Transcript lis512 lecture 4

lis512 sound recordings
origin and purpose
• I have taken some slides from arguably the
finest cataloging teacher of the early 21st
century, Rick J. Block.
• I have taken out aspects that don’t apply to
classical music much, since this is what we are
dealing here.
in koha
• koha knows about cataloging frameworks.
These a basic sets of the most useful fields
that apply to an item type.
• Unfortunately, the one for audio leaves out
the performer field. I tried to change that but
at this time it is not ready.
• We use the general framework.
one important thing
• Do not panic.
• There are various ways to do it.
• Even if you look at records from the same
catalog, you see varying practices.
AACR2 Chapter 6
• Chapter 6 covers sound recordings in all media
– discs, i.e. compact discs, vinyl, etc.
– tapes , i.e. cassettes, reel-to-reel, cartridge
– rolls, i.e. for player piano, player organ, etc.
– sound recordings on film
– wires, cylinders
• Chief source: physical item and any label(s) on
the item
Chief source of information
• If there are two or more chief sources of
information (e.g. two labels on a disc)
treat as a single chief source
• If there is a collective title on
accompanying textual material or
container, treat as chief source, but make
note indicating source of title.
• [I don’t see the point of the note.]
chief source of information, 2
• If information is not available from the
chief source, take it from the following
sources (in this order of preference)
– accompanying textual material
– container (sleeve, box, jewel case, etc.)
– other sources (publisher catalogs, etc.)
• Prefer textual data to sound data.
New Record?
• Differences that justify a new record
– Different format, size, speed (e.g. disc vs.
cassette)
– Significant difference in playing time
– Stereo. vs. mono.
– Different edition
– If in a completely different series
– Difference in Music publisher number (028)
245$a Title
• There must be a title. It can be a person’s name,
or a group’s name, e.g. eponymous album.
• Transcribe the title from the item in hand.
• If single title with no subtitle, title goes in $a.
• For classical works: $a is that part of title that
identifies the work, $b is remainder
• May have one title or more than one title in the
245. May have subtitle.
245$h General material designation
•
•
•
•
GMD is [sound recording]
Follows title in $a
No punctuation precedes left bracket
Example: 245 00 $a Symphony no. 39 in Eflat, K. 543 $h [sound recording]
245 $b Subtitle
• Follows GMD
• Preceded by ‘ :’ as in 245$a Imaginary
landscapes $h [sound recording] : $b new
electronic music.
• If multiple titles are in 245 and there is only
one composer, put remaining titles in $b.
Precede each title with a space ; space.
• 245 10 $a Riders to the sea $h [sound
recording] ; $b Household music ; Flos campi /
$c Vaughan Williams
245$c statement of responsibility, 1
• If the participation of the person(s) or body
(bodies) named in a statement found in the
chief source of information goes beyond that
of performance, execution, or interpretation
of a work (as is commonly the case with
“popular,” rock, and jazz music), give such a
statement as a statement of responsibility.
245$c statement of responsibility, 2
• If the participation is confined to
performance, execution, or interpretation, as
is usually the case with serious or classical
music and recorded speech, give the
statement in the note area.
• If multiple there are titles with multiple
composers, statement of responsibility follows
title to which it applies. Next title and
statement of responsibility go in $c.
245$c statement of responsibility, 3
• This is most appropriate if there is one piece
that can be considered the main piece. It
often (but not always) comes first.
• 245 10 $a Missa brevis|h[sound recording] ;
$b Laudes organi / $c Kodály. Mass in E flat /
Janácek.
• You can also use a 501$a “with note” in the
same format, omitting the GMD.
740 analytical title
• This can titles that are contained within the
unit, as opposed to those that refer to unit as
a whole.
• So, for a collection lacking a collective title,
use 740s for the titles in the 245 field
subsequent to the first title.
• 740 02 $a Household music
• 740 02 $a Flos campi
260$a Place of Publication
• Sound recordings often lack a place of
publication. If the place of publication is not
indicated the cataloger should supply it with
square brackets, adding a question mark to
indicate uncertainty. If the actual place is
unknown the county of publication can be
supplied in square brackets. As a last resort,
the abbreviation [S.l.] (for sine loco) should be
used.
260$b publisher
• Sound recordings often list several similar
names. These names could be a publisher, a
trade name or a series.
• If a name appears in conjunction with the
serial number it is a trade name, give this
name as the publisher
• Use the smaller label name, rather than a
larger corporation. Hint: look for a logo.
• Example:
– On item: “Rhino p1992 Atlantic Recording Corp.”
– 260$b Rhino
recording series
• Be very careful with series for sound
recordings. Often they are used for sales
gimmicks and only appear on the container
and usually in smaller typeface from that used
for other information. Consult a series
authority file for decisions on these. If it is not
an established series the information can be
given in a quoted note.
Dates on Compact Discs
• You rarely find a date of publication.
– Copyright date (since 1971):
– P is copyright of sound
• C is copyright of printed material
• If you have a c date, use it to surmise a
publication date. Never use a c date (e.g.,
c2002) for a CD.
date detection, 1
• Dates from the chief source (recording
and label) are usually the most
important
• Dates to keep in mind
– LPs first available in 1948
– Pre-recorded reel-to-reel first available in
1954
– Pre-recorded audio cassettes first available
in 1965
– Audio compact discs first available in 1982
dates detection, 2
• Since 1971 the symbol P has been used
to indicate the copyright date of
recorded sound. Various  dates might
also be present indicating copyright
protection for the work performed or for
accompanying material, etc.
• When a single P date is present it should
be transcribed as the date of copyright of
the recorded sound.
dates detection, 3
• When various P dates appear on a single
recording, the cataloger must determine if
they represent a reissue. If that is the case,
the latest P date should be transcribed.
• If various P dates represent different parts of
the recording, no P date should be
transcribed, because none applies to the
recording as a whole.
dates detection, 4
• For items lacking a P date, a  before 1971
should be transcribed as the copyright date.
• For items lacking a P date, a  after 1970
should be transcribed as an inferred date of
publication.
• For digitally remastered analog recordings that
have been released on compact disc, the 
date for textual material on the container may
be used to infer the date of publication, but
the P date should also be transcribed.
date detective work
• For items lacking a P date and a  date the
cataloger may estimate a date of release.
Usually a recent recording is released within
one year of the date it is recorded, but this is
not always accurate.
Example 1
• item in hand
– On disc: The Oscar Peterson Big 6 at Montreux
p1975
– On insert: p1975 and c1997, Recorded July 16,
1975 … Remastering, 1997 ….
• In catalog: 260$c[1997], p1975
explanation of example 1
• You have come up a publication date for the
CD, surmised from the copyright date of the
printed material accompanying the disc.
• Because the publication date is cataloger
supplied (i.e., not stated on the item as a
publication date), it appears in brackets.
• Date of copyright (p1975) is allowed under
optional addition.
Example 2
• On disc: A sign of the times / Ted Farlow
p1977, an nothing else.
• At first 260$c [1992?], p1977, where 1992
surmised from date record was input on OCLC.
In brackets, because supplied by cataloger.
• Later, after finding a description on the web,
change to 260$c [1992], p1977.
246 variant title
• Use 246 for titles that apply to item as a
whole, e.g.,portion of title, subtitle,
parallel title,title on the container
• Example
– 245$a Imaginary landscapes Sh[sound
recording] : $b new electronic music.
– 246$a New electronic music
300 Physical Description rules, 1
• Record the number of physical units of a
sound recording by giving the number of parts
in arabic numbers and one of the following
terms as appropriate
– sound cartridge
– sound cassette
– sound disc
– sound tape reel
– sound track film
– sound disc cartridge (added per CSB no. 92, spring
2001)
physical description rules, 2
• For individual works with a collective title,
durations are given in the contents note
505$a.
• For individual works without a collective title,
durations are given in a 500 note.
– 500 $a Durations: 22 min. ; 25 min. ; 11 min.
physical description rules, 3
• As a statement of physical details of the
recording give the following, as appropriate, in
this order
– type of recording
– playing speed
– groove characteristic (analog discs)
• The latter can be omitted if they are obvious.
physical description rules, 4
• Give the duration in parentheses after the
specific material designation only when the
recording contains a single work (composition
that is a single unit intended for performance as
a whole).
• In 300 use form xx min., xx sec.
• Precede duration by ca. only when the item
itself gives an approximation.
• If the duration is not stated do not approximate.
300 Physical Description
•
Compact disc:
–
–
•
•
300$a 1 sound disc (67 min., 30 sec.) : $b digital,
stereo. ; $c 4 ¾ in.
300$a 4 sound discs : $b digital ; $c 4 ¾ in.
Use stereo. (or mono.) only if indicated on
item.
LoC uses duration here only if there is one
work on the CD (e.g., an opera) and the
duration is given.
300 Physical Description
• Do not give the playing speed if it is standard
for the type of item (e.g. 1 7/8 in. per second
for an analog tape cassette)
• As for dimensions, give the diameter of a disc
in inches
– 300$a 1 sound disc : $b analog, 33 1/3 rpm,
stereo. ; $c 12 in.
– 300$a 1 sound disc (33 min.) : $b digital, stereo. ;
$c 4 ¾ in.
– 300$a 1 sound cassette (85 min.) : $b analog
physical description of compact disk
•
•
•
•
300$a 1 sound disc (67 min., 30 sec.) : $b
digital, stereo. ; $c 4 ¾ in.
300$a 4 sound discs : $b digital ; $c 4 ¾ in.
Use stereo. (or mono.) only if indicated on
item.
LC uses duration here only if there is one
work on the CD (e.g., an opera) and the
duration is given.
300 of cassette tapes
•
Examples
–
–
$a 1 sound cassette (29 min.) : $b analog, Dolby
processed.
$a 2 sound cassettes : $b analog.
• If standard size, size is not included.
300$e accompanying material
• Here you can describe accompanying material
that comes with the sound records
– 300$e with liner notes in English, French and
German.
– 300$a with a comment by Derek Cook.
306 playing time
• Use 306$a to enter the duration of a sound
recording.
• Use six character positions in $a, of the form
hhmmss, where hh is the number of hours, mm
the number of minutes and ss the number of
seconds.
More on durations
• Enter one hour (exactly) as 60 minutes.
• Enter one minute exactly as 60 seconds.
• Enter any duration more than an hour in
terms of hours, minutes, and seconds.
• Enter any duration more than one minute and
less than one hour in terms of minutes and
seconds.
duration of several works
• If a sound recording or score has two or more
pieces, enter the duration for each piece in a
separate $a.
• Thus an example with two works would be
– 306$a 003700 306$a 001050
Example
• On disc:
– Wes bound / Lee Ritenour (p) & (c) 1993
• In catalog:
– 100 1 $a Ritenour, Lee.
– 245 10 $a Wes bound $h [sound recording] / $c
Lee Ritenour.
– 260 $a New York, NY : $b GRP Records, $c
p1993.
5?? Notes
• Notes follow the order given in AACR2; they
are not in numerical order by MARC tag.
• Most important notes for cataloging sound
recordings are included here. The complete
list is in AACR2 (6.7). I don’t have it myself.
500 for durations
• You can use field 500 to enter duration
information as a note.
• A record may have a 306 and a 500 duration
note.
500 note for re-issuing information
• You can make a general 500 for reissue
information.
• 500 $a Selections previously released.
• 500 $a Originally issued in 1964 as analog
disc on Folkways Records: FAS 2377.
500$a note an accompanying Material
• Use instead of 300 $e, or in addition to 300 $e
to convey more information.
• 500 $a Lyrics (8 p. : ports.) inserted in container.
– When counting pages of an un-numbered booklet, count
“cover” pages as pages, since they are made from the
same material as the pages themselves. Put number in
square brackets to show it is supplied by the cataloger.
– 500 $a Program notes ([16] p.) inserted in container.
500 Physical Description
• 500 $a Compact disc.
• 500 $a Durations: 17:00; 23:35; 9:00.
Compact disc note is tag 500, not tag 538.
Durations go in this note if multiple titles are
listed in 245 and no contents note is used.
500 origin of title
• Make a 500 note if you take the title from
somewhere else than the chief source of
information.
• 500$a title from container.
• 500$a title from container spine.
511 performers
• This is critical for classical music.
• Use the form name, function unless the
function is evident from the name. Separate
performers by ;
– 511$a Roy Hart, vocals ; with additional musicians.
– 511$a London Symphony Orchestra ; Sir Thomas
Beecham, conductor.
– 511$a Various performers.
– 511$a Maria Callas, soprano ; Thomas Krichel, flushing
toilet.
$518 event note
• Use this note to write down information about
the recording
– 518 $a Recorded Jan 2, March 23, 23 and 25,
April 26 1961 at Kingsway Hall, London.
546$a language
• You can make a note about the language if it is
not obvious, e.g. Beehoven’s 9th symphony
sung in Chinese
– 546$a sung in Chinese
– 546$a libretto in French and Italian
520$a summary
• Use for spoken-word recordings; not used for
music recordings.
• 520 $a Receiving the Melcher Book Award,
Toni Morrison talks about her novel, Beloved.
505$a contents
• Here are some forms of contents notes
–
–
–
–
–
505 0 $a title – title.
505 0 $a title / composer – title / pomposer.
505 0 $a title (performer) – title (performer).
505 0 $a title (duration) – Title (duration).
505 0 $a title / composer (performer) (duration) -Title / Composer (performer) (duration).
• This is fabulous since you are spoilt for choice!
Type of Date/Publication Status
(DtSt)
•
•
•
•
Most likely one of these:
s = Single date.
p = Date of publication and date of recording.
r = Reissue date and original date (only if all
works were previously issued).
• t = Publication date and copyright date.
028 publisher number
• It is as important for sound recordings as an
ISBN is for books.
• Subfield $a is the number (include letter
prefixes if present). It comes first.
• Subfield $b is the label name. It comes
second.
033 Date/Time
• If you are a coding fetishist, you can codes
information from 518 in 033. This field can be
repeated.
• $a has a time yymmddhhss+-hhmm, where
the +- is an indicator of the difference from
UTC. Always use 24 hour clock
• $b gives the county, with a number from LoC
G schedule
033 date time
• $c has Cutter for the city.
• Last digit of $b changes, depending on
whether $c is present or not.
• If he first indicator ‘ ‘  no date info (i.e., no
$a). 1  “multiple single dates; two
consecutive dates”, 2  “range of dates”.
• Only for the serious coding fetishist.
033 Examples
• 033 00 $a 19930123 $b4282 $cS4
• 518 $a Recorded Jan. 23, 1993 at Meany
Theater, University of Washington, Seattle
• 033 10 $a 20010225 $a20010613 $a20010614
$b5754 $cL7
• 518 Recorded Feb. 25, 2001 (2nd work) and
June 13-14, 2001 (1st work) at Air Studios,
Lyndhurst Hall, Hampstead, London