Cataloguing Printed Music

1
Cataloguing Printed Music

• Created for Dr. Martin Dowding, for LIBR 513 by
• Goldie Abaee
• Catherine Ricard
• Lindsay Ure

2
Wise Words

• Music cataloging does have a reputation for
  being difficult even to those of us who are
  trained musicologist-catalogers and who have
  mastered the sometimes arcane cataloging rules.
• Stephen F. Luttman. Good Enough for Jazz Or,
  Successful Music Cataloging for Non-Musicians.
  (1999)

3
Cataloguing Printed Music

• Presentation Overview
• History and Issues
• AACR2R Chapter 5 Description
• AACR2R Chapter 21 Name Access points
• AACR2R Chapter 25 Uniform Titles for Music
• MARC Music Fields
• Local Cataloguing Practices
• Conclusion

4
Music Cataloguing Historical Progression

• Rules for a Dictionary Catalog 4th ed - 1904
• Oscar G. T. Sonneck addresses music
• The Care and Treatment of Music in a Library -
  1927
• American Library Association
• Music Library Association - 1931
• A.L.A. Catalog Rules and the MLA temporary
  Handbook - 1941-42
• MLA Code for Cataloging Music and Phonorecords -
  1958
• Anglo-American Cataloging Rules 1967 and beyond

5
The Issues

• Musics Theoretical Nature
• Titles
• Distinctive vs. Uniform
• Languages
• Variations of Form
• Retrieval

6
AACR2R - Applying the Rules

• CHAPTER 5 MUSIC
• Rule 5.0B1 What is the chief source of
  information?
• Title page, which may consist of a list of titles
  including the title of the item at issue.
• If the title is not informative, consider sources
  like
• Caption
• Cover
• Colophon
• Other preliminaries
• Other Sources

7
AACR2R Chapter 5 Continued

• RULE 5.0B2 PRESCRIBED SOURCES OF INFORMATION

8
AACR2R Chapter 5 Continued

• RULE 5.1B1 TITLE PROPER
• Follow the rule from 1.1B in AACR2R (transcribe
  title proper exactly as to wording, order, and
  spelling).
• Generic Titles include other identifying elements
  as part of Title Proper which include
• Type of composition
• Medium
• Numbering
• Key
• Date of Composition
• Type/format of score

9
AACR2R Chapter 5 Continued

• Important subfields in MARC for title statement
• a Musical form
• m Medium
• n Index number
• r Key
• s Type/format of score
• Title statement for Beethovens 3rd Symphony
  (a.k.a Eroica) in the MARC record
• 245 00 a Symphony no. 3, Eroica, op. 55, in E
  flat major / c Ludwig van Beethoven.
• Title statement for Mozarts Requiem in the MARC
  record
• 245 00 a Requiem K. 626 / c Wolfgang Amadeus
  Mozart vocal score edited by Richard Maunder.
• Records from the Library of Congress

10
AACR2R Chapter 5 Continued

• RULE 5.1D PARALLEL TITLES
• 5.1D1 Transcribe parallel titles in the order
  indicated by their sequence, or by the layout of
  the chief source of information.
• Example
• Le Quattro Stagioni The Four Seasons Die Vier
  Jahreszeiten
• MARC field 245 (Title statement)
• 245 13 a Le quattro stagioni b The four
  seasons Die vier jahreszeiten / c Antonio
  Vivaldi.

11
AACR2R Chapter 5 Continued

• VARYING FORM OF TITLE
• This refers to a form of title appearing on
  different parts of the item or portion of the
  title proper, or it can be an alternative form of
  the title when it differs from the title
  appearing in the 245 field in MARC.
• Example
• 245 12 a L'autunno b per violino e pianoforte
  da Le quattro stagioni from The four seasons
  / c Antonio Vivaldi riduzione per violino e
  pianoforte basata sull'edizione critica di
  Maurizio Carnelli.
• 246 30 a Quattro stagioni
• 246 31 a Four seasons
• 246 14 a Fall
• Record from the Library of Congress

12
AACR2R Chapter 5 Continued

• RULE 5.1E OTHER TITLE INFORMATION
• 5.1E1 Transcribe all other title information
  appearing in the chief source of information.
• Example
• 245 10 a Attila b an opera in three acts with
  prologue with Italian text / c Giuseppe Verdi
  vocal score.

13
AACR2R Chapter 5 Continued

• RULE 5.1G ITEMS WITHOUT A COLLECTIVE TITLE
• 5.1G1 If the items lack a collective, give
  title of individual parts according to 1.1G.
• List all works in field 245 a (preferably not
  exceeding 5 items).
• Separate each item with (--).
• Use b for other/parallel title information.

14
AACR2R Chapter 5 Continued

• RULE 5.3 MUSICAL PRESENTATION AREA
• This rule applies if the chief source of
  information includes a physical presentation
  information area. It is not to be formulated by
  the cataloguer.
• This type of statement should be distinguished
  from one that indicates an arrangement or edition
  of a musical work (e.g., vocal score, 2-piano
  edition, version with orchestra accompaniment,
  chorus score)."
• Do not include in the musical presentation
  statement any term or phrase that implies a
  modification of the music.
• Example 254 __ a orchestra score

15
AACR2R Chapter 5 Continued

• RULE 5.5 PHYSICAL DESCRIPTION AREA
• 5.5B1 5.5B2 Extent of item (300 a)
• Provide the extent of the item ( vocal score, 2
  parts, etc.)
• Provide the number of score and/or parts. (1
  score and 4 parts)
• 5.5E1 Accompanying material (300 e)
• Give information about the accompanying material
  according to 1.5E.
• Example
• 300 __ a 1 score (2 v.) 3 parts (2 v.) c 31
  cm e 2 booklets

16
AACR2R Chapter 5 Continued

• RULE 5.5 PHYSICAL DESCRIPTION AREA
• When describing printed musical works,
  distinguish whether the work is an actual score
  (many instruments), or a non-score work (a work
  that is composed of a solo instrument).
• Music for more than one instrument or voice
  (scores not arranged)
• 300 __ a 1 condensed score (12 p.) c 30 cm.
• Music for one instrument or voice (not a score)
• 300 __ a 23 p. of music c 30 cm.

17
AACR2R Chapter 5 Continued

• RULE 5.7 NOTE AREA
• 5.7B1 Form of composition and medium of
  performance
• If the form of the work is not apparent from the
  rest of the bibliographic record, the first note
  should include a word or brief phrase naming the
  form.
• Example I
• 245 14 a The barber of Seville.
• 500 __ a Opera in two acts.
• Example II
• 245 00 a Folk songs of the Low Countries a
  selection of folksongs and dance tunes from
  Belgium and the Netherlands.
• 500 __ a  Melodies with chord symbols.

18
AACR2R Chapter 5 Continued

• RULE 5.7 NOTE AREA
• 5.7B2 Language
• Provide the language(s) of the work unless it is
  evident from the rest of the description.
• Provide the language for the vocal parts.
• Example
• 546 __ a English and German.

19
AACR2R Chapter 5 Continued

• RULE 5.7 NOTE AREA
• Rule 5.7B3 Source of title proper
• If the source of title proper is not the chief
  source of information, make notes in the 500
  field in MARC
• 500 __ a Cover title
• Rule 5.7B4 Variations in title
• If a varying form of title (other than title
  proper) appears, make notes.
• Rule 5.7B11 Accompanying material
• Make a note of form and location of accompanying
  material if is not previously noted in the
  physical description area.

20
AACR2R Chapter 5 Continued

• RULE 5.7 NOTE AREA
• Rule 5.7B18 Contents
• Make note of contents in the 505 MARC field when
  there are distinctively multiple work/movements
  that are not listed in 245.
• If duration information is available, make a note
  of it.
• Add opus numbers if they identify the work.
• Add statement of responsibility if not already in
  the title statement area.
• If all the pieces in the collection with the same
  musical form have been named elsewhere in title
  area, give only numbers, keys, etc. in contents
  area.
• Example
• 505 0_ a Partita no.4 in D major, BWV 828 /
  Johann Sebastian Bach Three sonatas. E minor,
  K. 233 B minor, K. 27 F minor, K. 239 /
  Domenico Scarlatti.

21
AACR2R Chapter 21

• RULES 21.18-21.22 ACCESS POINTS
• FOR MUSICAL WORKS
• Dealing with works that present names or titles
  beyond the original composer or the uniform
  title. As in
• Altered or Arranged versions
• Incorporation of new material
• Changes in harmony/musical style

22
AACR2R - Chapter 21 continued

• RULE 21.18B1 ARRANGEMENT OR TRANSCRIPTION
• For instance, a piece that is rewritten for a new
  medium of performance.
• Main Entry
• Composer OR
• Title (if composer unknown)
• Added Entry
• Name of Arranger
• Example
• 100 10a Beethoven, Ludwig van, d 1770-1827.
• 245 10 a Trio, op. 87 / c by Ludwig van
  Beethoven edited and transcribed for three
  clarinets by Albert J. Andraud.
• 700 1_ a Andraud, Albert J., d b. 1884.
• Record from UBC Library Catalogue

23
AACR2R - Chapter 21 continued

• Rule 21.18C1 ADAPTATIONS
• This includes
• Distinct alteration
• Paraphrase of various works or the general style
  of a composer.
• Based on another work (variation on a theme)
• Main Entry
• Name of Adapter
• Added Entry
• Name-Title for work/parts of work OR
• Composer of original work (the inspiration)

24
AACR2R - Chapter 21 continued

• Rule 21.19A1 WORDS IN MUSICAL WORKS
• Main Entry
• Composer OR Title if composer unknown
• Added Entry
• Author if words are fully represented in the
  musical work
• OR
• Name-Title of text the words come from
• Example
• 100 1_ a Biscardi, Chester.
• 245 00 a Guru b voice(s), piano
  accompaniment / c Chester Biscardi words by
  Allen Ginsberg.
• 700 1_ a Ginsberg, Allen, d 1926-
• Record from UBC Library Catalogue

25
AACR2R - Chapter 21 continued

• Rule 21.21A ADDED ACCOMPANIMENT OR PART
• Main Entry
• Heading for the original work
• Added Entry
• Composer of added material

26
Uniform Titles

• UNIFORM TITLE FOR MUSIC SCORES
• Uniform titles are created for the majority of
  music scores.
• Collocating different language variations in
  printed music titles.
• Distinguishes between the original piece of music
  and any adaptations, arrangements or variations.
• See resources on Yale website for more on how to
  formulate uniform titles.

27
AACR2R Chapter 25

• Rules 25.25-25.35 Uniform Titles for Music
• RULE 25.25 GENERAL RULE
• Apply rules 25.1-25.7 where appropriate or when
  not contradicted by 25.26-25.35.
• Musical Works 25.26-25.31
• One of more parts of a work published separately
  25.32
• Two musical works issued together 25.33
• Collective uniform title for music 25.34
• Additions to uniform title for music 25.35

28
AACR2R - Chapter 25 Continued

• RULE 25.27 SELECTION OF TITLE
• 25.27A1 Title given by the composer in language
  in which it was presented, unless
• it is better known by another title in the same
  language (25.27B1).
• the title is very long, in which case select a
  short version as found in reference sources,
  otherwise a brief title can be formulated by the
  cataloguer (25.27C1).

29
AACR2R - Chapter 25 Continued

• RULE 25.27 SELECTION OF TITLE
• 25.27D Titles including the name of a type of
  composition
• If a composer has written a number of works of
  the same type (e.g. symphony) in a numbered
  sequence, use the name of the composition type
  to formulate the uniform title.
• Example
• Beethoven, Ludwig van
• Sechste Symphonie F-dur opus 68 Sinfonia
  pastorale
• Uniform Title Symphonies ...

30
AACR2R - Chapter 25 Continued

• RULE 25.28 ISOLATION OF INITIAL TITLE ELEMENT
• How to select the initial title element. Remove
  the following from the title (25.28A)
• Medium of performance e.g. strings, orchestra
• Key
• Serial, opus, and thematic index numbers
• Other numbers, unless integral to the title
• Date of composition
• Adjectives and epithets not part of the original
  title
• An initial article

31
AACR2R - Chapter 25 Continued

• RULE 25.28 ISOLATION OF INITIAL TITLE ELEMENT
• Examples
• Eine kleine Nachtmusik, K. 525.
• Symphony no. 9 in E minor, op. 95 "From the New
  World.
• Sonata no. 14 in C sharp minor, op. 27, no. 2
  (Moonlight).
• Kaiser-Walzer, for full orchestra. Op. 437.

32
AACR2R - Chapter 25 Continued

• Quiz Time Which is the initial title element?
• (click to reveal the answers)
• Die Zauberflöte
• Die Zauberflöte
• Piano sonata no. 29 in B flat major, op. 106
  ("Hammerklavier")
• Piano sonata no. 29 in B flat major, op. 106
  ("Hammerklavier")
• Symphonie Fantastique
• Symphonie Fantastique

33
AACR2R - Chapter 25 Continued

• RULE 25.29 FORMULATION OF INITIAL TITLE ELEMENT
• For initial title element that consists of the
  name of a type of composition (e.g. sonata), use
  the accepted English form if there are
  equivalents in English, French, German and
  Italian. (25.29A1)
• Give the plural form of the name (e.g. sonatas)
  unless the composer wrote only one composition of
  that type.
• Exceptions to this rule are listed in rules
  25.29A1-25.29C1.

34
AACR2R - Chapter 25 Continued

• RULE 25.30 ADDITIONS TO THE INITIAL TITLE
  ELEMENT
• (when initial title element consists of a type of
  composition)
• 25.30B Medium of performance
• 25.30B1 Add medium of performance if initial
  title element consists of only the type of
  composition.
• Example Sonatas, piano ...
• Exceptions to this rule, such as when the medium
  of performance is already implied in the title,
  are listed in 25.30B1.

35
AACR2R - Chapter 25 Continued

• RULE 25.30 ADDITIONS TO THE INITIAL TITLE
  ELEMENT
• 25.30B Medium of performance (continued)
• Use no more than 3 elements to record the medium
  of performance, with the exception of standard
  instrument combinations. (25.30B3)
• Example Duets, voices, piano ...
• If there is more than one part for a particular
  instrument or voice, add the number in
  parentheses after the relevant instrument or
  voice unless it is already implicit.

36
AACR2R - Chapter 25 Continued

• RULE 25.30 ADDITIONS TO THE INITIAL TITLE
  ELEMENT
• 25.30B Medium of performance (continued)
• Standard combinations of instruments (25.30B3)
• Individual instruments (25.30B4)
• Groups of instruments (25.30B5)
• Instrumental music for orchestra, string
  orchestra, band (25.30B6)
• Solo instrument(s) and accompanying ensemble
  (25.30B7)
• Solo voices (25.30B8)
• Choruses (25.30B9)
• Accompaniment for songs, Chansons, Lieder etc
  (25.30B10)
• Indeterminate medium of performance (25.30B11)

37
AACR2R - Chapter 25 Continued

• RULE 25.30 ADDITIONS TO THE INITIAL TITLE
  ELEMENT
• 25.30C Numeric Identifying Elements
• After the statement of medium, add as many of the
  following as can be readily located
• Serial numbers (25.30C2)
• Opus numbers (25.30C3)
• Thematic Index numbers (25.30C4) - for composers
  with a prolific number of works, such as
  Beethoven or Mozart
• Examples K.626

38
AACR2R - Chapter 25 Continued

• RULE 25.30 ADDITIONS TO THE INITIAL TITLE
  ELEMENT
• 25.30D Key
• Pre-twentieth-century works give the key and add
  major or minor.
• Post-nineteenth-century works give the key only
  if stated prominently in the item. Add major or
  minor if this is clear from the item.

39
AACR2R - Chapter 25 Continued

• RULE 25.30 ADDITIONS TO THE INITIAL TITLE
  ELEMENT
• 25.30E Other Identifying Elements
• Use only if a work cannot be uniquely identified
  with previous additions. Add in parentheses
• Year composition was completed
• Year of original publication
• Other elements, such as place of composition

40
AACR2R - Chapter 25 Continued

• RULE 25.31 ADDITIONS TO OTHER INITIAL
• TITLE ELEMENTS
• When the initial title element does not consist
  of the name of a type of composition, for example
  Carmen, make additions as per rules
  25.31B-25.31C.

41
AACR2R - Chapter 25 Continued

• RULE 25.32 PARTS OF A WORK PUBLISHED SEPARATELY
• One part of a musical work published separately
• 25.32A1 For one part of a musical work that is
  published separately, use the uniform title for
  the whole work followed by the title of the part.
  Add other verbal designations and/or the number
  of the part as instructed in this rule
• Example Brahms, Johannes
• Ungarische Tanze. Nr. 5
• More than one part of a musical work published
  separately
• 25.32B1 For more than one part of a musical work
  published together, follow the instructions in
  rule 25.6B.

42
AACR2R - Chapter 25 Continued

• RULES 25.33 TWO WORKS ISSUED TOGETHER
• Refer to rule 25.7
• RULE 25.34 COLLECTIVE TITLES
• Refer to rule 25.8

43
AACR2R - Chapter 25 Continued

• RULES 25.35 ADDITIONS TO UNIFORM TITLES FOR
  MUSIC
• As appropriate, make further additions to uniform
  titles in the order prescribed in rules
  25.35B-25.35F.
• Sketches for works consisting of a composers
  sketches for a musical composition (25.35B1).
• Arrangements
• for arrangements of a serious or classical
  work, use the uniform title for the original and
  add arr. (25.35C1).
• for arrangements of popular music such as rock
  or jazz, add arr. only for a instrumental work
  arranged for voices, or a vocal work arranged for
  instruments (25.35C2).

44
AACR2R - Chapter 25 Continued

• RULES 25.35 ADDITIONS TO UNIFORM TITLES FOR
  MUSIC
• Vocal and chorus scores add Vocal Scores or
  Chorus Scores to the uniform title where
  appropriate (25.35D1).
• Librettos and song texts (25.35E)
• add Libretto to the uniform title if an item
  contains only the text (and not the musical
  notation) of an opera, oratorio etc.
• add Texts to the uniform title if an item
  contains the text for a song.
• Language (25.35F) if a text in a vocal work is a
  translation, add the name of the language of the
  item as per 25.5C.

45
Uniform Titles for Music MARC Fields

• 130 Uniform title as main entry
• 240 Uniform title as added entry
• Examples
• 130 0_ a Concertos, m horn, string orchestra,
  r D major.
• 240 10 a Sonatas, m piano, n no. 14, op. 27,
  no. 2, r C minor
• (popularly known as the Moonlight Sonata)

46
MARC Music Format Additional Fields

• 006 music
• 007 notated music
• 008 music
• 024 international standard music number
• 028 publisher/plate number for scores
• 045 date of composition - optional
• 047 form of musical composition code
• 048 no. of instruments or voices - optional

47
Example MARC Record UBC Library

• 00000815ccm 2200301Ia 450
• 001264509000520030225121706.0
• 008960130s1993 hu opa n ger d
• 020 __ a 9638303085
• 028 22 a K 1004 b Könemann Music
• 040 __ a MAL c MAL d OCL
• 049 __ a UBCC
• 100 1_ a Mozart, Wolfgang Amadeus, d 1756-1791.
• 240 10 a Zauberflöte
• 245 14 a Die Zauberflöte / c Wolfgang Amadeus
  Mozart.
• 254 __ a Partitura.
• 260 __ a Budapest b Könemann Music, c c1993.
• 300 __ a 1 score (225 p.) c 31 cm.
• 500 __ a Opera in 2 acts.
• 500__ a German words.
• 500 __ a Cover title.
• Modified UBC Library record.
• Mozart The Magic Flute

48
Local Cataloguing Practice

• UBC Music Library
• Terry Horner, Music Cataloguer
• Issues
• Little original cataloguing is done at the UBC
  Music Library.
• Knowledge of different languages is important.
• Dates can be difficult to establish with music.
• Different retrieval methods - patrons will
  sometimes sing or hum the melody for the
  music that they need.
• Need to be careful when retrieving music for
  patrons that it is the original, not an
  arrangement.
• Budget cuts often mean that cataloguers with no
  musical background have to catalogue music.

49
Local Cataloguing Practice

• UBC Music Library (contd)
• Resources
• Music Cataloguing Bulletin
• Music Online Users Group (MOUG) Bulletin
• LC Cataloguing Service Bulletin
• MLA Listserv
• New Grove Dictionary essential reference source
  for music. Available online.
• Thematic index list of all a composers works.
  UBC Library has these for most major composers.
• Recent OCLC or LC records or records of other
  editions or even sound recordings of the same
  piece of music

50
Local Cataloguing Practice

• Royal Academy of Music Library, London
• Issues
• Cataloguing of compilations is time consuming
• Identification of works can be challenging
• Locating dates for undated materials
• Resources
• New Grove Dictionary
• thematic catalogues
• British Library online catalogue and others
• MLA and IAML listservs

51
Local Cataloguing Practice

• Royal College of Music Library, London
• Issues
• Budget
• MARC medium not ideal for music non-literary
  and international.
• Foreign uniform titles
• Resources
• Jay Weitz. Music Coding and Tagging. 2d ed.,
  (2001).
• thematic catalogues
• British Library catalogue
• Yale website

52
Conclusion

• Having a knowledge of music, as well as
  languages, is very important.
• A lack of appreciation for the complexities of
  music cataloguing in conjunction with budget
  constraints place individuals without musical
  education in the position of having to catalogue
  music.
• The practice of music cataloguing, like the rules
  that instruct it, are an ever-evolving art.
• You never know when you might have to catalogue
  music!

53
Final Note

• At this point only one thing is certain music
  cataloguers, with their basic understanding of
  bibliographic relationships and the necessity for
  expressing these relationships in music
  catalogues, have an advantage over other
  cataloguers. After all, if you can catalogue
  music, you can catalogue anything!
• Sherry Velucci, Bibliographic Relationships and
  the Future of Music Catalogues.

54
Questions?

• ...there was something frightening that towered
  in my path, and that something was Anglo-American
  Cataloging Rules 2nd edition.
• H Stephen Wright, on becoming a music cataloguer.
  In Catalogers Judgment Music Cataloging
  Questions and Answers from the Music OCLC Users
  Group Newsletter. (2004)