Transcript MOBIUS 2013--Music Numbersx

Mark Scharff, Gaylord Music Library
Washington University in St. Louis
2013 MOBIUS Annual Conference
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Understand what sorts of numbers printed
music and sound recordings bear and which
ones matter
Recognize analogous numbers found in
books
Know how to record such numbers to satisfy
user needs and machine manipulation
Learn how to identify and record dates of
publication, copyright, manufacture, etc. for
printed music and sound recordings
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We don’t have time to cover every situation
We may skip over stuff—it’s here for you to
look at later
This is my read of the instructions—mileage
varies
Things you see in OCLC records reflect many
layers of rules and LC practices
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Types for printed music:
◦
◦
◦
◦
Plate numbers
Publisher’s numbers
Distributor’s numbers
Standard numbers
 ISBN
 ISMN
 UPC/EAN (now IAN)
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Any of these can be found in books from
music publishers
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Original purposes
◦ Inventory control
◦ Publication sequence (sort of)
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Every/most pages of music
Usually at the bottom of each page
Additional elements
◦ Initials/name of publisher
◦ Numeric suffix
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Relation of plate number to publisher
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Referring here to different publishers
“Reprinted from XXXX plates”
New publisher may or may not retain the
numbers in the new publication
New publisher may or may not add its own
numbers
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Generally a number used by customers for
ordering
Might be same as plate number
Usually appears once in the item
“Edition” statements
“Series” statements
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Associated with a distributor
Often on a back cover or a label
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ISBN
International Standard Music Numbers (ISMN)
◦ More common in European publications
◦ Change in format
 Early—”M” numbers
 Most common current—”Musicland” numbers
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Price codes
◦ UPC—12 digits
◦ EAN/IAN—13 digits
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Need to satisfy description and indexing
Varying conventions over time
◦ Recorded as part of imprint (MARC 260 $d)
◦ Sometimes ignored
◦ Modifications to “take what you see”
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AACR2—numbers are recorded in notes
RDA—numbers are data elements
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Instructions themselves relatively similar, but
…
◦ AACR2: plate and publisher’s numbers described in
single rule (5.7B19)
◦ RDA: plate number and publisher’s number are
distinct data elements (2.15.2, 2.15.3)
◦ AACR2: give letters preceding or following numbers
only once when recording a sequence of numbers,
unless number has both leading and trailing letters
◦ RDA: give all preceding or following letters in each
number recorded (2.15.2.3, 2.15.3.3)
◦ AACR2: instructions do not specify including name
of publisher, issuing agency, etc. with number.
◦ RDA: general instructions for manifestation
identifiers specify giving trade name or agency
responsible for assigning the identifier in front of
number (2.15.1.4)
◦ AACR2: numbers are recorded in a note
◦ RDA: numbers are recorded as data elements; no
provision in RDAMARC mappings for a note on
identifiers.
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LCRI for 5.7B19: stipulates removal of some
preceding designations to isolate number (e.g.
“no.,” “Ed. Nr.,” etc.)
RDA: could be interpreted as doing the same
(specifies recording abbreviation, word, or phrase
identifying a publisher)
AACR2: allows for ranges of numbers to be
given, including first/last when numbers are
non-consecutive
RDA: same, but LC-PCC PS for the Alternative to
2.15.1.5 stipulates giving identifiers singly.
RDA: allows qualifiers to specify the part of a
resource represented by the identifier
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ISBN—020
UPC, EAN, ISMN—024
Plate, publisher’s, distributor’s numbers—
028, sometimes 500
020
9781603783729
024 1
884088588779
028 50
02501695 ǂb Hal Leonard
...
[New York, N.Y.] : ǂb Cherry Lane Music Co. ;
ǂa Milwaukee, WI : ǂb Exclusively distributed
by Hal Leonard, ǂc c2012.
…
500
Distributor's no.: 02501695.
024 2
024 3
M014016760
9790014016760
028 22
U.E. 10 874 ǂb Universal-Edition
028 22
23 731 HL ǂb Henry Lemoine
028 22
M. 18304 G. ǂb Gos. muzykalʹnoe izd-vo
028 22
30755 ǂb C.F. Peters
028 22
30 ǂb T.H. Henning
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028’s dual function
◦ Indexing mechanism
◦ Note generation (cataloger’s option)
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Considerations pointing to using 028 and
500 fields
◦
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How many numbers
Non-consecutive numbers
Distributor’s numbers
“Embedded” numbers
Old numbers, new publisher
028 30
…
260
…
500
8973 ǂb C.F. Peters
Frankfurt/M ; ǂa New York : ǂb C.F.
Peters, ǂc c1998.
Publisher's no.: Edition Peters Nr. 8973.
028 20
028 22
…
260
…
500
R.D. 7538 ǂb R. Deiss
E.A.S. 14, 914 ǂb Salabert
Paris : ǂb Salabert, ǂc[194-?], c1937.
Reprinted from R. Deiss plates. Pl.
no.: R.D. 7538
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Make allowances for presence/absence of
numbers in OCLC copy
Be mindful of OCLC input standards for
numbers to allow full indexing
III does not have the indexing sophistication
of OCLC
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Music publishers who assign plate or
publisher’s numbers to scores and analogous
numbers to books that they publish
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028, first indicator 5, not 3
MARC21, 028, first indicator “3”:
◦ “Other music number--Other than an issue, matrix,
or plate number.”
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MARC21, 028, first indicator “5”:
◦ “Other publisher number--Other than any of the
other defined values (i.e., it is not a publisher
number for a sound recording, music, or a
videorecording).”
028 52
028 52
ED 20766 ǂb Schott
BSS 53636 ǂb Schott
028 52
Ed. 46047c ǂb G, Schirmer
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Numbers for sound recordings that matter
◦ Issue number (“label”)
 Individual discs
 Collective (“album”)
◦ Matrix number (principally 78s, LPs)
◦ Standard numbers
 UPC/IAN
 ISBN (!)
 GTIN-14
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Numbers that don’t matter (for most of us)
◦ DIDP/DIDC/DIDX/DIDZ/DIDY prefixes
◦ EMI geography-based numbers
◦ “LC numbers”
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Relationship to item in hand
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First release
Reissue by same company
Issue/Reissue in different format
Reissue by different entity (e.g. record clubs)
Pros and cons of drawing relationships
028 vs. notes
024
024
028
028
028
028
028
11
11
00
00
00
00
00
077776336053
ǂz 7777633602
CMS 7 63360 2 ǂb EMI
CDM 7 63361 2 ǂb EMI
CDM 7 63362 2 ǂb EMI
CDM 7 63363 2 ǂb EMI
CDMC 63360 ǂb EMI
500
EMI: CMS 7 63360 2 (CDM 7 63361
2--CDM 7 63363 2); CDMC 63360 (USA).
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Global Trade Item Number
◦ Actually the name of a family of numbers that
includes the UPC and EAN/IAN
◦ In cataloging context, this is what is known as
GTIN-14
◦ MVS has never seen presented on an item as such
◦ Often present in vendor records
◦ Almost always two leading zeroes
◦ MARC 024, 1st indicator “7”
Subfield 2 contains code “gtin”
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Creation of work(s)—we’ll mostly skip these
Publication
Production/manufacture
Copyright (and renewal)
Recording/broadcast/capture
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Not commonly given in printed music after
the mid-18th century
Almost never given in sound recordings
Why so uncommon? MVS thinks:
◦ Marketing
◦ Print runs
◦ Importance attached to copyright (intellectual
property)
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5.4F1.4F
Explicitly given in resource—record (1.4F2)
Not explicitly given—infer if
◦ other dates are present, but are known to differ
from date of publication (1.4F4)
◦ no other dates are present in resource (1.4F7)
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AACR2 innovation—no [n.d.]
Copyright dates recorded if
◦ Known to differ from publication date (1.4F5 and
LCRI for same; music is not “books and printed
serials”)
◦ Not known to differ from publication date and
therefore “standing in” for publication date (1.4F6)
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Copyright date caveats
◦ Copyright renewal dates (LCRI 1.4F1)
◦ Different copyright dates for different works in a
resource
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AACR2—not concerned with copyright date
when publication date is given and copyright
date is the same
RDA—Publication date and copyright date are
different data elements; still some
controversy on whether a copyright date
should be recorded in this circumstance
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DtSt
260
s
Dates
2012 ,
Los Altos, Calif. : ǂb Packard
Humanities Institute, ǂc 2008
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Copyright date present differs from
publication date
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In absence of internal or external evidence
suggesting a different date
Be sure that there is only one copyright date
involved (q.v.)
This is the most common situation for
printed music
DtSt
s
Dates
1937 ,
…
260 Wien : ǂb Universal-Edition, ǂc c1937.
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LCRI 1.4F6
1977 date refers to Copyright Act of 1976
◦ Before—renewal registration required to secure
additional copyright protection
◦ After—registration not required, longer terms
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MVS surmise—renewals before 1977 would
not be thought to represent changes in
content, and would be similar to reprints (i.e.
no need for new description)
But …
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1st item:
DtSt
s
Dates
1918 ,
260
New York : ǂb G. Schirmer, ǂc
c1918.
OR
DtSt
t
Dates
1939 , 1918
260
New York : ǂb G. Schirmer, ǂc
[1939?], c1918.
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2nd item:
DtSt
s
Dates
1945 ,
260
New York : ǂb G. Schirmer, ǂc
c1945.
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This is most common in a compilation that
contains works by different people
Also—dramatic works that have material
added or revised after initial copyright
Look for a copyright date that can be said to
pertain to the entire resource
Lacking that, see if the latest copyright date
found can be used to infer a publication date
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DtSt
260
s
Dates
1939 ,
New York : ǂb Robbins Music Corp.,
ǂc [1939?]
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AACR2 1.4F6
Relatively rare for printed music outside of
Eastern Europe (some Italian publishers, too)
When do they matter?
◦ If they accompany some change in intellectual
content or descriptive elements that call for a new
bibliographic record
◦ If they are the only date present
 First printing—inferred publication date
 Subsequent printing—record as such
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Print-on-demand challenges
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Example of printing date
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6.4F1.4F
Explicitly given in resource—record (1.4F2)
Not explicitly given—infer if
◦ other dates are present, but are known to differ
from date of publication (1.4F4)
◦ no other dates are present in resource (1.4F7)
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℗ vs. ©
◦ ℗: Phonogram copyright (recorded sound)
◦ ©: Copyright (text, artwork)
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Phonogram
◦ Any exclusively aural fixation of sounds of a
performance or of other sounds.
◦ Defined at the Rome Convention or the Protection of
Performers, Producers of Phonograms and Broadcasting
Organisations (1961)
◦ Phonogram symbol introduced in 1971—”… the notice
shall consist of the symbol ℗ (the letter P in a circle)
[and] the year of first publication of the sound recording
…” (amendment to Section 19 of the 1909 Copyright
Act)—also adopted by international treaty.
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Troubles with copyright dates
◦ ℗ dates before 1971—retrospectively assigned
◦ © dates with no ℗ dates
 Pre-1971--would pertain to packaging, text, etc.
 Post-1971—huh?
◦ Locating copyright dates—on some LPs, only
embossed into vinyl
◦ Multiple copyright dates, especially ℗
◦ Uncertainty whether ℗ date is really date of first
publication
◦ No copyright dates of any kind
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Copyright dates recorded if
◦ Known to differ from publication date (1.4F5 and
LCRI for same; sound recordings are not “books and
printed serials”)
◦ Not known to differ from publication date and
therefore “standing in” for publication date (1.4F6)
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Copyright date caveats
◦ Copyright renewal dates (LCRI 1.4F1); not common
◦ Different copyright dates for different works in a
resource (common with reissues)
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LCRI to 6.4F1—regard a © date as referring
only to text, packaging, etc.; can be basis of
inferred publication date.
Single ℗ and © dates that are the same—
record the ℗ date preceded by “p”.
Single ℗ and © dates that differ (© date is
usually later)—infer publication date from © ,
and record the ℗ date preceded by “p”.
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Multiple ℗ dates—how much of the recording
does each belong to?
◦ All pertain to the entire recording—record only the
latest one
◦ Each pertains to a different part of the recording—
use the latest date to infer a date of publication
◦ Modify above based on any © date present
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DtSt
260
p
Dates
1991 , 1974
[United States] : ǂb Philips, ǂc
[1991?]
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Example of multi-p dates for single work
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MVS doesn’t think he’s ever seen one.
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MARC field 518 (user-friendly form)
◦ Free-text
◦ Subfielded by type of data
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MARC field 033 (machine-friendly form)
033 is optional
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DtSt
033 00
033 00
033 00
260
518
p
Dates
1991 , 1974
197306-- ǂb 6299 ǂc B3
197404-- ǂb 6004 ǂc A5
198912-- ǂb 5754 ǂc L7
[United States] : ǂb Philips, ǂc [1991?]
Recorded June 1973, in
Christuskirche, Berlin (KV 345), Apr.
1974, in the Concertgebouw,
Amsterdam (KV 367), and Dec. 1989,
in Henry Wood Hall, London (KV
299b, 299c, 446).
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A core element (RDA 2.8.6), but …
RDA does not require a publication date to be
inferred (2.8.6.6); an LC-PCC PS strongly
encourages it and outlines means of doing so
using information at hand.
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General guidelines on recording dates: RDA
1.9
Operating principles generally similar to
AACR2
Inferred dates still recorded in square
brackets, signaling information taken from
outside the resource itself (RDA 2.2.4)
New ability to state “not before” or “not after”
dates (RDA 1.9.2.5)—still an inferred date
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Core-if element
Recording convention
◦ © instead of “c”
◦ “copyright” if © is not available
◦ LC-PCC PS—do not record if it has been used to
infer a publication date
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Neither RDA nor LC-PCC PS directly address
situation of different copyright dates for
works in a compilation—MVS recommends
inferring a date of publication from the latest
copyright date if no other date is available
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RDA 2.10.6.1
Core-if data element
LC-PCC PS gives guidance on how to use the
dates (to infer publication dates if no other
dates are present)
LC-PCC PS offers options for recording the
date in a manufacture statement or Note on
issue, part, or iteration used as the basis for
identification of a resource (RDA 2.20.13)
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RDA 2.8.6
Core element
As with printed music, RDA does not require
a publication date to be inferred (2.8.6.6); an
LC-PCC PS strongly encourages it and
outlines means of doing so using information
at hand.
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RDA 2.11.1
LC-PCC PS says to not record a copyright
date if it has been used to infer a publication
date
Option allows them to be recorded as notes
(RDA 2.20.10.3)
Keith Hirsch posting on the Sony pressing nos.:
http://www.keithhirsch.com/japan-for-usam-cds-with-didx-and-didz-numbers
Posting on EMI numbers:
http://forums.musicbrainz.org/viewtopic.php
?id=665 (look for posting #12)
Mark Scharff
[email protected]
Thanks!