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Cataloging Sound Recordings in RDA A pre-conference workshop for SEMLA October 10, 2013 Nashville, Tennessee.

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Presentation on theme: "Cataloging Sound Recordings in RDA A pre-conference workshop for SEMLA October 10, 2013 Nashville, Tennessee."— Presentation transcript:

1 Cataloging Sound Recordings in RDA A pre-conference workshop for SEMLA October 10, 2013 Nashville, Tennessee

2 Agenda Information – Quick introduction to RDA – Sound recording formats introduction – When to input a new record – Preferred sources of information – Description – Showing relationships Work on your own original record

3 RDA: JUST THE (VERY) BASICS

4 Based on the FRBR hierarchy of works, expressions, manifestations, and items. Work – Intellectual product Expression – Physical realization Manifestation – A particular embodiment of an expression Item – A single physical instance of a manifestation. Definitions from http://rdabasics.com/2012/08/24/theoretical- foundations/

5 WEMI for sound recordings Work: Gubaidulina, Sofia, 1931- Sonatas, double bass, piano. Expression:... as performed by Daniele Roccato (bass) and Fabrizio Ottaviucci (piano) Manifestation:... and recorded on the CD In croce (Mainz, Germany : Wergo, 2013) Item:... FSU MUS CD 23726 (bar code 31254800502946)

6 Attributes & Relationships All Works, Expressions, Manifestations, and Items are Entities in RDA. Each entity can have attributes and also relationships with other entities (such as persons, families and corporate bodies.) Attributes – Basically, descriptive elements Relationships – Can, and do, exist between various levels of the hierarchy.

7 New Terminology Carrier – The physical medium in which data, sound, images, are stored. Creator – Author, composer, etc. Authorized Access Point – Heading, added entry AAP for Creator – Main entry Preferred title – Uniform title Audio disc – Sound disc

8 Sound Recordings

9 Compact Discs 4 ¾ inches in diameter Digital

10 LP Records 33 1/3 rpm Analog 10-12 diameter Microgroove Analog electrical storage Lateral or combined cutting

11 Tape Formats Cassette Popular from the mid-1970s to mid-1990s Reel-to-Reel First used in 1930s Some use today.

12 Streaming Audio Streaming media are video or audio transmitted over a network that can be played immediately, with no need to download an entire file before playback. – OLAC Best Practices for Cataloging Streaming Media (2009) Common file types: Windows Media (.wma,.wax), MP3 (.mp3), Windows audio file (.wav), MIDI (.midi), Music CD playback (.cda)

13 Other Sound Media You May Encounter 78 rpm discs Transcription discs Wire recordings Cylinders (wax or shellac) Mini-discs 8-track tape cartridges DATs (Digital Audio Tapes)

14 Getting Started

15 When to input a new record Different sound format (CD vs. LP) Different year of publication Different publisher name Different content (more or less selections) Different edition statements

16 DO NOT input a new record Packaging is new, but content remains the same. Distribution dates differ. A new date is listed for the packaging Absence or presence of a publisher number Absence or presence of multiple publishers, distributors, etc. as long as one on the resource matches one on the record

17 Look at the resource A sound recording doesnt have a title page, so youll need to look at everything that comes with or on the item. Search the OCLC database. – Number searches, such as UPC or publisher number can be the most efficient – Name-title search, qualified by format and date If you cant find a match, its time for a new record!

18 Sample record (Classical CD)

19 Classical CD, pt. 2

20 Classical CD, pt. 3

21 Sample Record (Popular CD)

22 Popular CD, pt. 2

23 One more!

24 Description

25 Preferred source of information 1 st choice: Disc surface or label 2 nd choice: Embedded metadata in textual form that contains a title. (Not common in CDs) 3 rd choice: A container or accompanying material (spine, insert, etc.) Give preference to sources in which the information is formally presented.

26 Source of Information

27 Statement of responsibility New terminology: Creator, not composer/author. Do not give list a performer as a creator in the 100 field unless he/she has actually composed the music.

28 Take what you see. Transcribe misspellings as seen on the preferred source, without a [sic.] Give correct form of title in 246. Give corrected form of other information in 500 notes. Capitalization can be either transcribed as seen – or not, depending on local practice. Do not use abbreviations except on certain cases (units of measure, op., no., thematic index numbers, voice ranges)

29 Title

30 Other titles 246 – Parallel title – Other form of title – Spine title – Title from insert 740 – Uncontrolled analytic title entries.

31 Edition and Series Statements Is it an edition or a series? Or neither? Take edition statement from the source of information (i.e. disc). Series statement can be taken from any of the sources of information. Record series-like and edition-like statements in a quoted 500 note.

32 Numbers & Codes Fixed fields (selected) 006 007 020 024 028 033 040 041

33 Fixed Fields Type -- j (music), I (non- music) Lang – Sung or spoken text AccM – See MARC standards for common codes. Desc – i Fmus – n DtSt – s -- single date – r -- Reprint/Original – p -- Distribution/Production – q – Questionable date (range)

34 006 You will only need to use a 006 if you need to record information about accompanying material in a different format (i.e. accompanying video, etc.)

35 007: Physical Description $a Category of material – s (sound recording) $b Specific material designation – d (disc), s (Sound cassette), t (tape reel) $d Speed – f (CDs), b (33-1/3 LPs), l (standard cassettes), various codes for RTR tapes $e Configuration of playback channels – m (mono), s (stereo)

36 007 $f Groove width/pitch – m (microgroove: for LPs), n (Not applicable – for CDs and tapes) $g dimensions – g (4-3/4 – for CDs), e (12 for standard LPs), j (cassettes) $h tape width – l (1/8 – cassettes), m (1/4 – most RTR tapes) $i tape configuration – a (full track), b (half track), c (quarter track – most cassettes)

37 007 (cont.) $j Kind of disc, cylinder or tape – a (master tape), i (instantaneous), m (mass-produced) $k kind of material – m (plastic with metal – CDs), p (plastic – LPs), s (shellac – 78s) $l kind of cutting – l (lateral or combined cutting – most LPs) $m special playback characteristics – e (digital recording) $n Capture and storage techniques – d (digital), e (analog)

38 007 (cont.) For all subfields: n – not applicable u – unknown z – other (what you have not listed as a choice) A typical standard 007 for a CD: $a s $b d $d f $e u $f n $g g $h n $i n $k m $l n $m e $n u

39 02x fields: Identifiers of Manifestation 020 – ISBN (not common on CDs) 024 – Other standard identifier – 1 (UPC) – 3 (EAN) 028 – Publisher number

40 Date/Time & Place of Capture 518 – $a Free-text description of time and place of recording. – $d Date/time of event (May be controlled or uncontrolled format.) – $p Place of event (May be controlled or uncontrolled.) – $o other event information – May be repeated if necessary. – Enter dates in the format YEAR MONTH DATE.

41 518 Examples: 518 $o Recorded $d 2004. 518 $o Recorded at $ p Eolia Studios, Athens, Greece. 518 $o First two works recorded $d 2012 January 28, $p Teatro Filippo Marchetti, Pitocco, Bayan. 518 $o Remainder recorded $d 2009 May 22, $p Chiesa di s. Maria in Valle Proclaneta, Rosciolo LAquilla, Italy.

42 033: From MLA Best Practices document: If feasible, also record place and/or date of capture in a 033 field. $a formatted date/time $b Geographic classification area code. $c Geographic classification subarea code. Date/Time & place of Capture: 033

43 NEW SLIDE: 040 Field Two new subfields for the 040: $b language of cataloging (use eng) Should be pre-populated in Connexion. $e Descriptive convention (use rda) – You will need to manually add this subfield (at least for now.) – Add immediately after the $b. Example: 040 $a FMZ $b eng $e rda $c FMZ

44 Language Fixed field Lang – For purely instrumental music, use code zxx. – For instances of multiple languages, use mul. 041 546 Additional information can be added in 500 notes field.

45 Production, Publication, Distribution: 264 field 264:_0: Production 264:_1: Publication 264:_2: Distribution 264:_3: Manufacture 264:_4: Copyright notice date. (Use © symbol here.)

46 The Cascading Vortex 264 1 [Place of publication not identified] : $b [publisher not identified, $c [date of publication not identified]. 264 2 [Place of distribution not identified] : $b [distributer not identified, $c [date of distribution not identified]. 264 3 [Place of manufacture not identified] : $b [manufacturer not identified, $c [date of manufacture not identified]. 264 4 $c ©2013.

47 Dates Record date of publication from same source as title proper. It is not always the same as the copyright date! Record the latest copyright date from any source, but prefer the date over the ©date for recordings. Estimated dates can still be put in square brackets.

48 Extent CD: 300 $a audio disc :$b digital ; $c 4 ¾ in. LP: 300 $a audio disc : $b analog ; $c 12 in.

49 Content, Media, Carrier Type Replaces the GMD – 336 Content type recorded music recorded text – 337 Media Type audio – 338 Carrier Type Audio disc, cassette, reel, etc. Use the handy Connexion macro!

50 Characteristics 344 – Sound characteristics 347 – Digital file characteristics

51 Contributors Performers, conductors, etc. to you and me. Encoded in 508 (production/technical credits) and 511 (participant/performer) fields.

52 System Details Useful for the less-common variants such as SACD and Hybrid DVD/CDs. Encoded in the 538 fields as well as 300 and 347.

53 NEW SLIDE: Subject Headings There have been no changes to subject headings in RDA (so far.) Add as many as necessary to reflect the pieces represented on the recording. Look for a new Form/Genre Thesaurus coming soon!

54 Relationships

55 People, corporate bodies, families 1xx, 7xx fields. Composers, performers, conductors, performing ensembles, arrangers, etc.

56 Relationships in our Example Sofia Gubaidulina is the creator of the work [Sonatas, double bass & piano]. -- (She is also a contributor, as an arranger of music for the work In croce.) Fabrizio Ottaviucci is a performer. The recording contains the works [Sonatas, double bass & piano] and Pantomima. It also contains the expressions In croce and [Preludes, cello], which are arrangements.

57 Relationship Designators A designator that indicates the nature of the relationship between entities represented by authorized access points, descriptions, and/or identifiers. – RDA Toolkit glossary

58 Relationship Designators for Contributors 1xx, 7xx $e Persons, families, and corporate bodies associated with an expression. Some of these are familiar: – Performer (singer, instrumentalist, conductor, narrator) – Editor – Arranger of music

59 Relationship Designators for Contributors – Recording engineer -- contributing to an expression of a work by supervising the technical aspects of a sound or video recording session. – Recordist -- contributing to an expression of a work by using a recording device to capture sound and/or video during a recording session, including field recordings of natural sounds, folkloric events, music, etc. – Composer (expression) -- A person, family, or corporate body contributing to an expression by adding music to a work that originally lacked it, by composing new music to substitute for the original music, or by composing new music to supplement the existing music. * Definitions from RDA Toolkit

60 700 fields for contributors

61 Added Authorized Access Points Formerly known as added (analytic) entries

62 Another example

63

64 Now practice creating your own record!

65 Some helpful resources MLAs Training Materials from the February 2013 Preconference: http://guides.library.cornell.edu/MLARDA2013 http://guides.library.cornell.edu/MLARDA2013 MLA Best Practices for Music Cataloging in RDA document (pdf): http://bcc.musiclibraryassoc.org/BCC- Historical/BCC2013/RDA_Best_Practices_for_Music_Cataloging.pdf http://bcc.musiclibraryassoc.org/BCC- Historical/BCC2013/RDA_Best_Practices_for_Music_Cataloging.pdf RDA Toolkit: access.rdatoolkit.org access.rdatoolkit.org Library of Congress RDA Training Materials: http://www.loc.gov/catworkshop/RDA%20training%20materials/LC%20RDA%20Training/LC% 20RDA%20course%20table.html http://www.loc.gov/catworkshop/RDA%20training%20materials/LC%20RDA%20Training/LC% 20RDA%20course%20table.html Sample RDA Records from Library of Congress: http://www.loc.gov/catworkshop/RDA%20training%20materials/SCT%20RDA%20Records%2 0TG/index.html http://www.loc.gov/catworkshop/RDA%20training%20materials/SCT%20RDA%20Records%2 0TG/index.html MARC Fields Information: http://www.oclc.org/bibformats/en.html http://www.oclc.org/bibformats/en.html Codes and Controlled Vocabularies Lists: http://www.loc.gov/standards/valuelist/index.html http://www.loc.gov/standards/valuelist/index.html

66 MARC mirror sites http://stuff.coffeecode.net/www.loc.gov/marc/ http://stuff.coffeecode.net/www.loc.gov/marc/ (MARC21 docs) http://stuff.coffeecode.net/www.loc.gov/standa rds/sourcelist/ http://stuff.coffeecode.net/www.loc.gov/standa rds/sourcelist/ (standards documentation)

67 Thank you Now go forth and catalog! Sarah Hess Cohen – Florida State University (shcohen@fsu.edu)shcohen@fsu.edu Sonia Archer-Capuzzo – University of North Carolina-Greensboro (smarcherdma@gmail.com)smarcherdma@gmail.com

68 Many thanks to my FSU colleague Keith Knop, who created many of the catalog record examples. Say hi to Keith at the conference, or give him a buzz at kknop@fsu.edu!kknop@fsu.edu


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