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SOUND RECORDINGS IN AACR2 Nancy Lorimer, Stanford University.

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Presentation on theme: "SOUND RECORDINGS IN AACR2 Nancy Lorimer, Stanford University."— Presentation transcript:

1 SOUND RECORDINGS IN AACR2 Nancy Lorimer, Stanford University

2 Scope  Recorded music  AACR2 Chapter 6 & parts of Chapter 21  Only music recordings covered, not spoken word  Only 4 ¾ in. discs (CDs, SACDs, DVD-audio), with some mention of other types  Again, a focus on aspects that are important to music cataloging  MARC fields

3 Fixed fields  008 in the sound recordings workform:  Important fields (not covered in scores): Type (Type of Record) Part (Music Parts) TrAr (Transposition and Arrangement) FMus (Form of Music) LTxt (Literary Text for Sound Recordings)

4 Fixed fields for sound recordings  Type (Type of Record)  Code “j” for musical sound recordings  Code “i” for non-musical sound recordings Includes recordings of sounds (including bird calls & sound effects), as well as spoken-word recordings  Comp (Form of Composition)  Code if known (drop down list)  For multiple forms, either use “mu” & 047 OR “uu” (LC default)

5 Fixed fields for Sound Recordings  Part (Music Parts) & TrAr (Transposition and Arrangement  Both should be coded “n” for “Not applicable” (not notated music)  Default in current workform for sound recordings  In older records, coding may not be present, and will prevent record validation  FMus  Code “n” for “Not applicable” (not notated music)

6 007 field—Subfields $a Category of material$i Kind of disc, cylinder or tape $b Specific material designation$k Kind of material $d Speed$l Kind of cutting $e Configuration of playback channels$m Special playback characteristics $f Groove width/pitch$n Capture & storage techniques $g Dimensions $h Tape width $i Tape configuration

7 007 field $a s = sound recording$i n = Not applicable (Tapes only) $b d = disc$j m = mass/commercially produced $d f = 1.4 m per sec.$k m = Plastic with metal $e u = unknown channels$ l n = Not applicable (vinyl only) $f n = Not applicable (vinyl only)$m e = Digital recording $g g = 4 3/4 in. (12 cm)$n d = Digital storage $h n = Not applicable (Tapes only)

8 Digital recording vs Digital Storage  Digital recording (007 $m e)  The item requires digital playback equipment. Do not use when there is an indication that digital equipment was used during recording, but that analog playback equipment may be used. Do not use for any commercial recordings prior to 1982 and no analog disc or tape recordings.  Digital storage (007 $n d)  The item is a sound recording which was captured electrically and stored using digital techniques. Such recordings are normally identified as "digitally recorded." Do not confuse with digital playback techniques.

9 007—CD, SACD, DVD-audio CD: digitally recorded, stereo. (new CD) s $b d $d f $e s $f n $g g $h n $i n $j m $k m $l n $m e $n d CD: analog recording, stereo. (CD originally an LP) s $b d $d f $e s $f n $g g $h n $i n $j m $k m $l n $m e $n e CD: analog recording, mono. (CD originally a mono. LP ) s $b d $d f $e m $f n $g g $h n $i n $j m $k m $l n $m e $n d SACD/DVD-audio: digital recording, multi-channel s $b d $d f $e z $f n $g g $h n $i n $j m $k m $l n $m e $n d

10 Title—Chief source  Preferred chief source = LABEL (meaning the face of the disc)  If no title on label, then:  Container (which includes any insert seen through container)  Internal text of insert  Exception: If no collective title on the label, a collective title from another source on the disc may be used instead.

11 Title  First choice for title is the label  $a Glenelg

12 Performing group as Title  Only title is the name of the performer/group  Particularly common with popular music  The Flying Bulgar Klezmer Band

13 Title: CD specific issues  Often no collective title available  The rite of spring ; $b The firebird suite  Carnival of the animals / $c Saint-Saëns. 5 histoires / Ibert. Babar the elephant / Poulenc.

14 GMD (general material designation)  ALWAYS $h [sound recording]  Generally comes after the $a; after a $n, $p, or $v if present  Glenelg $h [sound recording]  The Flying Bulgar Klezmer Band $h [sound recording]  The rite of spring $h [sound recording] ; $b The firebird suite : selections  Carnival of the animals $h [sound recording] / $c Saint-Saëns. 5 histoires / Ibert. Babar the elephant / Poulenc.  Maps and legends. $n 1 $h [sound recording]

15 Other title information  Very common in sound recordings, but may not be in same place as the title proper  Container (front, spine, back)  Insert  Only those on chief source go in the 245; if considered useful for access, add a 246 field; other title information from outside the chief source can also can be entered the 246 with a $i giving source

16 Other Title Information  Glenelg $h [sound recording] : $b variations in light and shade  Variations in light and shade

17 Statement of responsibility  Composers, lyricists, arrangers may be included  Performers are not usually included unless their participation "goes beyond that of performance, execution, or interpretation of a work (as is commonly the case with “popular,” rock, and jazz music)”. (AACR2 6.1F1). Otherwise, this goes in a note.  LCRI 6.1F1 states: “The rule allows performers who do more than perform to be named in the statement of responsibility. Accept only the most obvious cases as qualifying for the statement of responsibility.”

18 Statement of Responsibility Glenelg $h [sound recording] : $b variations in light and shade. [No statement of responsibility]

19 Statement of responsibility  The rite of spring $h [sound recording] ; $b The firebird suite : selections / $c Stravinsky  Carnival of the animals / $c Saint-Saëns. 5 histoires / Ibert. Babar the elephant / Poulenc.

20 Publication information  Can be very difficult with sound recordings  Place of publication often missing entirely  May find multiple possible publishers or none  May find manufacturers/distributors in lieu of publishers

21 Publication information: rules of thumb  Look first for a publisher and always use a label name rather than a large company name  the label name will often be given as a logo or in decorative text  The label name will usually be on the actual disc; company names will also be on the disc on the back of the container  There may be multiple label names; choose the most predominant or choose all

22 Publication information: rules of thumb  Once your label is established, consider the place of publication  Only use “S.l.” as a last resort; try to surmise the place, even if just a country  In surmising place of publication for a label, look at any distribution or manufacturing information on the disc; if that doesn’t help, use outside sources as time permits: Other bib records with the same label name Web site for the label or its distributor

23 Publication information  260 Glenelg, MD : $b Habbit Tracks  260 Tory, N.Y. : $b Dorian Discovery Disc Back

24 Dates  Publication date: Date PUBLISHED  Phonogram date ℗ : Copyright date of RECORDING  Copyright date © : Copyright date of TEXTUAL MATERIAL (i.e. booklet, graphics)  Distribution date  Manufacturing date  Former copyright/phonogram dates

25 Dates  Take first the publication date, if one is there  Then prefer the phonogram date  If there is also a copyright date, and it is much newer than the phonogram date, use that a surmised publication date  If the publication date differs from the p date, record both  Use other dates to surmise a publication date  If phonogram date is older than the format, surmise a publication date

26 Dates—Examples 2010, ℗ 1999 $c 2010, ℗ 1999 ℗2010 $c p2010 ℗ & © 2010 $c ℗ 2010 © 2010, ℗ 1999 $c [2010], ℗ ℗ 1976 $c [2010?], ℗ $c007 DtSt, Date 1, Date 2

27 Dates—Examples  260 Glenelg, MD : $b Habbit Tracks, $c p2001.  260 Troy, N.Y. :$b Dorian Discovery, $c p1993.

28 Other dates  Recording date (recorded in the 518 & 033) 260 Tokyo : $b King Records, $c p Recorded at Studio no. 2, King Records, Tokyo, Apr  Reissue date (recorded in a 500 note) 260 [U.S.] : $b Get Back, $c p Previously issued as an LP in 1960 by Unique Records.

29 Physical description 1 sound disc : $b digital, stereo. ; $c 4 3/4 in. 1 sound disc : $b digital, SACD ; $c 4 3/4 in. 1 sound disc : $b digital, DVD audio ; $c 4 3/4 in. 1 sound disc : $b digital, Blu Ray audio ; $c 4 3/4 in.

30 Duration  300 field  Only if there is a single work on the recording sound disc (127 min.) …  306 field  For up to 6 entries; may be entire disc or separate works on disc  505 field (more later)  Following each work One for Helen / Bill Evans (5:51)

31 Notes  Nature or artistic form and medium of performance (6.7B1) 500 Opera in 4 acts. 500 For clarinet and piano.  Form is also recorded in the 008 Comp field and/or 047 field op  Medium of performance may also be recorded in the 048 field 048 wc01 $a ka01

32 Notes  Language (6.7B2)  Give language of sung/spoken content only in the 546 field, not any accompanying material; should be the same as the 008 Language code, unless multiple languages (mul)  Language of accompanying material goes in 500 note  Details of language go in 041(can be complex) 041 $d Language code of sung or spoken text 041 $e Language code of librettos 041 $g Language code of accompanying material other than librettos

33 Notes  Variations in Title (6.7B4); Parallel titles and other title information (6.7B5)  Give in 246, if variation on the collective title or 1 st work in 245; be generous; will usually require a $i 246 1# $i Title from container :$a 246 1# $i Subtitle from back of container: $a 246 1# $i Parallel title from container spine: $a

34 Notes  Statements of Responsibility (6.7B6)  Non-performers from statements other than in the chief source Add as deemed necessary (MARC field 500) 500 ## Music arranged by Elke Baker. 500 ## All compositions traditional, arranged by the Flying Bulgar Klezmer Band. 500 ## Compiled by Ken Hunt. 500 ## Libretto after the homonymous drama by Yvan Goll by Claus H. Henneberg.

35 Notes  Statements of Responsibility (6.7B6)  Performers (MARC field 511) Give performers and medium in which they perform 511 0# Elke Baker, fiddle and viola 511 0# Emma Lou Diemer, piano ; Philip Ficsar, violin # Bill Evans Trio (Bill Evans, piano ; Chuck Israels, bass ; Arnold Wise, drums) # Budapest Festival Orchestra ; Ivan Fischer, conductor # Marlene Mild (Melusine) ; Teresa Erbe (Pythia) …

36 Notes  Physical Description (6.7B10)  Most common note is the type of disc: 500 ## Compact disc(s). 500 ## Super audio compact disc(s). 500 ## DVD audio disc(s). 500 ## Enhanced compact disc(s). 500 ## Hybrid super audio compact disc(s).

37 Notes  System requirements (not in Chapter 6)  Use only when not obvious and if written on container 538 ## Hybrid super audio compact disc. This recording may be played on all CD players.

38 Notes  Edition and history (6.7B7)  Recording location/date (MARC field 518) 518 ## Recorded Apr at Inception Sound, Toronto, Ont. 518 ## Recorded February 21, 1966 at Town Hall, New York. 518 ## Recorded live Staatstheater Nurnberg, May 12, Also recorded in the 033 field: $b 6299 $c N8  Reissue/previous release information (MARC field 500) 500 ## Previously released in 1966 as Blue Note ## Reissue of : Music Heritage Society MHS

39 Accompanying materials  Accompanying material (6.7B11)  For program notes, librettos, etc. 500 ## Lyrics inserted in container. 500 ## German libretto with English translation and program notes in German and English inserted in container. 500 ## Program notes in Japanese and English inserted in container, with illustrations of some of the instruments used.

40 Notes  Contents (6.7B18)  Important for discs are containing several works and having a collective title  May also contain duration and performer information for single works Third suite for cello, op. 87 / Benjamin Britten (Colin Carr, piano) (26:13) -- Adagio for piano in B minor, K. 540 (6:59) ; Gigue for piano in G major, K. 574 (1:35) ; Fantasy for piano in D minor, K. 397 (6:06) / Wolfgang Amadeus Mozart (Jeffrey Kahane, piano) --

41 Publisher’s numbers  Usually on disc label, but may also be anywhere on the container  In multi-disc sets, there may be a publisher number for each disc, and one for the set  Variant publisher numbers are very common RGNET1134CD $b World Music Network WER $b Wergo WER $b Wergo 500 ## Wergo: WER

42 Publisher’s numbers  If your disc is a reissue, include the publisher number of the previous release, if known; explain relationship in a note  $b Verve V/8683 $b Verve 500 ## First 5 tracks originally released on lp as Verve V/8683.

43 Standard numbers  Sound recordings may have an ISBN (?!)  UPC digit code (MARC 024 1)  EAN 13-digit code (MARC 024 3)  Numbers can be very important in identifying sound recordings; record all that you can

44 Uncontrolled access points  246 field (variant title field):  Use for variant collective titles/subtitles parallel titles  Use for variant titles of 1 st named work in a non-collective title  Do NOT use for other titles in a non-collective title  (Uncontrolled analytic entry)  Use for titles following the first title in a non-collective title if useful  Optionally, use for names of popular songs without authority records

45 Access points:1 composer (LCRI 21.23) 1 work Main entry by work Added entries for principal performers. 2 or more works Main entry by work (1 st work for 2 works; collective u.t. for 3+ works. Added entries for up to 3 principal performers

46 Access Points: 1 composer  1 composer; 1 work  1 composer; 2 works

47 Access points: 2 or more composers; collective title 1 principal performer Main entry by principal performer. No added entries for works. 2-3 principal performers Main entry by 1 st principal performer. Added entries for other performers. No added entries for works. 4+ principal performers Main entry by collective title.

48 Principal Performer  1 principal performer  4+ principal performers

49 Access points: 2 or more composers; no collective title Participation of performers beyond performance, execution, interpretation? Main entry by 1 st work. Added entries for performers. No added entries for works. 1-3 principal performers Main entry by (1 st) principal performer. Added entries for performers. No added entries for works. 4+ principal performers Main entry by 1 st work. Added entries for performers. Added entries for other works NO YES

50 Analytical access points (LCRI 21.7B)  Make up to 15 entries for 25 or fewer musical works on a disc  1 heading represented by 1 work/work excerpt = 1 entry  1 heading representing 2+ consecutively numbered excerpts = 1 entry  1 heading representing 3+ unnumbered or non-consecutively numbered excerpts = 1 entry  1 name heading + 2 works = 2 entries  1 name heading + 3 or more works = 1 entry (e.g. Selections)

51 Analytical access points (LCRI 21.7B)  Do NOT make analytical entries for the following:  Collections containing 25 or fewer works, requiring more than 15 analytical headings  Pop, folk, ethnic, or jazz music  Recitals with orientation towards performer rather than works  Incomplete multi-part items









60 Carnival of the animals, contd.





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