Cataloguing Sound Recordings and Scores

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Cataloguing Sound Recordings and Scores

• Rachel Brown and Stephanie Taggart
• LIBR 513
• November 29, 2000

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Cataloguing Printed Music

• Presented by
• Stephanie Taggart

3
MUSIC

• Music is the universal language of Mankind.
• Longfellow - Ancient Spanish Ballads

4
Learning Objectives

• Define Printed Music (Scores)
• Discuss Issues Problems related to printed
  music.
  
• Provide students with knowledge about assessing
  describing printed music, in order to create a
  basic competency level for cataloguing it.
  
• Create a bibliographic description for printed
  music.
  

5
History of Music Cataloguing

• Longer history than other special materials, but
  not smooth.
  
• 1885 Beginnings of the development of music as
  an academic discipline.
  
• 1904 Oscar Sonnecks Appendix to Charles
  Cutters Rules for a Dictionary Catalog first
  recognized codification practices for cataloguing
  Printed Music.

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History (contd)

• 1908 Anglo American Code included rules for
  Choice of Entry for music materials.
  
• 1915 Library Journal devoted an entire issue to
  Music collections special article on Publishers
  Plate numbers.
  
• 1920 ALA Bulletin included a draft for the
  codification, which presented greatly expanded
  rules for Printed Music.

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History (contd)

• 1927 ALA Manual published The Care and
  Treatment of Music in a Library, which included
  more detailed rules than previous publications.
  
• 1930 British musicologist, Lionel McColvin
  produced a treatise describing the difficutlies
  of identifying musical works, and recommending
  the use of some device beyond simple title
  trans-scription to allow for collocation of
  various titles used in different manifestations
  of the same works (foreshadowing of Uniform
  Title).

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History (contd)

• 1942 Code for Cataloging Music and Phono-graph
  Records, Music Library Association (incor-porated
  into A.L.A. Cataloging Rules)
  
• 1958 Code for Cataloging Music and Phono-
  records, published jointly by MLA and ALA.
  
• AACR (1967) still many different approaches.
• AACR2 (1978) more consistent treatment for
  music cataloguing, but not universally accepted.

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History (contd)

• AACR2r (1988) - Chapters 5, 6 and 25 were
  significantly revised.
  
• AACR2r (1998) - minor changes to Chapters 5, 6
  and 25.
  
• MCD (LC Music Cataloguing Decisions) LCRI (LC
  Rule Interpretations) used to augment Chapters 5
  and 6 of AACR.
  

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Two Important Factors in Cataloguing Music

• Authority Control
• Careful examination of the Item in Hand

11
Approaches to Music Cataloguing

• Music cataloging and book cataloging are
  essentially the same. The differences between
  the two are few and do not really affect the
  principles of biographical description. They
  either find their explanation in musical
  terminology or in traditional peculiarities of
  composers publishers.
• - Oscar Sonneck

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Approaches to Music Cataloguing

• The cataloguer must be a music cataloguer, the
  latter being defined as a person who can read
  music (i.e., can identify the key, meter, medium,
  period, style and form when looking at a
  composition) and have a considerable ability with
  languages. The music cataloguer must also have a
  firm grasp of the general principles of
  descriptive and subject cataloguing, and the
  classification system.
• - Rita Benton

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Music Scores - Definition

• A series of staves on which all of the different
  instrumental and/or vocal parts of a musical work
  are written, one under the other in vertical
  alignment, so that the parts may be read
  simultaneously. - AACR (Glossary)

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Types of Music Scores

• Chorus score
• Close Score
• Condensed score
• Part (Music)
• Piano Violin, etc. conductor part
• Piano score
• Short score
• Vocal score

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Problems and Issues

• Adaptations of works
• Determination of Chief source of Information
  (Decorative vs. List vs. Caption title pages)
  
• Editions vs. Versions
• Language
• Musical Presentation Statement (Area 3)
• Publishers Plate numbers (Field 028)
• Publication and Distribution Data

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Problems and Issues (contd)

• Scores for Single vs. Multiple parts.
• Uniform titles (Marc Field 130 or 240 depending
  upon whether PAP is a Title or an Author).

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Chief Sources of Information

• List page
• Cover
• Caption
• Colophon
• Running Title and Other sources
• AACR Rule 5.0B1 - The cataloguer should choose
  whichever (of the previous options) provides the
  fullest amount of information.
  

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Area 1 Title and Statement ofResponsibility

• Rules 5.1-5.1G2
• Rules 25 25-35 (for Uniform Titles)
• Uniform Title (MARC field 130 or 240) precedes
  Title Proper in Bibliographic Description
  
• 
  
  

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Title (Uniform)

• Uniform Title - used for most works of classical
  music (printed sound). Authority work is
  important here.
  
• Necessary because
• 1) Same work may be issued under many different
  titles.
  
• 2) Composer may write many pieces
• entitled Concerto or Sonata and user needs
• to be able to distinguish and to find exact
  item.
  

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Title (Uniform)

• Uniform Title for Beethovens Moonlight
  Sonata
  
• ISBD MARC
• 240 10 a Sonatas
• m Piano
• n no. 14, op. 27, no.2
• r C minor.

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Area 1 Title (Proper)Rule 5.1B

• Distinctive - Title is unique enough to identify
  work without the addition of other elements
  
• Easter Suite for soprano, flute etc.
• Little Suite for 5 cellos.
• Generic consists of name(s) of one or more
  types of composition, AND other identifying
  elements such as medium of performance, opus
  number, key (and sometimes date).

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Area 1 Title (Proper)

• Title Proper for Beethovens Moonlight
  Sonata
  
• Rule 5.1B
• ISBD MARC
• 245 10 a Sonata, op. 27, no. 2
• b (Sonata quasi una fantasia) /
• c L. van Beethoven edited by G. Buonamici.

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Area 1 Title (other parts)

• GMD (Rule 5.1C) Optional and seldom
  included.
  
• Parallel Title (Rule 5.1D)
• Other Title Information (Rule 5.1E)
• e.g. Angelo mio valse

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Area 1 Statement of Responsibility

• Rule 5.1F
• Transcribe name of person chiefly responsible for
  work, AS IT APPEARS on chosen source of
  information.
  
• Transcribe statement of responsibility even if
  person responsible for work IS NOT NAMED on chief
  source of information.

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Statement of Responsibility

• Add word or short phrase to statement of
  responsibility if relationship between title and
  person(s) named in statement is not clear
  
• e.g. Der Prozess / Muzik von Gottfried von
  Einem Text von Boris Blacher.

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Statement of Responsibility(Items without
Collective title (Rule 5.1G)

• Transcribe the title of individual parts
• e.g. The wonder of Christmas suite / Leslie
  Condon. I come to thee meditation / Stuart
  Johnson. Rejoicing everyday / selection by
  Neville McFarlane.

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Area 2 Edition StatementRule 5.2B

• Edition statements should only reflect the
  production history of a work
  
• New ed. or Rev. ed. or 2nd ed.
• Not to be confused with versions
• Busoni edition or piano edition, etc.
• Exception Voice range for songs may be
  considered an edition statement.
  

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Area 3 Musical PresentationStatement

• Rule 5.3
• Optional - used to indicate a special format of
  a work when information regarding the format
  appears on the Chief Source of Information
  
• e.g. edition for 2 pianos by ...
• Transcribe statement in language of title proper.

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Area 4 Publication DataRule 5.4

• Not always found on source chosen as title page.
• May come from first page of music or from
  colophon.
  
• Date of publication may be difficult to find
  (check first and last page of music). If not
  found, use an approximate date - publishers
  catalogues can be useful here.

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Area 5 Physical DescriptionRule 5.5

• Extent number of items, plus type of musical
  document
  
• e.g. 1 score or 1 vocal score
• 2 scores (20 p. each)
• 1 score (278 p.) 24 parts
• Extent can also be transcribed as
• 12 p. of music (if use of term score is not
  appropriate).

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Area 5 Physical Description

• Illustrative matter - e.g. ill. or port., etc.
• Dimensions - measure Spine (when music is bound)
  or Sheets (when unbound).
  
• Accompanying material
• e.g. 1 score (30 p.) 24 cm. 1 booklet

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Area 5 Physical Description

• Physical Description for the Moonlight
  Sonata
  
• Rule 5.5
• ISBD MARC
• 300 a 16 p. of music
• c 31 cm.

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Area 6 Series StatementRule 5.6

• Similar to format for books.
• Follow instructions in Rule 1.6

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Area 7 NotesRule 5.7

• Order of Notes
• 1) Form of Composition, and Medium of
• Performance (e.g. For soprano and
  piano)
  
• 2) Language (for vocal works)
• e.g. French and English words.
• 3) Source of Title Proper (e.g. Title from
  Caption)

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Area 7 NotesOrder of Notes (contd)

• 4) Variations in title
• e.g. Title on cover Love Songs by
  Celine.
  
• 5) Parallel titles other information
• e.g. Die Schopfung The Creation La
  Creation
  
• 6) Statements of Responsibility not recorded in
• Area 1 (e.g. Arr. By Charles Smith)

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Area 7 NotesOrder of Notes (contd)

• 7) Edition and history (e.g. Reprinted from 1712
  ed.)
  
• 8) Notation (if not the form usually found in
  item)
  
• e.g. Plainsong notation.
• 9) Publication, distribution data (information
  not found in Area 4)

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Area 7 NotesOrder of Notes (contd)

• 10) Duration of performance, if stated in item.
• 11) Accompanying material, if appropriate.
• 12) Series note that cannot be included in
  Series
  
• Area (e.g. Also issued without series
  statement)

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Area 7 NotesOrder of Notes (contd)

• 13) Dissertations
• Thesis (M. Mus.) McGill University, 1971.
• 14) Audience e.g. Pieces for beginners.
• 15) Other formats (e.g. Issued also on
  Microfilm)
  
• 16) Contents note for separately title items
• Contents Sailing home / words by Ruth Pitter
  
  
• The Pied piper / words by Tom Smart etc.,
  etc.

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Area 7 NotesOrder of Notes (contd)

• 16) Contents (contd)
• Contents Sonata in D major, op. 6 Three
• marches, op. 45 Variations in C major,
  op. 23
  
• 17) Publishers numbers and Plate numbers now
• recorded in the MARC 028 field.

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Area 7 NotesOrder of Notes (contd)

• 18) Copy of work being described, librarys
  holdings
  
• and restrictions on use.
• 19) with notes if Area 1 contains title that
  
  
• applies to only a part of an item lacking
  a
  
• collective title, list other titles
  composers as
  
• e.g. With Die Mittaghexe / Antonin Dvorak.

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Area 7 Notes

• Notes for Beethovens Moonlight Sonata
  
  
• Rule 5.7B3
• ISBD MARC
• 500 a Caption title.

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Other MARC Fields for Music

• 028 - Publishers Plate numbers (e.g. for this
  edition of Moonlight Sonata)
  
• ISBD MARC
• 028 22 a 12400
• 006 - See MARC 21 - 006 Fields for Music
• 008 - Same as above

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Sample Marc Record

• 006 csnagr
• 008 001116s1903enkuuunn
  engd
  
• 028 22 a 12400
• 100 1 a Beethoven, Ludvig van
• d 1770-1827
• 240 10 a Sonatas
• m piano
• n no. 14, op. 27, no. 2
• r C minor.
• 245 10 a Sonata, op. 27, no. 2
• b (Sonata quasi una fantasia) /
• c L. van Beethoven edited by G.
  Buonamici.
  
• 260 a London
• b Augener,
• c c1903.
• 300 a 16 p. of music
• c 31 cm.
• 500 a Caption title.
• 700 1 a .Buonamici, Giuseppe,

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Resources for CataloguingPrinted Music (Basic)

• AACR2R (1998)
• Maxwell, Robert L., and Margaret F. Maxwell.
  Music in Maxwells Handbook for AACR2R.
  Chicago and London, American Library Association,
  1997.
• Smiraglia, Richard P. Description of Printed
  Music in Describing Music Materials A Manual
  for Descriptive Cataloguing of Printed and
  Recorded Music, Music Videos, and Archival Music
  Collections 3rd ed., rev. and enl. Soldier
  Creek Music Series, no. 5. Lake Crystal, MN
  Soldier Creek Press, 1997.
• Smiraglia, Richard P. Music Cataloguing The
  Bibliographic Control of Printed and Recorded
  Music in Libraries. Englewood, CO Libraries
  Unlimited, Inc., 1989.

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Resources for CataloguingPrinted Music
(Additional)

• Cataloguing Service Bulletin. Washington, DC.
  Library of Congress, 1978-
  
• Library of Congress Rule Interpretations. Second
  edition. Washington, DC. Library of Congress,
  1989. (Two looseleaf vols. Available in SLAIS
  Reading Room).
• Music Cataloguing Bulletin. Canton, Mass. Music
  Library Association, 1970-
  
• Music Cataloguing Decisions. As issued by the
  Music Section, Special Materials Cataloguing
  Division, Library of Congress in the Music
  Cataloging Bulletin Through December 1991.
  Indexed and edited by Betsy Gamble. Canton,
  Mass. Music Library Association, 1992.
  (Available at Reference Desk in UBC Music
  Library).

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Resources for CataloguingPrinted Music (Web
Sites)

• Be sure to check out Katia Strieks Website in
  the Course materials for LIBR513 (Winter
  1999-2000)
  
• http//www.slais.ubc.ca/courses/libr1999/presen
  tations/strieck/issues.htm
  

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Cataloguing of Printed Music

• THE END