Music In Libraries: Just the Basics

Music In Libraries: Just the Basics

SEMLA/TMLA Pre-ConferenceOctober 8, 2009New Orleans, LA

Sound Recording CatalogingJean Harden

Music Catalog LibrarianUniversity of North Texas

1.Type

2.Sources of information

3.Description

4.Entry and tracings

5.When to create a new record

Today

Prepare a workform in Connexion

TypeMusic?

Type j

LTxt <two blanks>

Not music?

Type i

LTxt varies(http://www.oclc.org/

bibformats/en/fixedfield/ltxt.shtm)

Where are Type and LTxt in Bib Records?

What is Not-Music?From OCLC’s Bib Formats and Standards

• Nonmusical sounds (e.g., speech)• Sound effects• Bird calls• Physical exercise recordings (e.g., aerobic workouts)

that consist of spoken, shouted, sung or chanted instructions over musical accompaniment

• Stories read over incidental music accompaniment • Plays with incidental music

Recording ofSound Effects

Type and LTxt

1.Type

2.Sources of information

Today’s Objectives

Sources of Informationfrom AACR2 6.0B1

Chief source of information =Item and its label

• Disc and label• Reel and label• Cassette and label• Cartridge and label• and so forth

Sources of Information (cont’d) from AACR2 6.0B1

• Two or more chief sources = Treat as one source (for instance, two labels = 1 source)

Other sources of information from AACR2 6.0B1

1. accompanying textual material 2. container (e.g., sleeve, box) 3. other sources• Prefer textual data to sound data. For

example, if a sound disc has a label and also information presented in sound form on the disc, prefer the label information.

BUT

From AACR2 6.0B1

•Treat accompanying textual material or a container as the chief source of information

if it furnishes a collective title and the parts themselves and their labels do not.

•In this case, make a note indicating the source of information

What is a Collective Title?

• A title proper that is an inclusive title for an item containing several works. (AACR2 Glossary)

Looks Collective But It’s Not

• LCRI to AACR2 6.0B1: A word naming a type of composition (symphony, sonata, etc.) plus serial number, opus number, thematic index number, or key is not a collective title.– Not collective: Symphonies nos. 88 and 104

(London)– Not collective: Piano concertos no. 25, K. 503, no.

26, K. 537– Collective: The violin concertos / Serge Prokofiev

Selecting a Chief Source

• Look at the disc & label.

– Does this have a collective title?

• Yes Disc & label is the Chief Source.

• No Is there a collective title elsewhere?

– Yes Location with a collective title is the Chief

Source.

– No Go back to the disc. That is the Chief Source.

What’s the Chief Source?Disc & Label Container front

Container spine

What’s the Chief Source?Disc & Label

Container spine

Container front

Container back

What’s the Chief Source?Disc & Label

Container spine

Container front

Container back

What is the Chief Source?Disc & Label

Container spine

Container front

Container back

1.Type

2.Sources of information

3.Description

Today’s Objectives

3. Description includes

i. title and responsibility (245 and/or

511)

ii. publication information

iii. numbers

iv. dates (publication and other)

v. physical description

vi. recording names of performers

Title

From chief source.

Transcribed basically like a title for a print resource, only with $h [sound recording] after the title proper.

Responsibility paraphrased from AACR2 6.1F1

Persons or bodies credited with a major role in creating the intellectual content of the sound recording, such as

• writers of spoken words• composers of performed music• collectors of field material• producers having artistic and/or intellectual responsibility

Responsibility for Performers

•More than simply performing: Statement of Responsibility

•Performance only: Give in a note (511).

Statement of Responsibilityvs. Note

245 for the Kalkbrenner

Figure out the 245Disc & Label Container front

Container spine

245 for the Laitman

3. Description includes

i. title and responsibility (245 and/or 511)

ii. publication information

Publication information includes

-Place of publication

-Publisher

Place of Publication

Same rules as for books.

– If only one is present, transcribe it as it stands.• Add any necessary clarifications in brackets.

– If more than one is present, give the first one and the first one that is in the country of cataloging.

– If none is present on the chief source, accompanying textual material, or container, but you find the information elsewhere, put it in brackets.

Fixed Field Ctry

Code for the first place named in the record.

Publisher

AACR2 6.4D2

If a sound recording bears both the name of the publishing company and the name of a subdivision of that company or a trade name or brand name used by that company, give the name of the subdivision or the trade name or brand name as the name of the publisher.

[London] : Ace of Diamonds(Source of information reads: Decca Record Company. Ace of Diamonds)

3. Description includes

i. title and responsibility (245 and/or 511)

ii. publication information

iii. numbers

Numbers

Numbers for Albéniz, Ginastera, Villa-Lobos

3. Description includes

i. title and responsibility (245 and/or

511)

ii. publication information

iii. numbers

iv. dates (publication and other)

Dates

Date of publication

Date of recording

Dates

Dates for Albéniz recording

DtSt and Dates (fixed fields)1. The recording is a reissue (say, a 2008 CD reissue of a 1956

LP)DtSt r Dates 2008,1956

If the recording is a reissue of several recordings with different dates, use the earliest one.

2. One date is all you have (say, ℗ 2008):

DtSt s Dates 2008,

3. You have a publication date (℗ 2008) and a capture date (1996) (in 518):

DtSt p Dates 2008,1996

If there are multiple capture dates, use the earliest one.

DtSt and Dates (fixed fields) for Albéniz recording

Figure Out the Dates

Dates

Priority of DtSt Codes

If several codes apply, use this priority:

http://www.oclc.org/bibformats/en/fixedfield/dtst.shtm

3. Description includes

• title and responsibility (245 and/or 511)

• publication information

• numbers

• dates (publication and other)

• physical description

Physical Description

Compact disc:

1 sound disc : $b digital, mono. ; $c 4 3/4 in.

LP:

1 sound disc : $b analog, 33 1/3 rpm, stereo. ; $c 12 in.

Cassette:

1 sound cassette (59 min.) : $b analog, Dolby processed.

Accompanying material:

… + $e 1 booklet (32 p.) ; 12 cm.

Physical Description

3. Description includes

i. title and responsibility (245 and/or

511)

ii. publication information

iii. numbers

iv. dates (publication and other)

v. physical description

vi. recording names of performers

Performers245 10 Made in America $h [sound recording] / $c Yo-Yo Ma.

511 0 Wayne Shorter, tenor saxophone ; Freddie Hubbard, trumpet ; Herbie Hancock, piano ; Ron Carter, bass ; Elvin Jones, drums.

505 0 The final covenant (Sam Houston State University Symphony Orchestra ; Carol Smith, conductor) (8:26) -- Trio sonata (Mike Calvin, clarinet ; Barbara Rask, violin ; Charlotte Tull, piano) (9:25) -- Colloquy for saxophone and percussion (Donald Theode, alto saxophone ; Brian Jones, percussion) (12:54) -- Concertino for oboe and strings (Spring Hill, oboe ; strings of the the SHSU Symphony Orchestra) (9:05) -- A passing fancy (SHSU Wind Ensemble ; Gary Sousa, conductor) (8:22) -- Missa brevis for chorus and two percussion (SHSU Choirs ; Elizabeth Marks, soprano ; Stephen Wilson, tenor ; Garrett Buell, Dwayne Rice, percussion ; Kent E. Hatteberg, conductor) (23:48).

Where to Put the Performer?Disc & Label

Container spine

Container front

Container back

Where to Put Performers?Disc & Label

Container spine

Container front

Container back

Performers?

1.Type

2.Sources of information

3.Description

4.Entry and tracings

Today’s Objectives

Entry and Tracing

• One work– Heading appropriate for that work.

• Responsible person (usually composer)

– If composer main entry, 240 uniform title for the work

– Added entries (tracings) under the principal performers. Follow “rule of 3.”

Multiple Works, Single Responsibility

• Enter under heading appropriate to those works.– Principal performer, or– Composer and uniform title

• Added entries for– Additional principal performers (rule of 3)– Name/titles for works not yet specified

adequately

Entry and Tracing (2)

• More than one work and composer and collective title.– Enter under principal performer.– If 2 or 3 principal performers

• Enter under the first• Added entries under others.

– If more than 3 or no principal performers• Enter under title.

Entry and Tracing (3)

• More than one work and composer and no collective title– Pop, rock, jazz, etc

• Enter under principal performer• If 2 or 3 principal performers, enter under the first,

trace the others• If 4 or more, or none, enter under the heading

appropriate to the first work named (might be performer, or composer and maybe uniform title, depending on the situation)

Entry and Tracing (4)

• More than one work and composer and no collective title– Performer just performs (“serious”/”classical”)

• Enter under heading for the first work (probably its composer and uniform title)

• Added entries for other works as appropriate• Trace principal performers of each work (each work

subject to rule of 3)

1.Type

2.Sources of information

3.Description

4.Entry and tracings

5.When to create a new record

Today’s Objectives

When to create a new recordOCLC Bibliographic Formats and Standards, Chapter 4, When to Input a New Record

Is your item a different publication than the one described in the copy you are evaluating?

•Descriptive fields determine this.•DIFFERENT number•DIFFERENT title•DIFFERENT publisher•DIFFERENT date•DIFFERENT extent of item

•Difference in anything that is a choice does not justify a new record.

Summary

We have covered

1.Type

2.Sources of information

3.Description (several elements)

4.Entry and tracings

5.When to create a new record

Finish any leftover details on your record

Print it out and take it with you.

Jean HardenUniversity of North Texas

Denton, [email protected]

THANK YOU