items Without a Collective Title
• AACR2—either describe item as a unit, or
prepare separate descriptions for each
separately titled part (6.1G1)
• OCLC—same, with preference for description
as a unit
• LC—description as a unit
• Follow rules in 1.1G3 for transcription
GMD Placement
• Current standard—[sound recording]
• Placement—immediately following title
proper (MARC 245 $a)
• Change in coding for non-collective titles
Publication Area
• Place of publication
• Label name vs. publisher vs. series
• Distributors
•
•
•
•
•
•
•
•
010 n 98027522
040 DLC ǂb eng ǂc DLC ǂd DLC ǂd IAhCCS
130 0 Masterworks
430 0 Columbia Masterworks
430 0 Columbia Master Works
430 0 CBS Records Masterworks
643 United States ǂb Columbia Masterworks
667 Transcribe "Masterworks" as part of the label name
Columbia Masterworks, when present; otherwise ignore.
• 670 Checkmate, 1951?: ǂb labels (Columbia Masterworks)
• 670 Spirate pur, spirate, 19-- : ǂb label (Columbia; Master
Works)
• 670 Perahia plays Schumann, 1987: ǂb label (CBS Records
Masterworks)
Series Fixed Field = c (Series-like phrase)
Dates
• Basic dates
– Publication date(s) (rarely)
– Copyright date(s) (usually)
– Recording dates (sometimes)
• Richard Smiraglia, Describing Music Materials: A
Manual For Descriptive Cataloging of Printed and
Recorded Music, Music Videos, and Archival Music
Collections for Use with AACR2 and APPM. 3rd ed., rev.
and enl. with the assistance of Taras Pavlovsky. Lake
Crystal, MN: Soldier Creek Press, 1997.
Dates
• Other sorts of dates
– Reissues
– Various formats
– Composition
Dates in the Fixed Fields
• Order of precedence when multiple
conditions apply
• Change in practice for treatment of
questionable dates (DtSt “q”)
– Old: 260 $c [198-] = DtSt q; Dates 1980 ,1989
– New: 260 $c [198-] = DtSt s; Dates 198u,[blanks]
– Old: 260 $c [199-], p1986 = DtSt q; Dates
1990,1999
– New: 260 $c [199-], p1986 = DtSt t; Dates
199u,1986
Numbers
• Issue numbers (“label numbers”)
– For a set
– For individual discs
– Variant forms, truncated forms
– Reissues
Numbers
• Other standard numbers
– Universal Product Code
– International Article Number
– ISBN or ISSN (very rare)
– GTIN-14
• Numbers to take or leave (usually leave)
– DIDP/DIDC/DIDX/DIDZ/DIDY prefixes
– EMI geography-based numbers
– “LC numbers”
Performers
• Generally transcribed from chief source if
found there
• 245 $c, 511 field or as part of contents note
• Order of presentation
• What about producers?
– Mention?
– 508 or 500?
Some Notes About Notes
•
•
•
•
•
Issue numbers the 1st note
“Compact disc”
Language note--546 vs. 500.
505 contents notes
Useful source (if you can find it):
– Hartsock, Ralph. Notes for Music Catalogers:
Examples Illustrating AACR2 in the Online
Bibliographic Record. Lake Crystal, MN: Soldier
Creek Press, 1994.
Choice of Entry
• Nearly all sound recordings are works of
mixed responsibility … BUT
• Special rules for sound recordings (21.23)
• The concept of “principal performer”
– Prominence in the chief source of information
– “Rule of three”
– Ensembles—who’s in, who’s out
– Name of person plus group—what to do?
• See main entry flow chart
Choice of Entry
• One work—
– entry under heading for the work
– added entries as pertain to the work
– principal-performer added entries as
appropriate (21.23A1)
• Two or more works by the same
person(s)/body (bodies)
– Entry under the heading for the works
– Added entries as before
– Two works—heading for 1st the main entry
Choice of Entry
• Works by different person(s)/body
(bodies)—collective title
– Enter under principal performer (or first of
two or three)
– More than three principal performers/no
principal performer—enter under title
– Added entries per AACR2 21.23C1
(performers) and LCRI 21.7B, section on
sound recordings (works)
Choice of Entry
• Works by different person(s)/body
(bodies)—no collective title
– Does the performer(s) “go beyond?”
• Yes—entry under principal performer
• No—entry under 1st work
– Added entries per AACR2 21.23D1
(performers) and LCRI 21.7C, section on
sound recordings (works)
Added Entries
• Performers
– AACR2—resrictive
– LC guidelines—less restrictive
– Agency needs may exceed AACR2 or LCRI
– Relator codes
Added Entries
• Works
– Contributors
– Uncontrolled—analytical titles from 245
field, variants, contents note
– Controlled—analytical added entries
• AACR2 vs. LCRI (21.7B1, 21.7C1, 21.30M)
• Categories of sound recordings excluded (LCRI
21.7B1)
– Related works
– Series
Some Miscellaneous Stuff
• Lng fixed field—code properly
• 007—highly recommend coding it
– “Subfield n”—don’t confuse playback with
capture
• Analytical added entries—2nd indicator
“2”
Questions?
Mark Scharff, Music Cataloger
Gaylord Music Library, Washington University in
St. Louis
[email protected]
URLS Mentioned Re: Numbers
Keith Hirsch posting on the Sony pressing nos.:
http://www.keithhirsch.com/japan-for-us-amcds-with-didx-and-didz-numbers
Posting on EMI numbers:
http://forums.musicbrainz.org/viewtopic.php
?id=665 (look for posting #12)