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1 Cataloging Digital Sound Files: AACR2 Chapters 6 and 9 Robert B. Freeborn Pennsylvania State University 10 th Biennial OLAC Conference, St. Paul, Minnesota,

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Presentation on theme: "1 Cataloging Digital Sound Files: AACR2 Chapters 6 and 9 Robert B. Freeborn Pennsylvania State University 10 th Biennial OLAC Conference, St. Paul, Minnesota,"— Presentation transcript:

1 1 Cataloging Digital Sound Files: AACR2 Chapters 6 and 9 Robert B. Freeborn Pennsylvania State University 10 th Biennial OLAC Conference, St. Paul, Minnesota, 2002

2 2 Workshop Outline Brief introduction to digital sound files Collection development Examination of the rules and their corresponding MARC tags Examples Resources

3 3 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.

4 4 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).

5 5 Brief Introduction to Digital Sound Files (Cont.) Sources Direct-access 1. DIRECTMEDIA Publishing's Digitale Bibliothek 2. ISIS Publishing 3. Simon & Schuster Audio 4. Tantor Media Remote-access 1. Audible.com 2. eMusic.com 3. mp3.com Reading Hacker, Scott. MP3: the Definitive Guide. Sebastopol, CA: O'Reilly, 2002.

6 6 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

7 7 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.

8 8 6.0/9.0 – General Rules (Cont.) 6.0B2 – Prescribed sources Title/Statement of ResponsibilityChief source EditionChief source, accompanying text, container Publication, Distribution, etc.Chief source, accompanying text, container Physical DescriptionAny source SeriesChief source, accompanying text, container NoteAny source Standard Number/AvailabilityAny 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 [e.g., web site])

9 9 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 ResponsibilityChief source EditionChief source, accompanying text, container Publication, Distribution, etc.Chief source, accompanying text, container Physical DescriptionAny source SeriesChief source, accompanying text, container NoteAny source Standard Number/AvailabilityAny source

10 10 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.

11 11 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: Concerto for violin, with chamber music ensemble, op. 36 (1966) Harvest moon : $b for flute and piano

12 12 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 Preludes and fugues for organ, op Two sonatas and partitas for solo violin, BWV 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 Fantaisie-improptu : $b in G minor, op Humoresque-bagatelles : $b op. 1

13 13 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 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)

14 14 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 recordinguse for standard compact discs and enhanced CDs 2. electronic resourceuse 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.

15 15 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 Concerto, D-Dur, für Horn und Orchester $h [gmd] = $b Concerto, D major, for horn and orchestra = Concerto, ré majeur, pour cor et orchestre

16 16 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 Star wars $h [gmd] : $b original motion picture soundtrack War of the worlds $h [gmd] : $b a play for radio

17 17 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 word or phrase in brackets.

18 18 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 Symphony no. 5 $h [gmd] ; $b Saga drøm / $c Carl Nielsen. Works by two or more composers 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.

19 19 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.

20 20 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 Rev. ed. 250 Version rd 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.

21 21 6.3/9.3 – Material (or Type of Publication) Specific Details Area 6.3 => This area is not used for standard sound recordings

22 22 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 Electronic data (1 file : 5.2 MB) 256 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.

23 23 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).

24 24 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.

25 25 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.

26 26 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 New York : $b Sunflower ; $a [London] : $b Virgin Records [distributor] 260 Stockholm : $b Grammofon AB BIS ; $a New York : $b Distributed by Qualiton Imports

27 27 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.

28 28 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 p [New York] : $b Simon & Schuster Audio ; $a Wayne, NJ : $b Distributed by Audible, $c 2000.

29 29 6.4/9.4 – Publication, Distribution, Etc. Area (Cont.) 9.4 => Refer to instructions in B2 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.

30 30 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).

31 31 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.

32 32 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.)

33 33 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.

34 34 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.)

35 35 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: sound disc (40 min., 35 sec.) : $b digital ; $c 4 3/4 in computer optical disc : $b sd. ; $c 4 3/4 in CD-ROM : $b sd. ; $c 4 3/4 in. + $e 1 user guide (22 p. : ill. ; 20 cm.)

36 36 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.

37 37 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: Souvenir series Audio library for librarians ; $v L-522-L Digital music series ; $v 22, 45, 67

38 38 6.7/9.7 – Note Area Preferred order of notes Note LabelMARC TagAACR2 Rule Nature of artistic form and medium or performance Nature and scope System requirements B1 9.7B1 Language5466.7B2, 9.7B2 Source of title proper5006.7B3, 9.7B3 Variations in title5006.7B4, 9.7B4 Parallel titles and other title information5006.7B5, 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 resource5169.7B8 Publication, distribution, etc B9, 9.7B9 Physical description5006.7B10, 9.7B10 Accompanying material5006.7B11, 9.7B11 Series5006.7B12, 9.7B12

39 39 6.7/9.7 – Note Area (Cont.) Preferred order of notes (Cont.) Note LabelMARC TagAACR2 Rule Dissertations5026.7B13, 9.7B13 Audience5216.7B14, 9.7B14 Other formats5306.7B16, 9.7B16 Summary5206.7B17, 9.7B17 Contents5056.7B18, 9.7B18 Publishers' numbers5006.7B19, 9.7B19 Copy being described, library's holdings, and restrictions on use (Local note) 500 (59X)6.7B20, 9.7B20 "With" notes5016.7B21, 9.7B21 Item described5009.7B22

40 40 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 For soprano, baritone, chorus and orchestra. 500 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 Sung in French. 546 In German, introduced in Spanish.

41 41 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 Title from container. 6.7B4 – Variations in title [500] Make entries for titles from the item of than the title proper. 500 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 they are considered important.

42 42 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 Rembrandt Trio (Valerie Tryon, piano ; Gerard Kantarjian, violin ; Coenraad Bloemendal, cello). 500 Based on music by Franz Schubert.

43 43 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 Reissue of EMI 224 (1963). 518 Recorded in Philadelphia in B9 – 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.

44 44 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.

45 45 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 Duration: 10 min. ; 5 min. ; 8 min. 500 Duration: 1:25:00; :47; 14: B11 – 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.

46 46 6.7/9.7 – Note Area (Cont.) 6.7B11 – Accompanying material (Cont.) 500 Lyrics on sheets in container. 6.7B12 – Series [500] Enter notes on series information that cannot be given in the series area. 500 Originally issued in the series: Current trends. 6.7B13 – Dissertations [502] If the item is a dissertation, make a note as instructed by 1.7B Thesis (Ph.D.)—Pennsylvania State University, 2002.

47 47 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 Graduate students. 6.7B16 – Other formats [530] Provide the details of other formats in which the content of the item has been issued. 530 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.

48 48 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 Piano trio no. 1 in B major, op. 8 / Brahms (30:00) – Piano trio in E minor, op. 90 / Dvořák (31:00).

49 49 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 Hungaroton: LPX LPX Island: ILPS 921.

50 50 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 1.7B 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.

51 51 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.make and model of computer needed to run the resource 2.amount of memory required 3.name of operating system 4.software requirements (including programming language) 5.kind and characteristics of any required or recommended peripherals 6.type of any required or recommended hardware modifications 538 System requirements: IBM PC or 100% compatible; 32MB RAM; Windows 95; CD-ROM drive.

52 52 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 Mode of access: World Wide Web. 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 In German and Russian. 9.7B3 – Source of title proper [500] Always give the source of the title proper. 500 Title from Web page.

53 53 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 6.7B Subtitle on container: Life and work of archaeologist Howard Carter.

54 54 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.

55 55 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 6.7B Solely distributed by Vivendi Universal.

56 56 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 Stereo. sd. 9.7B11 – Accompanying material [500] Refer to instructions in 6.7B Accompanied by user's guide and quick-reference template. 9.7B12 – Series [500] Refer to instructions in 6.7B Originally issued in series: European Community study series.

57 57 6.7/9.7 – Note Area (Cont.) 9.7B13 – Dissertations [502] Refer to instructions in 6.7B Thesis (M.M.)—Kansas State University, B14 – Audience [521] Refer to instructions in 6.7B For ages B16 – Other formats [530] Refer to instructions in 6.7B Issued also as digital sound discs and sound cassettes. 530 Issued also for Macintosh computers using OS X.

58 58 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 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

59 59 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 6.7B Library's copy is lacking CD-ROM four. 9.7B21 – "With" notes [501] Refer to instruction in 6.7B 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.

60 60 6.8/9.8 – Standard Number and Terms of Availability Area 6.8B – Standard number [020 $a, 022 $a, 500] 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. 6.8B2 says to give any other numbers in a note according to 6.7B C – Key-title [222] 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.

61 61 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: (guide) $c $ (set) 500 BAC-14953

62 62 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)

63 /9.10 – Items Made Up of Several Types of Material Both 6.10 and 9.10 refer to the instructions in B 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.

64 64 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. inonmusical sound recording jmusical sound recording

65 65 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.

66 66 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: mmultiple dates nunknown date qquestionable date tpublication date/copyright date

67 67 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.

68 68 Fixed Fields (Cont.) anAnthems, antiphons, and magnificats bdBallads btBallets bgBluegrass music blBlues cnCanons and rounds ctCantatas czCanzonas crCarols caChaconnes csChance compositions cpChansons, polyphonic ccChant, Christian cbChant, relgiions other than Christian clChorale preludes chChorales cgConcerti grossi coConcertos cyCountry music dfDance forms (except Mazurkas, Minuets, Pavane, Polonaise, and Waltzes) dvDivertimentos, serenades, cassations, divertissements, and notturni. ftFantaisias, fancies, fantasies, etc. fmFolk music (incl. folk songs) fgFugues gmGospel music hyHymns jzJazz mdMadrigals mrMarches msMasses mzMazurkas miMinuets moMotets mpMoving picture music ncNocturnes nnNot a musical sound recording opOperas orOratorios ovOvertures ptPart-songs psPasscaglias pmPassion music pvPavanne poPolonaise ppPopular music prPreludes Comp (008/18-19) (Cont.)

69 69 Fixed Fields (Cont.) Comp (008/18-19) (Cont.) pgProgram music rgRagtime music rqRequiems rpRhapsodies riRicercars rcRock music rdRondos and instrumental rondeaux snSonatas sgSongs sdSquare dance music stStudies, exercises, and etudes suSuites spSymphonic poems sySymphonies tcToccatas tsTrio-sonatas uuUnknown vrVariations wzWaltzes zzOther specified genres or forms that don't appear on the list.

70 70 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.

71 71 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]No accompanying matter aDiscography bBibliography cThematic index dLibretto or text eBiography of composer or author fBiography of performer or history of ensemble gTechnical and/or historical information on instruments hTechnical information on music iHistorical information kEthnological information rInstructional materials sMusic zOther accompanying matter

72 72 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]Item is a musical sound recordingr Rehearsals of any nonmusical productions aAutobiographys Sounds (Nonmusical utterances and vocalizations) bBiographyt Interviews cConference proceedingsz Other types of literary text dDrama eEssays fFiction gReporting hHistory iInstruction (How to...) jInstruction, language kComedy, comedy routines lLectures, speeches mMemoirs oFolktales pPoetry

73 73 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.

74 74 Variable Control Fields (006 and 007) 006 – Additional characteristics Computer files T006 (006/00)m (Computer file) Audn (006/05)[variable] File (006/09)h (Sound) GPub (006/11)[variable] Sound recordings T006 (006/00)i (Nonmusical sound recording) j (Musical sound recording) Comp (006/01-02)[variable; consult Comp 008/18-19)] FMus (006/03)n (Not applicable) Audn (006/05)[variable] Form (006/06)s (Electronic) AccM (006/07-12)[variable; consult AccM (008/24-29)] LTxt (006/13-14)[variable; consult LTxt (008/30-31)]

75 75 Variable Control Fields (Cont.) 007 – Physical Description Fixed Field Computer files $a (007/00) [Category of material]c (Computer file) $b (007/01) [Specific material designation]o (Optical disc) r (Remote) $d (007/03) [Color]n (Not applicable) $e (007/04) [Dimensions]g (4 3/4 in.) n (Not applicable) $f (007/05) [Sound]a (Sound) $g (007/06-08) [Image bit depth]nnn (Not applicable) $h (007/09) [File formats]a (One file format) m (Multiple file formats) $k (007/12) [Compression level]a (Uncompressed) d (Lossy) m (Mixed)

76 76 Variable Control Fields (Cont.) 007 – Physical Description (Cont.) Sound recordings $a (007/00) [Category of material]s (Sound recording) $b (007/01) [Specific material designation]d (Sound disc) z (Other) $d (007/03) [Speed]f (1.4 m per sec.) z (Other) $e (007/04) [Config. of playback channels]m (Mono.) s (Stereo.) u (Unknown) $f (007/05) [Groove width & pitch]n (Not applicable) $g (007/06) [Dimensions]g (4 3/4 in.) n (Not applicable) $h (007/07) [Tape width]n (Not applicable) $i (007/08) [Tape configuration]n (Not a tape) $m (007/12) [Special playback char.]e (Digital recording) $n (007/13) [Capture/storage technique]d (Digital storage) e (Analog electrical storage) u (Unknown)

77 77 Variable Data Fields ( ) 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” X 024 – Other Standard Identifier For Universal Product Codes (UPC), enter the number (usually 12- digits in length) without any spaces or hyphens. Set the first indicator to “1”

78 78 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: 0no note, no added entry 1note, added entry 2note, no added entry 3no note, added entry Enter the number as it appears on the item in the $a. The publisher’s name is entered into the $b zm2621 $b Blackstone Audiobooks

79 79 Variable Data Fields (Cont.) 028 – Publisher Number (Cont.) Consecutive publisher numbers can be entered together through the use of hyphens 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 SC204 $b State College Recordings $b State College Recordings $b State College Recordings

80 80 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]no date information 0 single date 1multiple single dates 2range of dates The second indicator corresponds to the type of event: [blank]no information provided 0capture information 1 broadcast information 2finding information

81 81 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.

82 82 Variable Data Fields (Cont.) 033 – Date/Time and Place (Cont.) The information contained in a 033 must also be present in a 518 field $b 3824 $c P5 518 Recorded in Philadelphia on Feb. 13, $a $b 3824 $c P5 $b 3804 $c N $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.

83 83 Variable Data Fields (Cont.) 041 – Language The first indicator represents the presence of a translation: 0item is not a translation or does not include a translation 1item is a translation The second indicator represents the source of the language code: [blank]MARC Code List for Languages 7source 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.

84 84 Variable Data Fields (Cont.) 041 – Language (Cont.) All of the following subfields (except for $2) are now repeatable: $dlanguage of recording’s sung/spoken text $elanguage of the text or libretto as it appears on the container or in the program notes $glanguage of the program notes $horiginal language of any sung/spoken text that has been translated $2source of code Example: A work is sung in German; the words are printed in German and English; the original language is German. Lang: gerAccM: d $d ger $e ger $e eng $h ger

85 85 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 digitcontinent 3rd-4th “country 6th-7th “state, province or other subdivision (Canada, United Kingdom, and United States only) 045 n-us-pa [North America-United States-Pennsylvania] 045 e-gx--- [Europe-Germany] Codes are taken from the MARC Code List for Geographic Areas.

86 86 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]no specific date 0one work with one composition date 1more than one work with a composition date for each work 2one 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 $b d [One composition, one date of composition, ]

87 87 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]

88 88 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or Voices Use to note a composition's instrumentation except in the following instances: 1.operas or other large vocal works with unspecified instrumentation 2.collections with miscellaneous instrumentation 3.folk song and folk music 4.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).

89 89 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 ka01 [for solo piano] 048 pc05 [for 5 marimba players] 048 $b sa01 $a oa [for solo violin and orchestra]

90 90 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or Voices (Cont.) BrassChorusesElectronicKeyboard ba – Hornca – Mixedea – Synthesizerka – Piano bb – Trumpetcb – Women'seb – Tapekb – Organ bc – Cornetcc – Men'sec – Computerkc – Harpsichord bd – Trombonecd – Children'sed – Ondes Martinotkd – Clavichord be – Tubacn – Unspecifieden – Unspecifiedke – Continuo bf – Baritonecu – Unknowneu – Unknownkf – Celeste bn - Unspecifiedcy – Ethnicez – Otherkn – Unspecifed bu – Unknownku – Unknown by – Ethnicky – Ethnic bz – Otherkz - Other

91 91 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or Voices (Cont.) Large EnsemblesPercussionStrings, BowedStrings, Plucked oa – Full orchestrapa – Timpanisa – Violinta – Harp ob – Chamber orchestrapb – Xylophonesb – Violatb – Guitar oc – String orchestrapc – Marimbasc – Violoncellotc – Lute od – Bandpd – Drumsd- Double basstd – Mandolin oe – Dance orchestrapn – Unspecifiedse – Violtn – Unspecified of – Brass bandpu – Unknownsf – Viola d'amoretu – Unknown on – Unspecifiedpy – Ethnicsg – Viola da gambaty – Ethnic ou – Unknownpz – Othersn – Unspecifiedtz - Other oy – Ethnicsu – Unknown oz – Othersy – Ethnic sz – Other

92 92 Variable Data Fields (Cont.) 048 – Number of Musical Instruments or Voices (Cont.) VoicesWoodwinds?????? va – Sopranowa – Flutezn – Unspecified instruments vb – Mezzo Sopranowb – Oboeszu - Unknown vc – Altowc – Clarinet vd – Tenorwd – Bassoon ve – Baritonewe – Piccolo vf – Basswf – English horn vg – Counter tenorwg – Bass clarinet vh – High voicewh – Recorder vi – Medium voicewi – Saxophone vj – Low voicewn – Unspecified vn – Unspecifiedwu – Unknown vu – Unknownwy – Ethnic vy – Ethnicwz – Other

93 93 Examples 1. Direct-access non-music sound recording Type: i ELvl: I Srce: d Audn: Ctrl: Lang: eng BLvl: m Form: s Comp: nn AccM: MRec: Ctry: oru Desc: a FMus: n LTxt: f DtSt: s Dates: 2000, 040XXX $c XXX 006[m h ] 007s $b d $d u $e u $f n $g g $h n $i n $m e $n u 007c $b o $d n $e g $f a $g nnn $h a $i u $j a $k d $l u zm2621 $b Blackstone Audiobooks UPMM 100 1Austen, Jane, $d Sense and sensibility $h [electronic resource] / $c by Jane Austen. 260Ashland, Or. : $b Blackstone Audiobooks, $c p computer optical disc : $b sd. ; $c 4 3/4 in. 500Spoken audio file. Indexed by chapter. 538MP3 format. 538System requirements: CD/MP3 player or PC with MP3-capable software Read by Nadia May.

94 94 1. Direct-access non-music sound recording (Cont.) 500Unabridged. 500Duration: ca. 12 hrs. 520Two sisters, the discreet Elinor, representing sense, and the reckless Marianne, representing sensibility, pursue love and happiness around the pillars of genteel society Young women $v Fiction England $v Fiction Audiobooks Domestic fiction. $2 lcsh 655 7Love stories. $2 gsafd 700 1May, Nadia.

95 95 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, 040XXX $c XXX 006[m g h ] 007s $b z $d z $e u $f n $g n $h n $i n $m e $n u 007c $b r $d n $e n $f a $g nnn UPMM 100 1King, Stephen, $d Blood and smoke $h [electronic resource] / $c [written and narrated by] Stephen King. 256Electronic data. 260[New York, NY] : $b Simon & Schuster Audio ; $a Wayne, NJ : $b Distributed by Audible, $c p 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. 538System 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 access. 538System requirements for Macintosh: Real Player. 538System 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. 538Mode of access: World Wide Web.

96 96 2. Remote-access non-music sound recording (Cont.) 500Title from Audible.com website Read by the author. 500Unabridged. 516Available in multiple electronic file formats. 500Duration: 3:00: 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 Lunch at the Gotham Cafe In the deathroom. 500Description based on contents viewed Mar. 12, Horror tales, American Audiobooks Simon & Schuster Audio (Firm) $4 pbl 710 2Audible, Inc. $4 dst $3 audible.com homepage $u $z Click for homepage, then search for title to obtain access options.

97 97 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, 040XXX $c XXX 006[m i ] 007s $b d $d f $e s $f n $g g $h n $i n $n d 007c $b o $d n $e g $f a $g nnn $h a $k d $b mp3.com UPMM 100 1McKinley, William Thomas, $d Selected works. $n volume II $h [sound recording] / $c William Thomas McKinley. 260San Diego, CA : $b mp3.com, $c [2000] 3001 sound disc : $b digital ; $c 4 3/4 in. 538System requirements: MP3 player 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). 500Compact disc. 500Includes multimedia section containing photos, artists info., lyrics and MP3s. 500Biographical notes inserted in container 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 Violin with orchestra Orchestral music Schwarz, Gerard, $d $4 cnd 700 1Kohji Taylor, Andrew. $4 prf 700 1Stoltzman, Richard. $4 prf McKinley, William Thomas, $d $t Works. $k Selections Seattle Symphony Orchestra. $4 prf 710 2New York Chamber Symphony. $4 prf

98 98 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, 040XXX $c XXX 006[m i ] 007s $b z $d z $e u $f n $g n $h n $i n $j n $m e $n d 007c $b r $d n $e n $f a $g nnn $h a $k d 047df $a pr $a su UPMM The art of the guitar $h [electronic resource] / $c Andrés Segovia and John Williams. 256Electronic data (19 files) 260[S. l.] : $b Bescol Records : $b eMusic.com, Inc. [distributor], $c [2000] 538Mode of access: World Wide Web. 538System requirements: personal computer ; MP3 player. 500Title from eMusic.com web site. 500All works originally composed by Johann Sebastian Bach, and arr. for guitar by Andrés Segovia and John Williams Andrés Segovia, John Williams, guitars 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 Gavotte on rondeau (2.7 MB) -- Partita no. 2 in D major, BWV Chaconne (11.3 MB) -- Suite no. 6 in D major, BWV 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 Courante (2.5 MB). 500Description based on contents viewed Feb. 9, 2001.

99 99 4. Remote-access music sound recording (Multiple files – Cont.) 650 0Guitar music, Arranged Suites (Guitar), Arranged Suites (Lute) Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1007, $r G major; $o arr Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1009, $r C major; $o arr Bach, Johann Sebastian, $d $t Sonaten und Partiten, $m violin, $n BWV $p Partita, $n no. 3. $p Gavotte en rondeau; $o arr Bach, Johann Sebastian, $d $t Sonaten und Partiten, $m violin, $n BWV $p Partita, $n no. 2. $p Chaconne; $o arr Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1012, $r D major. $p Gavotte, $n no. 1; $o arr Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1012, $r D major. $p Gavotte, $n no. 2; $o arr Bach, Johann Sebastian, $d $t Suites, $m lute, $n BWV 996, $r E minor. $p Sarabande; $o arr Bach, Johann Sebastian, $d $t Suites, $m lute, $n BWV 996, $r E minor. $p Bourrée; $o arr Bach, Johann Sebastian, $d $t Preludes, $m lute, $n BWV 999, $r C minor; $o arr Bach, Johann Sebastian, $d $t Suites, $m violoncello, $n BWV 1009, $r C major. $p Courante; $o arr Segovia, Andrés, $d Williams, John, $d $u

100 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, 040XXX $c XXX 006[m i ] 007s $b z $d z $e u $f n $g n $h n $i n $j n $m e $n d 007c $b r $d n $e n $f a $g nnn $h a $k d UPMM 100 1Schoenberg, Arnold, $d Stücke, $m piano, $n op. 33a Klavierstuck, op.33a (1928) $h [electronic resource] / $c Schonberg. 256Electronic data (1 file, 5.2 MB) 260[S.l.] $b Concord (Concerto) : $b eMusic.com, Inc. [distributor], $c [2000] 538Mode of access: World Wide Web. 538System requirements: personal computer ; MP3 player. 500Title from ID3v2 tag Grete Sultan, piano. 590With: 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. 500Description based on contents viewed Jan. 17, Piano music Sultan, Grete. $4 prf $u schonberg%5Fklavierstuck%5Fop%5F33a%5F(1928).mp3

101 101 Resources Archives of [Accessed September 1, 2002] [Accessed September 1, 2002]. Gorman, Michael and Winkler, Paul W., eds., Anglo-American Cataloguing Rules, 2nd ed., 1998 revision with Amendments 1999 & Chicago: American Library Association, Koth, Michelle, and Margaret Kaus. Sound recording cataloging [handout], 1998 Library of Congress Network Development and MARC Standards Office. MARC Standards, [Accessed September 1, 2002]. OCLC. Bibliographic Formats and Standards, 3rd ed., [Accessed: September 1, 2002] [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, Roe, Sandra K., ed. The Audiovisual Cataloging Current. Binghamton, N.Y.: Haworth Press, 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, Weitz, Jay. Music Coding and Tagging: MARC Content Designation for Scores and Sound Recordings. Lake Crystal, Minn.: Soldier Creek Press, 1990.


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