mark scharff, gaylord music library washington university in st. louis 2013 mobius annual conference
TRANSCRIPT
Making Numbers and Dates Add Up for Music
Materials Mark Scharff, Gaylord Music Library
Washington University in St. Louis2013 MOBIUS Annual Conference
Understand what sorts of numbers printed music and sound recordings bear and which ones matter
Recognize analogous numbers found in books
Know how to record such numbers to satisfy user needs and machine manipulation
Learn how to identify and record dates of publication, copyright, manufacture, etc. for printed music and sound recordings
Goals of this session
We don’t have time to cover every situation We may skip over stuff—it’s here for you to
look at later This is my read of the instructions—mileage
varies Things you see in OCLC records reflect
many layers of rules and LC practices
Just so you know …
Numbers for music
Types for printed music:◦ Plate numbers◦ Publisher’s numbers◦ Distributor’s numbers◦ Standard numbers
ISBN ISMN UPC/EAN (now IAN)
Any of these can be found in books from music publishers
Numbers for music
Original purposes◦ Inventory control◦ Publication sequence (sort of)
Every/most pages of music Usually at the bottom of each page Additional elements
◦ Initials/name of publisher◦ Numeric suffix
Relation of plate number to publisher
Plate numbers
Referring here to different publishers “Reprinted from XXXX plates” New publisher may or may not retain the
numbers in the new publication New publisher may or may not add its own
numbers
Numbers in republications
Generally a number used by customers for ordering
Might be same as plate number Usually appears once in the item “Edition” statements “Series” statements
Publisher’s number
Associated with a distributor Often on a back cover or a label
Distributor’s number
ISBN International Standard Music Numbers
(ISMN)◦ More common in European publications◦ Change in format
Early—”M” numbers Most common current—”Musicland” numbers
Price codes◦ UPC—12 digits◦ EAN/IAN—13 digits
Standard numbers
Need to satisfy description and indexing Varying conventions over time
◦ Recorded as part of imprint (MARC 260 $d)◦ Sometimes ignored◦ Modifications to “take what you see”
AACR2—numbers are recorded in notes RDA—numbers are data elements
Numbers for printed music in the catalog record
Instructions themselves relatively similar, but …◦ AACR2: plate and publisher’s numbers described
in single rule (5.7B19)◦ RDA: plate number and publisher’s number are
distinct data elements (2.15.2, 2.15.3)◦ AACR2: give letters preceding or following
numbers only once when recording a sequence of numbers, unless number has both leading and trailing letters
◦ RDA: give all preceding or following letters in each number recorded (2.15.2.3, 2.15.3.3)
Numbers in the catalog record—AACR2 vs. RDA for printed music
◦ AACR2: instructions do not specify including name of publisher, issuing agency, etc. with number.
◦ RDA: general instructions for manifestation identifiers specify giving trade name or agency responsible for assigning the identifier in front of number (2.15.1.4)
◦ AACR2: numbers are recorded in a note◦ RDA: numbers are recorded as data elements; no
provision in RDAMARC mappings for a note on identifiers.
Numbers in the catalog record—AACR2 vs. RDA for printed music
LCRI for 5.7B19: stipulates removal of some preceding designations to isolate number (e.g. “no.,” “Ed. Nr.,” etc.)
RDA: could be interpreted as doing the same (specifies recording abbreviation, word, or phrase identifying a publisher)
AACR2: allows for ranges of numbers to be given, including first/last when numbers are non-consecutive
RDA: same, but LC-PCC PS for the Alternative to 2.15.1.5 stipulates giving identifiers singly.
RDA: allows qualifiers to specify the part of a resource represented by the identifier
Numbers in the catalog—AACR2 vs. RDA for printed music
ISBN—020 UPC, EAN, ISMN—024 Plate, publisher’s, distributor’s numbers—
028, sometimes 500
Numbers for printed music in MARC
020 9781603783729024 1 884088588779028 50 02501695 ǂb Hal Leonard...[New York, N.Y.] : ǂb Cherry Lane Music Co. ; ǂa Milwaukee, WI : ǂb Exclusively distributed by Hal Leonard, ǂc c2012.…500 Distributor's no.: 02501695.
MARC fields for previous slide
024 2 M014016760024 3 9790014016760
MARC fields for previous slide
028 22 U.E. 10 874 ǂb Universal-Edition
028 22 23 731 HL ǂb Henry Lemoine
028 22 M. 18304 G. ǂb Gos. muzykalʹnoe izd-vo
028 22 30755 ǂb C.F. Peters
028 22 30 ǂb T.H. Henning
MARC fields for previous slide
028’s dual function◦ Indexing mechanism◦ Note generation (cataloger’s option)
Considerations pointing to using 028 and 500 fields◦ How many numbers◦ Non-consecutive numbers◦ Distributor’s numbers◦ “Embedded” numbers◦ Old numbers, new publisher
Numbers for printed music—MARC 028 vs. 500
028 30 8973 ǂb C.F. Peters…260 Frankfurt/M ; ǂa New York : ǂb C.F.
Peters, ǂc c1998.…500 Publisher's no.: Edition Peters Nr. 8973.
MARC fields for previous slide
028 20 R.D. 7538 ǂb R. Deiss028 22 E.A.S. 14, 914 ǂb Salabert…260 Paris : ǂb Salabert, ǂc[194-?], c1937.…500 Reprinted from R. Deiss plates. Pl.
no.: R.D. 7538
MARC fields for previous slide
Make allowances for presence/absence of numbers in OCLC copy
Be mindful of OCLC input standards for numbers to allow full indexing
III does not have the indexing sophistication of OCLC
Last words on numbers for printed music
Music publishers who assign plate or publisher’s numbers to scores and analogous numbers to books that they publish
“Music” numbers in books
028, first indicator 5, not 3 MARC21, 028, first indicator “3”:
◦ “Other music number--Other than an issue, matrix, or plate number.”
MARC21, 028, first indicator “5”:◦ “Other publisher number--Other than any of the
other defined values (i.e., it is not a publisher number for a sound recording, music, or a videorecording).”
“Music” numbers in books--MARC
028 52 ED 20766 ǂb Schott028 52 BSS 53636 ǂb Schott
028 52 Ed. 46047c ǂb G, Schirmer
MARC fields for previous slides
Numbers for sound recordings that matter◦ Issue number (“label”)
Individual discs Collective (“album”)
◦ Matrix number (principally 78s, LPs)◦ Standard numbers
UPC/IAN ISBN (!) GTIN-14
Numbers that don’t matter (for most of us)◦ DIDP/DIDC/DIDX/DIDZ/DIDY prefixes◦ EMI geography-based numbers◦ “LC numbers”
Music numbers in sound recordings
Relationship to item in hand◦ First release◦ Reissue by same company◦ Issue/Reissue in different format◦ Reissue by different entity (e.g. record clubs)
Pros and cons of drawing relationships 028 vs. notes
Music numbers in sound recordings
024 11 077776336053024 11 ǂz 7777633602028 00 CMS 7 63360 2 ǂb EMI028 00 CDM 7 63361 2 ǂb EMI028 00 CDM 7 63362 2 ǂb EMI028 00 CDM 7 63363 2 ǂb EMI028 00 CDMC 63360 ǂb EMI
500 EMI: CMS 7 63360 2 (CDM 7 63361 2--CDM 7 63363 2); CDMC 63360 (USA).
MARC fields for previous slide
Global Trade Item Number◦ Actually the name of a family of numbers that
includes the UPC and EAN/IAN◦ In cataloging context, this is what is known as
GTIN-14◦ MVS has never seen presented on an item as such◦ Often present in vendor records◦ Almost always two leading zeroes◦ MARC 024, 1st indicator “7”
Subfield 2 contains code “gtin”
Music numbers for sound recordings—MARC miscellanea
Dates for music materials
Creation of work(s)—we’ll mostly skip these Publication Production/manufacture Copyright (and renewal) Recording/broadcast/capture
What’s in a date?
Not commonly given in printed music after the mid-18th century
Almost never given in sound recordings Why so uncommon? MVS thinks:
◦ Marketing◦ Print runs◦ Importance attached to copyright (intellectual
property)
Publication dates
5.4F1.4F Explicitly given in resource—record (1.4F2) Not explicitly given—infer if
◦ other dates are present, but are known to differ from date of publication (1.4F4)
◦ no other dates are present in resource (1.4F7)
Publication dates for printed music in AACR2
AACR2 innovation—no [n.d.] Copyright dates recorded if
◦ Known to differ from publication date (1.4F5 and LCRI for same; music is not “books and printed serials”)
◦ Not known to differ from publication date and therefore “standing in” for publication date (1.4F6)
Copyright date caveats◦ Copyright renewal dates (LCRI 1.4F1)◦ Different copyright dates for different works in a
resource
Copyright dates for printed music in AACR2
AACR2—not concerned with copyright date when publication date is given and copyright date is the same
RDA—Publication date and copyright date are different data elements; still some controversy on whether a copyright date should be recorded in this circumstance
Publication date present
DtSt s Dates 2012 , 260 Los Altos, Calif. : ǂb Packard
Humanities Institute, ǂc 2008
MARC fields for previous slide
Copyright date present differs from publication date
Publication date present, but …
In absence of internal or external evidence suggesting a different date
Be sure that there is only one copyright date involved (q.v.)
This is the most common situation for printed music
Copyright date as surrogate for publication date
DtSt s Dates 1937 ,…260 Wien : ǂb Universal-Edition, ǂc c1937.
MARC fields for previous slide
LCRI 1.4F6 1977 date refers to Copyright Act of 1976
◦ Before—renewal registration required to secure additional copyright protection
◦ After—registration not required, longer terms MVS surmise—renewals before 1977 would
not be thought to represent changes in content, and would be similar to reprints (i.e. no need for new description)
But …
Copyright renewal dates
1st item: DtSt s Dates 1918 , 260 New York : ǂb G. Schirmer, ǂc
c1918.
OR
DtSt t Dates 1939 , 1918 260 New York : ǂb G. Schirmer, ǂc
[1939?], c1918.
MARC fields for previous slide
2nd item: DtSt s Dates 1945 , 260 New York : ǂb G. Schirmer, ǂc
c1945.
MARC fields for previous slide, part 2
This is most common in a compilation that contains works by different people
Also—dramatic works that have material added or revised after initial copyright
Look for a copyright date that can be said to pertain to the entire resource
Lacking that, see if the latest copyright date found can be used to infer a publication date
Multiple copyright dates
DtSt s Dates 1939 , 260 New York : ǂb Robbins Music Corp.,
ǂc [1939?]
MARC fields for previous slide
AACR2 1.4F6 Relatively rare for printed music outside of
Eastern Europe (some Italian publishers, too)
When do they matter?◦ If they accompany some change in intellectual
content or descriptive elements that call for a new bibliographic record
◦ If they are the only date present First printing—inferred publication date Subsequent printing—record as such
Print-on-demand challenges
Printing/manufacture dates for printed music in AACR2
Example of printing date
6.4F1.4F Explicitly given in resource—record (1.4F2) Not explicitly given—infer if
◦ other dates are present, but are known to differ from date of publication (1.4F4)
◦ no other dates are present in resource (1.4F7)
Publication dates for sound recordings in AACR2
℗ vs. © ◦ ℗: Phonogram copyright (recorded sound)◦ ©: Copyright (text, artwork)
Phonogram◦ Any exclusively aural fixation of sounds of a performance
or of other sounds.◦ Defined at the Rome Convention or the Protection of
Performers, Producers of Phonograms and Broadcasting Organisations (1961)
◦ Phonogram symbol introduced in 1971—”… the notice shall consist of the symbol ℗ (the letter P in a circle) [and] the year of first publication of the sound recording …” (amendment to Section 19 of the 1909 Copyright Act)—also adopted by international treaty.
Copyright dates for sound recordings--General
Troubles with copyright dates◦ ℗ dates before 1971—retrospectively assigned◦ © dates with no ℗ dates
Pre-1971--would pertain to packaging, text, etc. Post-1971—huh?
◦ Locating copyright dates—on some LPs, only embossed into vinyl
◦ Multiple copyright dates, especially ℗◦ Uncertainty whether ℗ date is really date of first
publication◦ No copyright dates of any kind
Copyright dates for sound recordings--General
Copyright dates recorded if◦ Known to differ from publication date (1.4F5 and
LCRI for same; sound recordings are not “books and printed serials”)
◦ Not known to differ from publication date and therefore “standing in” for publication date (1.4F6)
Copyright date caveats◦ Copyright renewal dates (LCRI 1.4F1); not
common◦ Different copyright dates for different works in a
resource (common with reissues)
Copyright dates for sound recordings in AACR2
LCRI to 6.4F1—regard a © date as referring only to text, packaging, etc.; can be basis of inferred publication date.
Single ℗ and © dates that are the same—record the ℗ date preceded by “p”.
Single ℗ and © dates that differ (© date is usually later)—infer publication date from © , and record the ℗ date preceded by “p”.
Copyright dates for sound recordings—Which dates?
Multiple ℗ dates—how much of the recording does each belong to?◦ All pertain to the entire recording—record only the
latest one◦ Each pertains to a different part of the recording—
use the latest date to infer a date of publication◦ Modify above based on any © date present
Copyright dates for sound recordings—Which dates?
DtSt p Dates 1991 , 1974 260 [United States] : ǂb Philips, ǂc
[1991?]
MARC fields for previous slides
Example of multi-p dates for single work
MVS doesn’t think he’s ever seen one.
Manufacture dates for sound recordings in AACR2
MARC field 518 (user-friendly form)◦ Free-text◦ Subfielded by type of data
MARC field 033 (machine-friendly form) 033 is optional
Recording/capture/broadcast dates
DtSt p Dates 1991 , 1974 033 00 197306-- ǂb 6299 ǂc B3 033 00 197404-- ǂb 6004 ǂc A5 033 00 198912-- ǂb 5754 ǂc L7 260 [United States] : ǂb Philips, ǂc [1991?] 518 Recorded June 1973, in
Christuskirche, Berlin (KV 345), Apr. 1974, in the Concertgebouw, Amsterdam (KV 367), and Dec. 1989,
in Henry Wood Hall, London (KV 299b, 299c, 446).
MARC fields for Mozart CD
Dates in RDA
A core element (RDA 2.8.6), but … RDA does not require a publication date to
be inferred (2.8.6.6); an LC-PCC PS strongly encourages it and outlines means of doing so using information at hand.
Dates for printed music in RDA
General guidelines on recording dates: RDA 1.9
Operating principles generally similar to AACR2
Inferred dates still recorded in square brackets, signaling information taken from outside the resource itself (RDA 2.2.4)
New ability to state “not before” or “not after” dates (RDA 1.9.2.5)—still an inferred date
Publication dates for printed music in RDA
Core-if element Recording convention
◦ © instead of “c”◦ “copyright” if © is not available◦ LC-PCC PS—do not record if it has been used to
infer a publication date Neither RDA nor LC-PCC PS directly address
situation of different copyright dates for works in a compilation—MVS recommends inferring a date of publication from the latest copyright date if no other date is available
Copyright dates for printed music in RDA (2.11)
RDA 2.10.6.1 Core-if data element LC-PCC PS gives guidance on how to use the
dates (to infer publication dates if no other dates are present)
LC-PCC PS offers options for recording the date in a manufacture statement or Note on issue, part, or iteration used as the basis for identification of a resource (RDA 2.20.13)
Printing/manufacture dates for printed music in RDA
RDA 2.8.6 Core element As with printed music, RDA does not require
a publication date to be inferred (2.8.6.6); an LC-PCC PS strongly encourages it and outlines means of doing so using information at hand.
Publication dates for sound recordings in RDA
RDA 2.11.1 LC-PCC PS says to not record a copyright
date if it has been used to infer a publication date
Option allows them to be recorded as notes (RDA 2.20.10.3)
Copyright dates for sound recordings in RDA
Keith Hirsch posting on the Sony pressing nos.:
http://www.keithhirsch.com/japan-for-us-am-cds-with-didx-and-didz-numbers
Posting on EMI numbers:
http://forums.musicbrainz.org/viewtopic.php?id=665 (look for posting #12)
URLS for discussions of SR numbers
