Download - Descriptive Cataloging of Scores in RDA
Descriptive Elements
CATALOGING SCORES IN RDA
Adam KubikHead of Monographic Cataloging/ Music Liaison
Clayton State University
GaCOMO/SELA – October 1, 2014 - Augusta, GA
WHAT WE WILL COVER
• Summary of important changes between
AACR2 and RDA that affect descriptive
cataloging of scores
• Discussion of descriptive cataloging
instructions, focusing on concepts that are
peculiar to cataloging of scores
WHAT WE WILL NOT COVER
• Basic concepts of monographic cataloging
• Cataloging of serials or monographic series
• Subject cataloging, including the use of:• Library of Congress Genre/Form Terms (LCGFT)
• Library of Congress Medium of Performance Terms
(LCMPT)
• Authorized access points and relationships
WHAT STANDARDS ARE BEING
FOLLOWED
• Resource Description and Access
• Library of Congress/Program for Cooperative
Cataloging Policy Statements (LC-PCC PS)
• Music Library Association Best Practices for
Music Cataloging (Best Practices)
RECORDING VERSUS
TRANSCRIBING
“Transcribed” elements vs. “Recorded” elements
• “Transcribe” means to faithfully present the data
as it is found in the resource being cataloged,
making changes only as and when specifically
permitted or instructed to do so
• “Record” means to present information in some
way, bound only by the general guidelines found
in the instructions
WHAT ELEMENTS ARE
TRANSCRIBED?
• Title (245 $a, $b, [$n, $p])
• Statement of responsibility (245 $c)
• Edition statement (250 $a, $b)
• Producer, publisher, distributor and/or
manufacturer name and place (264 $a, $b)
• Series statement (490 $a, $v)
Taken from “PCC RDA BIBCO Standard Record (BSR) Metadata Application Profile” at
http://www.loc.gov/aba/pcc/scs/documents/PCC-RDA-BSR.pdf
ABBREVIATIONS
Many abbreviations prescribed in AACR2 are no
longer used (except in transcription)…
• p.
• ca.
• i.e.
• acc.
• unacc.
• arr.
• ill.
• col.
• facsim.
• ed.
• s.l.
• s.n.
• n.d.
• pages
• approximately
• that is
• accompanied
• unaccompanied
• arranged
• illustrations
• color
• facsimile
• edition
• place of publication not identified.
• publisher not identified
• date of publication not identified
ABBREVIATIONS
… but some abbreviations can still be used in
non-transcribed fields
• Non-metric units of measurement (“in.”)
• Abbreviations that are regularly used in music
resources and commonly understood by users:• Indication of voice parts - “SATBarB”
• “No.” and “op.”
• Names of thematic catalogs - “BWV”, “K.”
CAPITALIZATION
• “For capitalization of transcribed elements,
catalogers are encouraged (but not required) to
follow Appendix A; [however] it is permitted to
‘take what you see’ on the resource. For other
elements, follow this appendix.” (LC-PCC PS
A.1)
• RDA Appendix A gives capitalization rules that
broadly align with AACR2 Appendix A
PUNCTUATION
• “Transcribe punctuation as it appears on the source” “Omit
punctuation that separates data to be recorded as one element
from data to be recorded as a different element” (1.7.3)
• It is no longer appropriate to replace ellipses and square
brackets with dashes and parentheses
• When transcribing, square brackets are required only when
data is taken from outside the resource
• “When adjacent elements within one area are to be enclosed in
square brackets, enclose each in its own set of square
brackets” (D.1.2.1)
• Add punctuation to conform to ISBD, or for clarity
DIACRITICS
• “Transcribe diacritical marks such as accents as
they appear on the source of information”
(1.7.4)
• Optionally, “add diacritical marks that are not
present on the source of information in
accordance with standard usage for the language
of the data” (1.7.4)
INACCURACIES
• Transcribe inaccuracies as they appear
• “Make a note correcting the inaccuracy if considered
important for identification or access” (1.7.9)
• “If the inaccuracy appears in a title and a corrected
form of the title is considered important for
identification or access, record a corrected form of
the title as a variant title” (1.7.9)
245 10 Momento capricioso
246 1# $i Title should read: $a Momento capriccioso
CHIEF/PREFERRED SOURCE
AACR2 (5.0B1) RDA (2.2.2.2)
• Title page (if the title page is
a “list title page” use the list
title page, cover, or caption)
• Caption
• Cover
• Colophon
• Other preliminaries
• Other sources
• Title page
• Cover
• Caption
• Masthead
• Colophon
• Another source within the
resource
CHIEF/PREFERRED SOURCE
• The most significant change is that the cover is
now preferred over the caption
• “Use cataloger's judgment in determining
whether or not the resource has a cover.
Generally consider a cover to be made of
substantially different material (e.g., heavier or
different colored paper) than the paper on which
the music is printed.” (Best Practices 2.2.2.2)
EDITION STATEMENT
In addition to statements of vocal range, the edition
statement may now include statements that were not
considered edition statements in AACR2 (see 2.5.2.1):
• Musical presentation statements, such as “Full score”
(formerly in 254)
• Statements of responsibility relating to the format of
music, such as “vocal score by John Doe” (formerly in
245 $c)
PUBLICATION, ETC. STATEMENT
• Now recorded in the 264 field
• The 2nd indicator indicates whether the statement is a
production, publication, distribution or manufacture
statement
• Only the first publisher name is required (2.8.4)
• “Transcribe the names of all publishers appearing on the
preferred source” (Best Practices 2.8.4)
• There is no longer an option to shorten a publisher’s name to
the “shortest form in which it can be understood and
identified internationally”
PUBLICATION, ETC. STATEMENT
• Only the first place of publication is required (2.8.2)
• LC policy is to also record the first U.S. place of
publication
• When recording dates, do not convert Roman
numerals to Arabic, but substitute numerals for
numbers expressed as words (RDA and LC-PCC PS
1.8.2, 1.8.3)
PUBLICATION, ETC. STATEMENT
• When place, name or date of publication is not
provided on the resource, the cataloger supplies
[place of publication not identified], [publisher not
identified], [date of publication not identified] as
appropriate
• LC/PCC policy is to “Supply a probable place of
publication if possible rather than give [Place of
publication not identified]” (LC-PCC PS 2.8.2.6)
PUBLICATION/COPYRIGHT DATE
• A copyright date is not required if a publication date
is given
• However, “For notated music, routinely record the
latest copyright date in 264 (2nd indicator 4) $c. Do
not transcribe a copyright renewal date as the
copyright date. Do not transcribe a date of copyright
transfer as the copyright date.” (Best Practices 2.11)
264 #1 $c [2011]
264 #4 $c ©2011
EXTENT/PHYSICAL
DESCRIPTION
AACR2 (5.0B1) RDA (7.20.1.3)
• v. of music, p. of music,
leaves of music, score
• close score
• miniature score
• piano [violin, etc.] conductor
part
• vocal score
• piano score
• chorus score
• part
• score
• condensed score
• study score
• Piano [violin] conductor part
• vocal score
• piano score
• chorus score
• part
EXTENT/PHYSICAL
DESCRIPTION
• The phrases “v./p./leaves of music” are no
longer used
• “Score” can now be used regardless of the
number of performers or staves involved
• “Miniature scores” are now “study scores”
• “Close scores” are now “condensed scores”
GMD AND
CONTENT/MEDIA/CARRIER
The general material designation (245 $h) is
replaced by the 336-338 fields:
336 ## $a notated music $2 rdacontent
337 ## $a unmediated $2 rdamedia
338 ## $a volume $2 rdacarrier
MUSICAL NOTATION NOTE
• A note giving the type of music notation is
required by LC-PCC policy (even when the
music is in normal staff notation) (LC-PCC PS
7.13.3)
• Place the note in a 546 $b, and use a separate
546 field from any other language notes:
546 ## $a Swedish and German words.
546 ## $b Staff notation.
CHOOSING THE PREFERRED
SOURCE OF INFORMATION
• Use the title page as the preferred source of
information
• If the resource lacks a title page, use the first of the
following sources that has a title:
a) a cover or jacket issued with the resource
b) a caption
c) a masthead
d) a colophon
(2.2.2.2)
CHOOSING THE PREFERRED
SOURCE OF INFORMATION
Resource issued as a single unit (2.1.2.2)
• Choose a source that identifies “the resource as a whole” (if
the resource contains multiple works, the source should have a
“collective title”)
• If no source has a collective title, choose a source that “has a
title identifying the main or predominant work or content”
• If no source identifies a main or predominant work or
content, “treat the sources identifying its individual contents as
a collective source of information for the resource as a whole”
CHOOSING THE PREFERRED
SOURCE OF INFORMATION
Resource issued in more than one part (2.1.2.3)
• Serials cataloging, and collected set records for
monographic series, are beyond the scope of this
workshop
• However, 2.1.2.3 is also applied to scores issued with
parts, and to sets of parts
• The parts of 2.1.2.3 (a,d,e) that apply in this case
work in the same way as 2.1.2.2
CHOOSING THE PREFERRED
SOURCE OF INFORMATION
Resources issued as an unnumbered set, or with numbering
that does not help to establish an order (2.1.2.3 a,d,e)
• Choose a source “identifying the resource as a whole,”
preferring a “collective title” (2.1.2.3a)
• Failing that, a source that “has a title identifying a main or
predominant work or content” (2.1.2.3d)
• Failing that, “treat the sources identifying its individual
contents as a collective source of information for the
resource as a whole” (2.1.2.3e)
CHOOSING THE PREFERRED
SOURCE OF INFORMATION
For a score issued with part(s):
• In general, apply 2.1.2.3a and “treat the score (along
with a cover or wrapper [or container] if present) as a
source of information identifying the resource as a
whole” (Best Practices 2.1.2.3)
• Add a note on the source of the title if not taken from
a title page (2.17.2.3)
CHOOSING THE PREFERRED
SOURCE OF INFORMATION
For sets of parts with no accompanying score:
• In general, if the set of parts has a cover or wrapper or
container, then “treat it as a source of information identifying
the resource as a whole” and apply 2.1.2.3a
• If not, select a source from one of the parts with a title that
identifies “the main or predominant work or content” and
apply 2.1.2.3d (use judgment in choosing the part, but prefer
parts that would appear first in score order)
• In both cases, add a note on the source of the title (2.17.2.3)
(Best Practices 2.1.2.3)
TITLE PROPER
• “Take the title proper from the preferred source of
information” (2.3.2.2)
• If there is no title provided in the resource itself, it
may be taken from one of the sources given in 2.2.4
• Make a note on the source of the title proper if not
taken from a title page (2.17.2.3)
TITLE PROPER
“If a music title consists only of the name or names of one or
more types of composition, or the name or names of one or
more types of composition and one or more of the following:
• medium of performance
• numeric designation
• date of composition
• key
Treat all the elements together (in the order in which they appear
on the source of information) as the title proper” (2.3.2.8.1)
245 10 $a Serenade in D major for violin, viola and cello, op. 8
TITLE PROPER
“In all other cases, treat statements of medium of
performance, key, date of composition, and/or number
as other title information” (2.3.2.8.1)
These other cases are known as “distinctive” titles
245 10 $a Elegiac song : $b in G minor, for violin, viola
and cello, op. 8
TITLE PROPER
• If the name of a type of composition is used in the
title of a work that is definitely not of that type, treat
the title as distinctive
• Titles combining words, each of which alone would
have been the name of a type of composition, will in
general be treated as a distinctive title
(Best Practices 2.3.2.8.1)
245 10 $a Symphony trio : $b for violin, cello and flute
TITLE PROPER
Consult the list “Types of Compositions for Use in
Authorized Access Points for Music”
http://www.library.yale.edu/cataloging/music/typesrda.htm
to determine whether a term should be considered a
“type of composition” or distinctive for the purpose of
2.3.2.8.1 (Best Practices 2.3.2.8.1)
TITLE PROPER
245 10 $a Studies, op. 18,
piano solo / $c Béla Bartók.
As “Studies” is considered a
type of composition, both the
opus number and the medium
of performance are included
in the title proper
TITLE PROPER
245 10 $a Allegro barbaro
: $b piano solo / $c Béla
Bartók.
“Allegro barbaro” is not
considered a type of
composition, so the
medium of performance
is not included in the title
proper
TITLES OF PARTS
• If the title of a separately issued part and the title of the
whole both appear on the same source, and the title of the
part alone is insufficient to identify the resource, give the title
of the whole followed by the title of the part (2.3.1.7.1)
• “If the title proper contains a part or a designation of a part
or both, make a variant title (usually for the part) when it is
judged intelligible enough to be a likely candidate for access”
(LC-PCC PS 2.3.6.3)
• “Generally do not make a variant title that is not sufficiently
distinctive to be a useful access point” (LC-PCC PS 2.3.6.3)
TITLES OF PARTS
245 10 $a Aesop’s Fables. $n 9, $p The boy and his false alarms : $b for four-
part chorus of mixed voices and piano accompaniment / $c Gregg Smith.
246 30 $a Boy and his false alarms
TITLES OF PARTS
• As will be discussed later, when the title of the part is
also a voice range, then the voice range should
sometimes be treated as a designation of edition,
instead (Best Practices 2.3.1.7 – see examples)
PARALLEL TITLE PROPER
• “Take parallel titles proper from any source within
the resource” (2.3.3.2)
• Make a note on the source of parallel title proper if
not from the same source as the title proper (2.17.2.3)
PARALLEL TITLE PROPER
• If feasible, record all parallel titles proper appearing
on the preferred source. Optionally, record parallel
titles appearing elsewhere in the item (Best Practices
2.3.3)
• “If a title in another language appears on the
resource, make a variant title for it” (LC-PCC PS
2.3.6.3)
• “Generally do not make a variant title that is not
sufficiently distinctive to be a useful access point”
(LC-PCC PS 2.3.6.3)
PARALLEL TITLE PROPER
245 10 $a I. Konzert für
Klavier und Orchester = $b
Concerto I for piano and
orchestra / $c Béla Bartók.
• As “concerto” is a type of
composition, the medium of
performance is included in the
title proper
• No 246 for parallel title (title
not sufficiently distinctive)
OTHER TITLE / PARALLEL
OTHER TITLE INFORMATION
• “Take other title information from the same source as
the title proper ” (2.3.4.2)
• “Take parallel other title information from the same
source as the corresponding parallel title proper. If
there is no corresponding parallel title proper, take
parallel other title information from the same source
as the title proper” (2.3.5.2)
OTHER TITLE / PARALLEL
OTHER TITLE INFORMATION
“Routinely transcribe other title information appearing
in the same source as the title proper” (Best Practices
2.3.4)
“If feasible, transcribe all parallel other title
information” (Best Practices 2.3.5)
In any case, all other title information / parallel other
information must come from the same source as the title
proper
OTHER TITLE / PARALLEL
OTHER TITLE INFORMATION
245 10 $a Lyrische Suite : $b
für Streichquartett = Lyric
suite : for string quartet =
Suite lyrique : pour quatuor à
cordes / $c Alban Berg.
246 31 $a Lyric suite
246 31 $a Suite lyrique
“Lyric suite” is a distinctive title, so
the medium of performance is
treated as other title information
VARIANT TITLES
• “Take variant titles from any source” (2.3.6.2)
• “Make a note on the source or basis for the
variant title (see 2.17.2.3) if considered
important for identification or access” (2.3.6.3)
• “Do not make a variant title that is not
sufficiently distinctive to be a useful access
point” (LC-PC PSS 2.3.6.3)
VARIANT TITLES
Some uses of variant titles have already come up:
• Corrected titles245 10 Momento capricioso
246 1# $i Title should read: $a Momento capriccioso
• Titles of parts245 10 $a Aesop’s Fables. $n 9, $p The boy and his false alarms
246 30 $a Boy and his false alarms
• Parallel titles245 10 $a Lyrische Suite : $b für Streichquartett = Lyric suite :
for string quartet = Suite lyrique : pour quatuor à cordes
246 31 $a Lyric suite AND 246 31 $a Suite lyrique
VARIANT TITLES
Other uses of variant titles include, among others:
• Alternative titles
• Spelling out Arabic numerals
• Titles in resources lacking a collective title
(See LC-PCC PS 2.3.6.3 for the full policy on
creating access points for variant titles, which is
largely carried over from AACR2)
ALTERNATIVE TITLES
245 13 $a La cenerentola, ossia, La bontà in trionfo
246 30 $a Cenerentola
246 30 $a Bontà in trionfo
“For titles proper that contain an “alternative title,”
insure title access to the complete title proper; to the
first part of the title proper up to the word “or” or its
equivalent in another language that signals an alternative
title; and to the part following the word “or” or its
equivalent in another language” (LC-PCC PS 2.3.6.3)
SPELLING OUT ARABIC
NUMERALS
245 10 $a 4 last songs
246 3# $a Four last songs
“Make a variant title substituting the corresponding
spelled-out form of the number in the language of the
title proper if it is thought that some users of the
catalog might reasonably expect that the form was
spelled out in words in the source” (LC-PCC PS 2.3.6.3)
245 10 $a 4 letzte Lieder
246 3# $a Vier letzte Lieder
RESOURCES LACKING A
COLLECTIVE TITLE
245 10 $a Bacchanale ; $b Totem ancestor ; Primitive
740 02 $a Totem ancestor.
740 02 $a Primitive.
“Provide access to independent titles in a compilation, if
considered important” (LC-PCC PS 2.3.6.3)
TITLES - FACSIMILES
When describing a facsimile or reproduction, record the title that
relates to the facsimile (2.3.1.1)
If the title of the original manifestation appears on the same
source of information as the title of the facsimile, then record it
as either:
• A parallel title, if it is in a different language
• Other title information, or
• As the title of a related manifestation
If the title of the original manifestation appears elsewhere in the
resource, record it as the title of a related manifestation (2.3.2.3)
BREAK FOR EXERCISES
Let’s look at the examples in the packet, and try to
construct:
• the proper 245 $a and $b
• any variant titles in a 246 or 740 that might be
required
STATEMENT OF RESPONSIBILITY
• Take statements of responsibility relating to the title proper
from the following sources (in order of preference):
a) the same source as the title proper
b) another source within the resource itself
c) one of the other sources of information specified
under 2.2.4
(2.4.2.2)
• Take parallel statements of responsibility relating to title
proper from the same source as the corresponding parallel
title proper. If there is no corresponding parallel title proper,
take parallel statements of responsibility relating to title
proper from the same source as the title proper (2.4.3.2)
STATEMENT OF RESPONSIBILITY
“If feasible, record all statements of responsibility relating to
title proper appearing on the preferred source. Optionally, record
statements of responsibility relating to title proper appearing
elsewhere in the item” (Best Practices 2.4.2)
“If feasible, transcribe all parallel statements of responsibility
relating to the title proper” (Best Practices 2.4.3)
“If a noun or noun phrase occurs with a statement of
responsibility, treat the noun or noun phrase as part of the
statement of responsibility” (2.4.1.8)
STATEMENT OF RESPONSIBILITY
245 10 $a Salome / $c Richard
Strauss ; Musikdrama in einem
Aufzuge nach Oscar Wilde’s
gleichnamiger Dichtung in
deutscher Übersetzung von
Hedwig Lachmann = music
drama in one act after Oscar
Wilde’s poem with modifications
for use on the English stage by
Alfred Kalisch.
STATEMENT OF RESPONSIBILITY
245 10 $a Guillaume Tell. $p
Overture to the opera / $c
Gioacchino Rossini ; edited by
Lionel Salter = herausgegeben von
Lionel Salter.
In the transcription the name
“Lionel Salter” is repeated per 1.7.7
DESIGNATION OF EDITION
Take designations of edition and parallel designations of
edition from the following sources (in order of
preference):
a) the same source as the title proper
b) another source within the resource itself
c) one of the other sources of information specified
at 2.2.4
(2.5.2.2, 2.5.3.2)
DESIGNATION OF EDITION
In case of doubt, consider a statement indicating “a
particular voice range or format for notated music” to
be a designation of edition (2.5.2.1)
Note: The 250 field is now repeatable
DESIGNATION OF EDITION
Particular voice range
“Treat a statement indicating a particular voice range
that is not grammatically linked to the title, other title
information, etc. as a designation of edition”
(Best Practices 2.5.2)
However, sometimes a statement indicating a particular
voice range must be treated as a title of a part, instead
DESIGNATION OF EDITION
Particular voice range
• If the same content is issued in versions for different
voice ranges, treat a statement indicating voice range
as a designation of edition
• If a set with a common title is issued with volumes
for different voice ranges containing different
content, treat a statement indicating voice range as a
title of a part, instead
(Best Practices 2.5.2 – see examples)
DESIGNATION OF EDITION
Particular voice range
245 10 Songs of separation / $c William Grant Still.
250 Baritone.
This piece is published in tenor and baritone versions.
but 245 00 Musical theatre for classical singers. $p Soprano
The compilations with this title for other voice ranges contain
different songs.
(Best Practices 2.5.2 - examples)
DESIGNATION OF EDITION
245 10 $a Musical theatre for classical
singers. $p Soprano / $c edited by
Richard Walters.
245 10 $a Musical theatre for classical
singers. $p Mezzo-soprano / $c
edited by Richard Walters.
DESIGNATION OF EDITION
245 10 $a 90 songs : $b for
voice and piano / $c
Schumann ; selected by
Sergius Kagen.
250 ## $a Low.
DESIGNATION OF EDITION
Format for notated music
When determining if a statement indicates a format for
notated music, refer to the list of formats given in
7.20.1.3 (Best Practices 2.5.2)
• score
• condensed score
• study score
• piano conductor part
• violin conductor part
• vocal score
• piano score
• chorus score
• part
• choir book
• table book
DESIGNATION OF EDITION
245 10 $a Symphonie in Es
für grosses Orchester / $c
Paul Hindemith.
250 ## $a Studien-Partitur.
“Studien-Partitur” or
“study score” is a format
for notated music
DESIGNATION OF EDITION
• Vocal scores and chorus scores have a dual nature:
they are both types of arrangement and formats of
notated music
• With those two exceptions, “do not treat other
statements of arrangement, transposition, etc. as
designations of edition; [instead] transcribe those
statements as statements of responsibility, per 2.4.
When in doubt, treat the statement as a statement of
responsibility” (Best Practices 2.5.2)
DESIGNATION OF EDITION
245 10 Così fan tutte = $b Women
are like that : an opera in two acts
/ $c libretto by Lorenzo da Ponte ;
music by W. A. Mozart ; English
version by Ruth and Thomas
Martin ; with an essay on the story
of the opera by Nathan Broder.
246 31 $a Women are like that
250 ## $a Vocal score, including
the secco recitatives.
DESIGNATION OF EDITION
“Take statements of responsibility relating to the edition
from the same source as the designation of edition”
(2.5.4.2)
If feasible, transcribe in a 250 $b all:
• parallel designations of edition
• statements of responsibility relating to the edition
• parallel statements of responsibility relating to the
edition
(Best Practices 2.5.3-2.5.5)
BREAK FOR EXERCISES
Now let’s look at the examples in the packet, and
try to construct:
• the proper 245 $c
• the proper 250
PUBLISHER’S NAMES
• Take names of producers, publishers, distributors, and
manufacturers from the following sources (in order of
preference):
a) the same source as the title proper
b) another source within the resource itself
c) one of the other sources of information specified
under 2.2.4
(2.7.4.2, 2.8.4.2, 2.9.4.2, 2.10.4.2)
• “Transcribe the names of all publishers appearing on the
preferred source. If feasible, transcribe the names of all
publishers appearing anywhere in the item. Encode in 264
(2nd indicator 1) $b.” (Best Practices 2.8.4)
PUBLISHER’S NAMES
• Sometimes it is hard to distinguish a possible
publisher’s name from a series statement
• For prolific music publishers, check the authority file
or (failing that) previous LC-PCC cataloging for
possible guidance
PLACE OF PUBLICATION
Take places of production, publication, distribution, and
manufacture from the following sources (in order of preference):
a) the same source as the producer's name, publisher's
name, distributor's name, or manufacturer's name
b) another source within the resource itself
c) one of the other sources of information specified
under 2.2.4
(2.7.2.2, 2.8.2.2, 2.9.2.2, 2.10.2.2)
PLACE OF PUBLICATION
“If the first place of publication is not in the U.S., and all places
of publication are not being recorded for CIP records, also
record the first U.S. place of publication” (LC-PCC PS 2.8.2)
“If more than one place is given in the resource and it is unclear
which is the “true” place of publication and which is a place of
distribution, foreign office, etc., give all places.” (Best Practices
2.8.2)
PUBLICATION DATE
Take date of publication and date of distribution from the
following sources (in order of preference):
a) the same source as the title proper
b) another source within the resource itself
c) one of the other sources of information specified
under 2.2.4
(2.8.6.2, 2.9.6.2)
PUBLICATION/COPYRIGHT DATE
A copyright date may be used as an assumed date of publication,
(place in square brackets) (LC-PCC PS 2.8.6.6)
“For notated music, routinely record the latest copyright date in
264 (2nd indicator 4) $c. Do not transcribe a copyright renewal
date as the copyright date. Do not transcribe a date of copyright
transfer as the copyright date.” (Best Practices 2.11)
264 #1 $c [2011]
264 #4 $c ©2011
264 #1 $c 2012.
264 #4 $c ©2011
PUBLICATION DATA
Cover
First page of music
264 #1 $a Ft. Lauderdale, FL : $b Music for Percussion, Inc., $c [1957]
264 #4 $c ©1957
Title proper taken from cover
BREAK FOR EXERCISES
Look at the examples in the packet again, and try
to construct:
• the proper 264 $a and 264 $b
MANIFESTATION IDENTIFIERS
If feasible, record all standard identifiers present on the
item, including:
• ISBN (020)
• ISMN (024 1st indicator 2)
• EAN (024 1st indicator 3)
• UPC (024 1st indicator 1)
Record qualifying information following the identifier as
appropriate
(Best Practices 2.15)
PUBLISHER AND PLATE
NUMBERS
What are plate and publisher’s numbers?
A plate number is a number that appears repeatedly on
every page (or almost every page), usually at the bottom
028 22 $a E.E. 3704 $b Ernst Eulenburg Ltd.
PUBLISHER AND PLATE
NUMBERS
What are plate and publisher’s numbers?
A publisher’s number will appear only once or a few
times on the resource, perhaps on the cover, title page,
caption, or the first page of music
PUBLISHER AND PLATE
NUMBERS
• Sometimes it is not clear if a number should be
treated as a publisher’s number, or as series
numeration
• For apparently prolific sets, check the title authority
file or (failing that) previous LC-PCC cataloging for
possible guidance
PUBLISHER AND PLATE
NUMBERS
If feasible, record all publisher’s numbers, distributor’s
numbers, and plate numbers appearing on the item
“Record the name of the publisher or distributor
associated with the number in 028 $b, in the same form
as that transcribed in the publisher’s/distributor’s name
element. However, do not include levels of corporate
hierarchy”
(Best Practices 2.15.2-2.15.3)
PUBLISHER AND PLATE
NUMBERS
• When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr."
appears with a plate or publisher's number, do not consider it
to be part of the number
• “If, however, initials, abbreviations, or words identifying the
publisher also appear with the number, transcribe the entire
statement as it appears in 028 or a 500 note, even if this
means giving again a publisher's name already transcribed as
such. Do this in addition to recording the number alone in
028; set 2nd indicator to 0 in this case.”
• “For reprint scores, optionally record the number(s)
pertaining to the original manifestation in 028”
(Best Practices 2.15.2-2.15.3)
PUBLISHER AND PLATE
NUMBERS
028 32 $a 17 0316 01 $b Novello
“Cat. No.” is not treated as part
of the number
PUBLISHER AND PLATE
NUMBERS
028 30 $a 9500 $b C.F. Peters
500 ## $a Publisher’s number: Edition Peters Nr. 9500.
OR028 30 $a 9500 $b C.F. Peters
028 32 $a Edition Peters Nr. 9500 $b C.F. Peters
BREAK FOR EXERCISES
Look at the examples in the packet, and try to
construct:
• the proper 028 and/or 500 for any publisher’s
numbers appearing on the title pages
EXTENT AND DIMENSIONS
• score
• condensed score
• study score
• piano conductor part
• violin conductor part
• vocal score
Record the extent of the resource using one of
the terms from 7.20.1.3:
• piano score
• chorus score
• part
• choir book
• table book
EXTENT AND DIMENSIONS
“Specify the number of volumes and/or pages, leaves, or
columns as instructed at 3.4.5. Record this information in
parentheses, following the term for the format of notated
music” (3.4.3.2)
“If the resource contains a set of parts, record the number of
parts but omit the number of volumes and/or pages, leaves, or
columns applicable to the parts” (3.4.3.2)
300 ## $a 1 score (xx, 97 pages)
300 ## $a 1 vocal score (83 pages)
300 ## $a 1 study score (52 pages)
300 ## $a 1 part (6 leaves)
300 ## $a 5 parts
EXTENT AND DIMENSIONS
“If the resource consists of both a score and one
or more parts in a single physical unit, record the
extent in the form ‘1 score and 4 parts’, etc.,
followed by the number of pages, leaves, or
columns, in parentheses” (3.4.3.2)
300 ## $a 1 score and 1 part (15 pages)
EXTENT AND DIMENSIONS
“For resources consisting of more than one type
of unit, separate each type by space-“+”-space.
Alternatively, encode extent for scores and parts
in separate 300 fields” (Best Practices 3.4.3)
300 ## $a 1 score (5 pages) + 1 part (1 unnumbered leaf)
300 ## $a 1 score (59 pages) + 3 parts
EXTENT AND DIMENSIONS
“If the resource consists of more than one carrier, and
the carriers are all of the same type and size, record the
dimensions of a single carrier” (3.5.1.6)
Score and parts are considered the same “type of
carrier” (a “volume”, see 3.5.1.4.14)
300 ## $a 1 score (25 leaves) + 1 part (15 leaves) ; $c 32 cm
OR300 ## $a 1 score (25 leaves) ; $c 32 cm
300 ## $a 1 part (15 leaves) ; $c 32 cm
EXTENT AND DIMENSIONS
“For notated music, if the resource consists of
more than one carrier of differing sizes, record
the dimensions of each carrier containing a
different type of unit” (3.5.1.6)
300 ## $a 1 score (25 leaves) ; $c 30 cm + $a 1 part (15 leaves) ; $c 32 cm
OR300 ## $a 1 score (25 leaves) ; $c 30 cm
300 ## $a 1 part (15 leaves) ; $c 32 cm
GENRE/FORM NOTES
“Make a note describing the genre/form of one or more
of the works or expressions embodied in the resource if
deemed useful for identification or selection (i.e., if the
work or expression is not adequately described by the
title or by using appropriate genre/form
or subject headings)” (Best Practices 7.2)
500 ## $a Fantasy based on themes from Wagner’s opera.
FORM/MEDIUM OF
PERFORMANCE NOTES
Combined notes
“Notes may be constructed stating both genre/form
and medium of performance (see 7.21),
especially if compilations of diverse works can be thus
described more concisely than by giving
the elements separately.” (Best Practices 7.2)
MEDIUM OF PERFORMANCE
NOTES
“Apply this element when the medium of performance
is not adequately described by the title or by using
controlled vocabularies” (such as LCMPT)
(Best Practices 7.21)
500 ## $a For prepared piano, typewriter and tape
recorder.
MEDIUM OF PERFORMANCE
NOTES
Can also use to indicate any of the following:
• Specific choral or solo voice parts (e.g., SMzABarTB)
• Key and/or range of specific instruments
• Original medium of work of which an arrangement
is being cataloged
• Alternative medium specified in the resource
• Presence/absence of figured bass and realization of a
continuo part
(Best Practices 7.21)
MEDIUM OF PERFORMANCE
NOTES
500 ## $a For solo voices (MzBar), chorus (SATB) and
orchestra.
500 ## $a For viola with the lowest string tuned down to B.
500 ## $a Originally for piano, 4 hands (1st work); orchestra
(2nd-3rd works); and voice and piano (remainder).
500 ## $a Figured bass realized for keyboard instrument.
500 ## $a Figured bass not realized.
FORM/MEDIUM OF
PERFORMANCE NOTES
“Notes may be constructed stating both genre/form
(see 7.2) and medium of performance, especially if
compilations of diverse works can be thus described
more concisely than by giving the elements separately”
(Best Practices 7.21)
500 ## $a Chance composition for prepared piano,
typewriter and tape recorder.
LANGUAGE NOTES
Language(s) of the resource (041, 546, 500)
Routinely record the language(s) for:
• Text underlying printed music (scores) (041$a)
• Text presented separately (e.g., librettos) (041$e)
• Accompanying text (e.g., critical commentary) (041$g)
(Best Practices 7.12)
LANGUAGE NOTES
Original language(s) of the content (041, 546, 500)
Also, record the original language(s) if readily
ascertainable:
• Of the text underlying printed music (041$h)
• Of the text presented separately (041$m)
• Of the accompanying text (041$n)
(Best Practices 7.12)
LANGUAGE NOTES
Routinely encode language in 008/35-37 and 041
as applicable. Optionally, explain the language
content in a 546 and/or 500 field as appropriate,
if deemed useful for identification or selection.
(Best Practices 7.12)
LANGUAGE NOTES
041 1# $a eng $h ger
546 ## $a English words; originally in German.
From Haydn’s
Die Schöpfung
LANGUAGE NOTES
041 1# $a eng $e eng $h ger $n ger
546 ## $a English words; originally in German.
500 ## $a Words also printed as text in English before the score.
Same resource,
libretto also
printed as text
LANGUAGE NOTES
041 1# $a ger $a eng $h ger
546 ## $a German words with English translation.
From Haydn’s
Die Jahreszeiten
LANGUAGE NOTES
Record the language(s) of any supplementary
materials in notes about those materials
041 1# $a cze $a eng $g eng $h cze
546 ## $a Czech words with English translation.
500 ## $a Includes critical commentary in
English (pages 203-254).
LANGUAGE NOTES
Scripts
“Record details of the script or scripts used to express
the language content of the resource if considered
important for identification or selection” (7.13.2.4)
546 ## $a English and Russian (Cyrillic) words.
546 ## $a Russian words with transliteration.
FORM OF NOTATION NOTES
“Record the form of musical notation used to express
the musical content of the resource using one or more
appropriate terms from the following list:
• graphic notation
• letter notation
• mensural notation
• neumatic notation
• number notation
(7.13.3.3)
• solmization
• staff notation
• tablature
• tonic sol-fa
FORM OF NOTATION NOTES
546 ## Staff notation.
546 ## Tablature.
546 ## Staff notation and graphic notation in the 4th movement.
“Routinely record form of musical notation. Encode in
a separate 546 field. Capitalize the first word” (Best
Practices 7.13)
SUPPLEMENTARY CONTENT
NOTES
500 ## $a Includes instructions for performance.
500 ## $a Includes preface and critical commentary
(pages vii-liii) in English and German.
DURATION NOTES
“For notated music and notated movement, if the
performance time is stated on the resource, record the
time stated” (7.22.1.4)
“If the time is approximate, record the approximate
time preceded by approximately” (LC-PCC PS 7.22.1.4)