1. Basic Sound Recordings Cataloging Workshop OLAC/MOUG Joint Conference Cleveland, Ohio, September 2008

2. Topics to Cover sources of information identifying the title proper the various dates and numbers associated with sound recordings presenting information on performers and contents choice of entry added entries

3. Basic Documents Used AACR2, 2002 Revision Library of Congress Rule Interpretations – Former Music Cataloging Decisions are now either subsumed in LCRI’s or cancelled. MARC21 Format for Bibliographic Data – Through Update 8 (Oct. 2007): – http://www.loc.gov/marc/bibliographic/ecbdhom e.html http://www.loc.gov/marc/bibliographic/ecbdhom e.html OCLC Bibliographic Formats & Standards

4. Sources of Information Chief source of information for CD—”label” – Leftover terminology from vinyl era – Take it to mean the data printed on the CD face Other sources of information – Container—includes anything that can be seen through a jewel case (including cover of booklet) and boxes or cardboard sleeves. – Accompanying textual material (insert)

5. Choosing the Title to Record Collective title—the Holy Grail – If the label doesn’t bear one and someplace else in the resource does, use that location as the chief source (6.0B1). – Specify source of title if not taken from label

6. Choosing the Title to Record Collective title that isn’t – A title on the container or accompanying material that names two works of same type (e.g. sonata, symphony) by one composer whose title is that of type plus one or more identifying elements (serial no., opus no., thematic index no., key) (LCRI 6.0B1) Symphonies nos. 88 and 104 (London) Sonatas no. 4, op. 7 and no. 11, op. 22

7. Choosing the Title to Record Collective title that is – Title on container or in accompanying materials that is name of type alone or with medium of performance (LCRI 6.01B) The violin concertos / Beethoven. Les deux sonates pour violoncello et piano / Brahms

8. Transcribing the Title Be ready to go back to Chapter 1 for general instructions Special situations for CDs – A name that is presented as the title proper – Title is that of a musical work—see 5.1B and next slide

9. Transcribing Titles of Musical Works What is the title proper? 5.1B1—”generic” vs. “distinctive” titles – “Type of composition” – Defined (sort of) in AACR2 25.27A1, footnote 9 Form Genre “Generic term used frequently by different composers” (standard combinations of performers, names of some liturgical texts, tempo/expression markings)

10. Identifying the Title Proper Process: – Identifying “title proper fodder” – Crossing terms from the 5.1B1 list out (medium of performance, key, date of composition, and/or numbering) – Evaluating what’s left (“omissions testing”) Name of one or more types of composition: add back the deleted stuff (but see LCRI 5.1B1) Something else: treat the deleted stuff as other title information

11. Omissions Testing Sonata no. 3, A minor, opus 28 (1907/1917) for piano Sonata no. 3, A minor, opus 28 (1907/1917) Sonata no. 3, opus 28 (1907/1917) Sonata no. 3, opus 28 Sonata Sonata no. 3, A minor, opus 28 (1907/1917) for piano

12. Omissions testing Slavonic rhapsody in G minor, op. 45, no. 2 Slavonic rhapsody, op. 45, no. 2 Slavonic rhapsody Slavonic rhapsody : in G minor : op. 45, no. 2 Generic vs. distinctive titles help: http://www.library.yale.edu/cataloging/music /types.htm http://www.library.yale.edu/cataloging/music /types.htm

13. Transcribing Titles of Musical Works Other considerations – Parallel titles, especially partial parallel titles (see LCRI 5.1B1) – Serial numbers associated with distinctive titles. – Part titles and/or numbering Statements of responsibility in title area – Emphasis on creators of intellectual content of resource (i.e. the plays, musical compositions, collector of field material) – Performers have to “go beyond” (6.1F1)

14. Items Without a Collective Title AACR2—either describe item as a unit, or prepare separate descriptions for each separately titled part (6.1G1) OCLC—same, with preference for description as a unit LC—description as a unit Follow rules in 1.1G3 for transcription

15. GMD Placement Current standard—[sound recording] Placement—immediately following title proper (MARC 245 $a) Change in coding for non-collective titles

16. Publication Area Place of publication Label name vs. publisher vs. series Distributors

17. 010 n 98027522 040 DLC ǂb eng ǂc DLC ǂd DLC ǂd IAhCCS 130 0 Masterworks 430 0 Columbia Masterworks 430 0 Columbia Master Works 430 0 CBS Records Masterworks 643 United States ǂb Columbia Masterworks 667 Transcribe "Masterworks" as part of the label name Columbia Masterworks, when present; otherwise ignore. 670 Checkmate, 1951?: ǂb labels (Columbia Masterworks) 670 Spirate pur, spirate, 19-- : ǂb label (Columbia; Master Works) 670 Perahia plays Schumann, 1987: ǂb label (CBS Records Masterworks) Series Fixed Field = c (Series-like phrase)

18. Dates Basic dates – Publication date(s) (rarely) – Copyright date(s) (usually) – Recording dates (sometimes) Richard Smiraglia, Describing Music Materials: A Manual For Descriptive Cataloging of Printed and Recorded Music, Music Videos, and Archival Music Collections for Use with AACR2 and APPM. 3 rd ed., rev. and enl. with the assistance of Taras Pavlovsky. Lake Crystal, MN: Soldier Creek Press, 1997.

19. Dates Other sorts of dates – Reissues – Various formats – Composition

20. Dates in the Fixed Fields Order of precedence when multiple conditions apply Change in practice for treatment of questionable dates (DtSt “q”) – Old: 260 $c [198-] = DtSt q; Dates 1980,1989 – New: 260 $c [198-] = DtSt s; Dates 198u,[blanks] – Old: 260 $c [199-], p1986 = DtSt q; Dates 1990,1999 – New: 260 $c [199-], p1986 = DtSt t; Dates 199u,1986

21. Numbers Issue numbers (“label numbers”) – For a set – For individual discs – Variant forms, truncated forms – Reissues

22. Numbers Other standard numbers – Universal Product Code – International Article Number – ISBN or ISSN (very rare) – GTIN-14 Numbers to take or leave (usually leave) – DIDP/DIDC/DIDX/DIDZ/DIDY prefixes – EMI geography-based numbers – “LC numbers”

23. Performers Generally transcribed from chief source if found there 245 $c, 511 field or as part of contents note Order of presentation What about producers? – Mention? – 508 or 500?

24. Some Notes About Notes Issue numbers the 1 st note “Compact disc” Language note--546 vs. 500. 505 contents notes Useful source (if you can find it): – Hartsock, Ralph. Notes for Music Catalogers: Examples Illustrating AACR2 in the Online Bibliographic Record. Lake Crystal, MN: Soldier Creek Press, 1994.

25. Choice of Entry Nearly all sound recordings are works of mixed responsibility … BUT Special rules for sound recordings (21.23) The concept of “principal performer” – Prominence in the chief source of information – “Rule of three” – Ensembles—who’s in, who’s out – Name of person plus group—what to do? See main entry flow chart

26. Choice of Entry One work— – entry under heading for the work – added entries as pertain to the work – principal-performer added entries as appropriate (21.23A1) Two or more works by the same person(s)/body (bodies) – Entry under the heading for the works – Added entries as before – Two works—heading for 1 st the main entry

27. Choice of Entry Works by different person(s)/body (bodies)—collective title – Enter under principal performer (or first of two or three) – More than three principal performers/no principal performer—enter under title – Added entries per AACR2 21.23C1 (performers) and LCRI 21.7B, section on sound recordings (works)

28. Choice of Entry Works by different person(s)/body (bodies)—no collective title – Does the performer(s) “go beyond?” Yes—entry under principal performer No—entry under 1 st work – Added entries per AACR2 21.23D1 (performers) and LCRI 21.7C, section on sound recordings (works)

29. Added Entries Performers – AACR2—resrictive – LC guidelines—less restrictive – Agency needs may exceed AACR2 or LCRI – Relator codes

30. Added Entries Works – Contributors – Uncontrolled—analytical titles from 245 field, variants, contents note – Controlled—analytical added entries AACR2 vs. LCRI (21.7B1, 21.7C1, 21.30M) Categories of sound recordings excluded (LCRI 21.7B1) – Related works – Series

31. Some Miscellaneous Stuff Lng fixed field—code properly 007—highly recommend coding it – “Subfield n”—don’t confuse playback with capture Analytical added entries—2 nd indicator “2”

32. Questions? Mark Scharff, Music Cataloger Gaylord Music Library, Washington University in St. Louis mscharff@wustl.edu

33. URLS Mentioned Re: Numbers Keith Hirsch posting on the Sony pressing nos.: http://www.keithhirsch.com/japan-for-us-am- cds-with-didx-and-didz-numbers Posting on EMI numbers: http://forums.musicbrainz.org/viewtopic.php ?id=665 (look for posting #12) http://forums.musicbrainz.org/viewtopic.php ?id=665