Indiana Library Federation
Lone Arrangers
and Multiple
Composers:
Sound Recordings
and RDA
2013 Annual Conference
“Everyday Superheroes in the Library”
Indianapolis, Indiana
2013 October 21
Jay Weitz
Senior Consulting Database Specialist
WorldCat Quality Management Division
OCLC
jay_weitz@oclc.org
The world’s libraries. Connected.
1
Introduction: First, Some Shameless Plugs
Music OCLC Users
Group (MOUG)
http://www.musicoclcusers.org
Online Audiovisual
Catalogers (OLAC)
http://www.olacinc.org
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2
Introduction: Shameless Plugs, Continued
OLAC’s Cataloging Policy Committee (CAPC)
–“… to represent the concerns of AV catalogers in matters relating to the formation,
interpretation, and implementation of national and international cataloging
standards, rules, and related matters.”
– A/V and Nonprint Glossary
̶
Expands and updates Nancy Olson's 1988 Audiovisual Material Glossary
̶
http://olacinc.org/avglossary/
– DVD/Blu-Ray Disc RDA Guide Task Force
– Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21, 2008
Update
•
Also includes guidelines on DualDiscs and DVD-Audio discs
•
http://olacinc.org/drupal/capc_files/DVD_guide_final.pdf
– Streaming Media RDA Guide Task Force
– Best Practices for Cataloging Streaming Media
•
http://olacinc.org/drupal/capc_files/streamingmedia.pdf
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3
Introduction: Shameless Plugs, Continued
Best Practices for
Music Cataloging
Using RDA and MARC21
http://bcc.musiclibraryassoc.org/BCCHistorical/BCC2013/RDA_Best_Pra
ctices_for_Music_Cataloging.pdf
**DRAFT**
(includes minor corrections)
15 February 2013
BCC Web Site:
http://bcc.musiclibraryassoc.org/bcc.html
Prepared by the RDA Music Implementation Task Force,
Bibliographic Control Committee, Music Library Association
The world’s libraries. Connected.
Introduction: A Few Basics
• Not comprehensive
• Trying to be practical
• Assumes basic cataloging
knowledge of:
– AACR2
– MARC 21
– Sound Recordings
– Electronic Resources
– RDA
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Introduction: AACR2 to RDA
Chapter 1: General Rules for Description
Section 1: Recording Attributes of Manifestation and Item
Chapter 2: Books, Pamphlets, and Printed Sheets
Section 2: Recording Attributes of Work and Expression
Chapter 3: Cartographic Materials
Chapter 4: Manuscripts (Including Manuscript Collections)
Chapter 5: Music
Chapter 6: Sound Recordings
Chapter 7: Motion Pictures and Videorecordings
Section 3: Recording Attributes of Person, Family, and
Corporate Body
Section 5: Recording Primary Relationships between
Work, Expression, Manifestation, and Item
Section 6: Recording Relationships to Persons, Families,
and Corporate Bodies Associated with a Resource
Chapter 8: Graphic Materials
Chapter 9: Electronic Resources
Chapter 10: Three-Dimensional Artefacts and Realia
Section 7: Recording Subject Relationships
Section 8: Recording Relationships between Works,
Expressions, Manifestations, and Items
Chapter 11: Microforms
Chapter 12: Continuing Resources
Chapter 13: Analysis
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Section 9: Recording Relationships between Persons,
Families, and Corporate Bodies
Introduction: LCRI to LC-PCC PS
AACR2
is to the
Library of Congress
Rule Interpretations
(LCRI)
just as
The world’s libraries. Connected.
RDA
is to the
Library of CongressProgram for
Cooperative
Cataloging Policy
Statements
(LC-PCC PS)
Introduction: Brief History of RDA
•
October 1997: International Conference on
the Principles & Future Development of
AACR (“Toronto Conference”).
•
May 1998: Functional Requirements for
Bibliographic Records: Final Report (FRBR).
•
December 2004: Draft of AACR3, Part I.
•
April 2005: Transition to RDA.
•
November 2008: “Full Draft” of RDA.
•
June 2010: RDA Toolkit published.
•
October-December 2010: RDA Test.
•
June 13, 2011: United States national
libraries announce RDA implementation not
before January 1, 2013.
•
June 14, 2011: Audible sighs of relief in
some quarters, widespread panic in others.
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Introduction: Taming RDA, Transforming MARC
• JSC
• CC:DA
• MARBI/MAC
• LC Bibliographic
Framework
Transition Initiative
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Sound Recordings: When to Input a New Record
Differences that Justify a New Record
• Different sound recording format, size,
speed:
– CD versus LP versus cassette.
– 7 inch versus 10 inch versus 12 inch.
– 33 1/3 rpm versus 78 rpm.
• Stereo versus Mono.
• Analytical entry versus comprehensive
entry.
• Specific differences in Music Publisher
Number (028).
• Different dates of publication.
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Sound Recordings: Sources of Information
AACR2 6.0B1: Chief Source of Information
Recording Type
Chief Source
Disc
Disc and label
Tape (Reel-to-Reel)
Reel and label
Tape Cassette
Cassette and label
Tape Cartridge
Cartridge and label
Roll
Label
Sound Recording on Film
Container and label
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RDA 2.2.2.4: Preferred Source of Information. Other
Resources
For a resource other than one covered under 2.2.2.22.2.2.3, use as the preferred source of information,
as applicable:
either
a) a label bearing a title that is permanently printed on
or affixed to the resource, excluding accompanying
textual material or a container (e.g., a label on an
audio CD or a model)
or
b) embedded metadata in textual form that contains a
title (e.g., metadata embedded in an MP3 audio
file).
If the resource does not contain a source of information
falling into either category a) or b) above, use as the
preferred source of information another source
forming part of the resource itself, giving preference
to sources in which the information is formally
presented.
Sound Recordings: Sources of Information
AACR2 6.0B1: Chief Source
of Information
If information is not available
from the chief source, take
it from the following
sources (in this order of
preference):
– accompanying textual material.
– container (e.g., sleeve, box).
– other sources.
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RDA 2.2.2.1: Preferred Source of
Information. General Guidelines
When choosing a preferred source of information,
treat as part of the resource itself:
a) the storage medium (e.g., paper, tape, film)
and
b) any housing that is an integral part of the
resource (e.g., a cassette, a cartridge).
When describing the resource as a whole using a
comprehensive description, treat accompanying
material as part of the resource itself. …
Treat a container issued with the resource (e.g., a
box in which a game or kit is issued, a clamshell
box containing compact discs in individual jewel
cases or cardboard sleeves) as part of the
resource itself. …
Sound Recordings: Sources of Information
Label (AACR2):
“Any permanently
affixed paper, plastic,
etc., label, as opposed
to the container itself,
which may have data
embossed or printed on
it.”
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Sound Recordings: Sources of Information
Title on Container
AACR2 LCRI 6.0B1: “For
compact discs and
cassettes, consider
information which can be
read through the closed
container (including
information on the front
cover of a booklet inserted
in the container) to be on
the container.”
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Sound Recordings: Dates
Different Date Sources:
– Sound recording label
– Container
– Accompanying material
Different Bibliographic “Events”:
– Original capture
– Release as a recording
– Release in a new recording
medium
– Copyrights of design or
accompanying material
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Sound Recordings: Dates
℗ = Phonogram Copyright Symbol
• Copyright date of the recorded sound
© = Copyright Symbol
• LCRI 6.4F1: “Do not regard as a copyright date
for the recording .... This symbol can apply only
to the printed text. However, it can be used as
evidence for supplying a date of publication
according to 1.4F7 when neither a date of
publication nor a ‘p’ date appears on the item.”
• RDA LC-PCC PS 2.8.6.6: “Supply a date of
publication that corresponds to the copyright
date, in square brackets, if it seems reasonable
to assume that date is a likely publication date.”
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Sound Recordings: Dates
Dates of first commercial
availability (publication) of some
of the major audio media:
– LP discs: 1948
– Pre-recorded reel-to-reel audio tapes: 1954
– Pre-recorded audio cassettes: 1965
– Audio compact discs: 1982
– Streaming audio: 1999
– DVD-Audio discs: 2000
– Playaway devices: 2005
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Sound Recordings: Dates
• Dates earlier than those
on the previous slide
cannot be a proper date
of publication for that
audio medium.
• Earlier dates may represent
such bibliographic events
as date of sound capture,
release date in a different
audio medium, etc.
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Sound Recordings: Titles
Be aware of
differences in title:
– Label
– Container
– Spine
– Back of Container
– Accompanying
Material
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Sound Recordings: Titles
AACR2: 6.0B1. Chief source of
information.
“… If there are two or more chief sources
of information as defined … (e.g., two
labels on a disc), treat these as a single
chief source.”
RDA doesn’t explicitly say the same thing
about “successive” disc labels or the
like, but until we know better, treat
them the same.
The world’s libraries. Connected.
Sound Recordings: Titles
•AACR2: 6.0B1. Chief source of information.
•“… 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 (see
6.7B3) indicating the source of information.
•If information is not available from the chief source,
take it from the following sources (in this order of
preference):
accompanying textual material
container (e.g., sleeve, box)
other sources”
RDA 2.2.2.4: “If a source of information only lists the
titles of the individual contents and another source
forming part of the resource has a formally-presented
collective title, use as the preferred source of
information the first applicable source with a
formally-presented collective title.”
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Sound Recordings: Type Code
Type j: Musical Sound Recording
Type i: Nonmusical Sound Recording
– Sound effects
– Birdcalls and animal sounds
– Physical exercise recordings
(instructions over musical
accompaniment)
– Stories read over incidental music
– Plays with incidental music
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Sound Recordings: Type Code
Musical instruction recordings (how to play
the ...):
̶
Choose by predominance of music (Type “j”)
or spoken instruction (Type “i”).
Filmstrips or slides with accompanying
sound:
– Catalog as Projected Graphics (Type “g”).
“Read-along” materials:
– Catalog as Nonmusical Sound Recording
(Type “i”) with accompanying text.
Recorded theses:
– Catalog as Sound Recording (Type “i” or “j”,
as appropriate).
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Sound Recordings: Type Code
Serial Sound Recordings
• Use Sound Recordings format
(Type “i” or “j”, as appropriate).
• Bibliographic Level (BLvl) “s”.
• Optional 006 for serial aspect:
Highly recommended.
• Nonprint serials no longer
permitted on Serials format as
allowable duplicates.
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Sound Recordings: RDA Content, Media, Carrier
336 - Content Type
• The form of communication through which a
work is expressed.
337 - Media Type
• A categorization reflecting the general type of
intermediation device required to view, play,
run, etc., the content of a resource.
338 - Carrier Type
• A categorization reflecting the format of the
storage medium and housing of a carrier in
combination with the type of intermediation
device required to view, play, run, etc., the
content of a resource.
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336 text $b txt $2 rdacontent
337 unmediated $b n $2 rdamedia
338 volume $b nc $2 rdacarrier
Sound Recordings: RDA Carrier
RDA Carrier Terms
338 Subfield $a
MARC Codes for RDA Terms
338 Subfield $b
MARC Audio Carrier Codes
007/01 (Subfield $b)
audio cartridge
sg
g - 007/01 (Sound Recording)
audio cylinder
se
e - 007/01 (Sound Recording)
audio disc
sd
d - 007/01 (Sound Recording)
sound track reel
si
i - 007/01 (Sound Recording)
audio roll
sq
q - 007/01 (Sound Recording)
audiocassette
ss
s - 007/01 (Sound Recording)
audiotape reel
st
t - 007/01 (Sound Recording)
other
sz
z - 007/01 (Sound Recording)
The world’s libraries. Connected.
26
Sound Recordings: RDA Content, Media, Carrier
Musical Disc (Type “j”)
336 performed music $b prm $2 rdacontent
337 audio $b s $2 rdamedia
338 audio disc $b sd $2 rdacarrier
Non-Musical Disc (Type “i”)
336 spoken word $b spw $2 rdacontent
OR
336 sounds $b snd $2 rdacontent
337 audio $b s $2 rdamedia
338 audio disc $b sd $2 rdacarrier
The world’s libraries. Connected.
Sound Recordings: Physical Description Versus Extent
RDA
AACR2
300: Physical description
300: Extent
– $a: Number of units and type of
carrier
– $a: SMD
• sound disc(s)
OR
• “Term in Common Usage”
– $b: Other physical details:
“analog”/”digital”,
“mono.”/”stereo.”
– $c: Dimensions: 4 3/4 in.
The world’s libraries. Connected.
• audio disc(s)
OR
• “Term in Common Usage”
– $c: Dimensions of Carrier: 4 3/4 in.
344: Sound Characteristics
– $a: Type of Recording: “analog”/”digital”
– $g: Configuration of Playback Channels:
“mono”/”stereo”
Sound Recordings: 007 Coding
007/00 (Subfield $a): Category of material
s = Sound recording
007/01 (Subfield $b): Specific material designation
d = Sound disc
s = Sound cassette
t = Sound-tape reel
u = Unspecified
z = Other
007/06 (Subfield $g): Dimensions
e = 12 in. diameter
g = 4 3/4 in. or 12 cm. diameter
j = 3 7/8 x 2 1/2 in.
n = Not applicable
u = Unknown
z = Other
007/09 (Subfield $j): Kind of disc, cylinder, or tape
m = Mass-produced
007/03 (Subfield $d): Speed
b = 33 1/3 rpm (LP discs)
c = 45 rpm (discs)
d = 78 rpm (discs)
f = 1.4 m. per second (CDs)
u = Unknown
z = Other
007/04 (Subfield $e): Configuration of playback channels
m = Monaural
q = Quadraphonic
s = Stereophonic
u = Unknown
z = Other
007/05 (Subfield $f): Groove width/groove pitch
m = Microgroove/fine
n = Not applicable
s = Coarse/standard
u = Unknown
z = Other
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007/10 (Subfield $k): Kind of material
m = Plastic with metal
p = Plastic
u = Unknown
z = Other
007/12 (Subfield $m): Special playback characteristics
e = Digital recording
n = Not applicable
u = Unknown
z = Other
007/13 (Subfield $n): Capture and storage technique
a = Acoustical capture, direct storage
b = Direct storage, not acoustical
d = Digital storage
e = Analog electrical storage
u = Unknown
z = Other
Sound Recordings: Entity Attributes
340: Physical Medium
$b: Dimensions
–
4 3/4 in.
344: Sound Characteristics
$a: Type of recording
–
analog, digital
$c: Playing speed
$d: Groove characteristic
$f: Tape configuration
$g: Configuration of playback channels
–
mono, stereo
$h: Special playback characteristics
–
dbx encoded, Dolby-C encoded
347: Digital File Characteristics
$a: File type
–
audio file
$b: Encoding format
–
DVD-Audio
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Sound Recordings: 028 Field
No standards for publisher’s
numbers:
– Any format.
– Any length.
028 tries to satisfy two often
contradictory roles:
– Indexable access point.
– Note and/or added entry
generator.
Notes can be explicitly input:
– Indexing must take precedence.
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Sound Recordings: 028 Field
AACR2
LCRI 6.7B19: “When a publisher's number appears
in variant forms on a sound recording, its
container, accompanying material, etc., transcribe
only the form on the recording itself (e.g., the
labels of a disc).”
– In cooperative setting, this is disservice and
leads to more unnecessary duplicates.
– Better to account for variant numbers in 028
and in notes.
– Alerts next cataloger that items are the same.
“When two or more distinct publisher's numbers
appear on a sound recording, its container,
accompanying material, etc., transcribe each in a
separate note. Follow each number other than
the first by an indication of its location, if
appropriate.”
Pape: FSM 43721.
Pape: POPR 790051 (on container).
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RDA
2.15.1.4: Recording Identifiers for
Manifestations
“If there is no specified display
format for the identifier, record it
as it appears on the source.
Precede the identifier with a trade
name or the name of the agency,
etc., responsible for assigning the
identifier, if readily ascertainable.”
Warner Bros.: K56151
Tamla Motown: STMA 8007
Island: ILPS 9281
Nimbus: NI 5114-NI 5148
Sound Recordings: 028 Field
Multi-Disc Sets:
• When item has set number and
numbers for individual items, give
only set number unless it doesn’t
appear on individual items.
– In that case, give set number
followed by individual item
numbers in parentheses.
• When an item consists of two or
more individual units … do not
transcribe numbers that represent in
a truncated form the numbers of the
individual units.
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Sound Recordings: 028 Field
Matrix Number
• Unique numeric or alphanumeric sequence
assigned by sound recording publisher or
manufacturer to the matrix or mold used to
reproduce a disc.
• In pre-CD media, usually appear etched into
the sound recording surface between the
inner grooves and the label.
• For CDs, they appear in the inner ring.
• Also sometimes printed on the label itself,
often in conjunction with the publisher
number (often in parentheses) or as the
only identification.
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Sound Recordings: 028 Field
Matrix Numbers (028 First
Indicator = 1)
• Give matrix numbers only
when they are the only
numbers on item. Follow
each matrix number by
the word “matrix” in
parentheses.
– Otherwise, treat similarly to
regular numbers.
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Sound Recordings: 028 Field
028 subfield $b should
contain publisher name
• Usually corresponds to
name in 260 subfield $b.
• Exception: For a reissue,
028 coded for original label
and number.
– 028 02 SC 6234 $b
Sundazed
– 028 00 ST-T-1001 $b
Together Records
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Sound Recordings: 028 Field
General guidelines on input of 028s and
related notes:
• Avoid inputting same data twice when
possible.
• Account for numbers that belong to
identifiably different publishers/distributors in
separate notes.
• Put a range of numbers or a series of
individual numbers in a single note.
– But if numbers are not numerically
consecutive, code in separate 028s.
• Be flexible and clear, presenting information
as usefully as possible in 500 note.
The world’s libraries. Connected.
028 00 437 851-2 $b
Deutsche Grammophon
028 00 437 852-2 $b
Deutsche Grammophon
028 00 437 853-2 $b
Deutsche Grammophon
500
Deutsche
Grammophon: 028 00
437 851-2 (437 8522—437 853-2).
Sound Recordings: 024 Field
024: Other Standard Identifier
First Indicator: Type of Standard
Number or Code.
0: International Standard Recording
Code (ISRC).
1: Universal Product Code (UPC).
3: International Article Number (EAN).
7: Source specified in subfield $2.
8: Unspecified type of standard
number or code.
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Sound Recordings: 024 Field
International Standard
Recording Code (ISRC):
• First Indicator 0 for ISRC (12
alphanumeric characters
preceded by “ISRC”).
– Omit “ISRC” designation and
hyphens
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Sound Recordings: 024 Field
Universal Product Code (UPC):
• First indicator 1 for UPC (12
digits).
– Includes as the first digit,
“Number System Character,”
(NSC), which appears outside
and to the left of the bar code
symbol.
– Includes as the final (twelfth)
character, the check digit, which
appears at the bottom right
outside the bar code symbol.
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Sound Recordings: 024 Field
International Article Number (EAN):
• First indicator 3 for EAN (13 digits).
– Includes left-hand digit, often outside of
bar code symbol.
• Other 13-digit standard numbers are
unlikely to appear on Sound
Recordings:
– ISBN-13s begin with the digits 978 or
9791 through 9799.
– New-style ISMNs begin with 9790, but
should appear only on notated music
publications.
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Sound Recordings: 024 Field
First Indicator 7 when source
is specified in subfield $2:
• doi: Digital Object Identifier.
• gtin-14: Global Trade
Identification Number 14.
• iswc: International Standard
Musical Work Code.
Standard Identifier Source Codes
(http://www.loc.gov/standards/sou
rcelist/standard-identifier.html)
The world’s libraries. Connected.
Sound Recordings: 024 Field
Any supplemental
codes are placed in
subfield $d.
All numbers in field 024
are entered without
hyphens or spaces.
024 1
042100005264 $d 12345
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Sound Recordings: Statements of Responsibility
AACR2 6.1F1
“Popular” idiom, where participation goes
beyond performance, execution,
interpretation:
– Performer(s) can go in 245 subfield $c.
“Serious” idiom, where participation does not
go beyond performance, execution,
interpretation:
– Performer(s) should go in note area.
LCRI 6.1F1: The rule allows performers
who do more than perform to be named in
the statement of responsibility. Accept
only the most obvious cases as qualifying
for the statement of responsibility.
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Sound Recordings: Statements of Responsibility
AACR2: Principal Performers
“Those given prominence (by wording
or layout) in the chief source of
information of the item being
cataloged” (21.23A1, footnote 5)
– If two or more named in chief source,
consider to be principal performers
those given greatest prominence.
•
If two or more are given equal
prominence, consider all to be principal
performers.
– When only one performer named in
chief source, consider it principal
performer.
– When no performers named in chief
source, consider that there are no
principal performers.
The world’s libraries. Connected.
Sound Recordings: Statements of Responsibility
Creator
RDA 19.2.1.1: A creator is a person, family,
or corporate body responsible for the
creation of a work.
Contributor
RDA 20.2.1.1: A contributor is a person,
family, or corporate body contributing to
the realization of a work through an
expression. Contributors include editors,
translators, arrangers of music,
performers, etc.
The world’s libraries. Connected.
Sound Recordings: Statements of Responsibility
RDA 19.2.1.1.1: Corporate Bodies
Considered to Be Creators: Corporate
bodies are considered to be creators
when they are responsible for
originating, issuing, or causing to be
issued, works that fall into one or more
of the following categories:
…
e.) works that result from the
collective activity of a performing
group as a whole where the
responsibility of the group goes
beyond that of mere
performance, execution, etc.
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LC-PCC PS 19.2.1.1.1
Category E: This category emphasizes that
the responsibility of a performing group
must go beyond "mere performance,
execution, etc.“ This means that the
group must be responsible to a major
degree for the artistic content of the work
being performed. A typical example is an
acting group that performs by means of
improvisation. The group collectively
"plans" the drama, that is, determines the
broad outline of the plot, the nature of the
characters, etc., in the absence of a
written dialogue. The development of the
drama proceeds entirely on the basis of
improvised dialogue. The performance is
recorded, and it is the recording that is
being cataloged.
Sound Recordings: Statements of Responsibility
Performers can go in 511 note.
– Prescribed punctuation may be
useful for sake of clarity.
RDA 7.23.1.3: Recording Performers,
Narrators, and/or Presenters.
– Record the names of performers,
narrators, and/or presenters, if
they are considered to be
important for identification,
access, or selection. For
performers of music, indicate the
medium in which each performs.
The world’s libraries. Connected.
511 0 Craig Duncan, hammered
dulcimer, fiddle, mandolin ; Terry Smith,
bass ; David Talbot, banjo ; Pete
Hulinger, Bryan Sutton, guitars ; Robert
Bowlin, mandolin.
511 0 Pamela Dellal, mezzo-soprano
(1st, 3rd works) ; Donald Berman,
piano (1st work) ; Sarah Brady, flute
(2nd work) ; Mark Margolies, clarinet
(2nd-3rd works) ; Heidi Braun-Hill,
violin (2nd work) ; Rafael PopperKeizer, violoncello (2nd-3rd works) ;
Mary Ruth Ray, viola (3rd work) ;
Lydian String Quartet (4th work).
Sound Recordings: Statements of Responsibility
AACR2: Performers can
also be incorporated into
contents note 505.
– In parentheses following
title or statement of
responsibility.
RDA 25.1: Related Work.
– Stay tuned for best
practices.
The world’s libraries. Connected.
505 0 Music for orchestra / Jay Schwartz (Hessian Symphony
Orchestra ; Diego Masson, conductor) (13:42) -- The art of
home entertainment / Hannes Seidl (Ensemble Intégrales)
(8:24) -- Blinder Fleck / Markus Hechtle (NewEars.ensemble
; Jonathan Stockhammer, conductor) (6:59) -- Knochen. I /
Enno Poppe (Klangforum Wien ; Stefan Asbury, conductor)
(9:02) -- Freie Stücke. 8-10 / Jörg Widmann (Ensemble
Modern ; Dominique My, conductor) (6:37) -- Ausser Atem /
Moritz Eggert (Julia Whybrow, recorders) (6:42) -- Spiegel
Bilder. II / Isabel Mundry (Ernesto Molinari, clarinet ; Teodoro
Anzellotti, accordion) (5:21) -- 128 erfüllte Augenblicke.
Excerpt / Mathias Spahlinger (Dietburg Spohr, soprano ;
Walter Seyfarth, clarinet ; Ulrich Heinen, violoncello) (4:41) -Labyrinth der Lieder. 1 + 2 / Johannes Kalitzke (Collegium
Vocale Köln ; Saarbrücken Radio Symphony Orchestra ;
Johannes Kalitzke, conductor) (4:37) -- Diaphainon / Peter
Michael Hamel (Bavarian Radio Symphony Orchestra ;
Hans Zender, conductor) (12:45).
Sound Recordings: Statements of Responsibility
Contents note (505) may include statements
of responsibility, durations, indications of
sequence such as volume numbers:
– Titles sharing same statement of
responsibility separated by space-semicolonspace.
– Titles and statements of responsibility
separated from others by space-hyphenhyphen-space.
– Titles alone separated by space-hyphenhyphen-space.
– For multipart works, separate larger
designation (volume number, opera title, etc.)
from individual titles with period-space.
– For multivolume items, separate volumes
with space-hyphen-hyphen-space.
The world’s libraries. Connected.
505 0 Sonate K 386 / Scarlatti (Clara Haskil, piano)
(2:24) -- La flûte enchantée : dein Bildnis ist
bezauberdn schön / Mozart (Anton Dermota, tenor ;
Karl Böhm, conductor) (4:15) -- Toccata et fugue
BWV 565 / Bach (Kei Koito, organ) (9:10) -- Sonate
en ré mineur (extraits) / Meister (Musica Antiqua
Köln) (5:10) -- Suite pour violoncello no 3.
Sarabande / Bach (Ophélie Gaillard, violoncello)
(3:37) -- Ich ruf zu dir, herr Jesu Christ / Bach (Mare
Nostrum) (2:37) -- Sonnet de Pétrarque 104 (Noel
Mewton-Wood, piano) (5:55) ; Le roi des aulnes
(Vladmir Sofronitzki, piano) (4:51) ; Mephisto-valse
no 1 (Orchestre du Gewandhaus de Leipzig ; Kurt
Masur, conductor) (10:57) ; Über allen Gipfeln ist
Ruh (Margaret Price, soprano ; Cyprien Katsaris,
piano) (4:10) ; La ronde des lutins (Simon Barere,
piano) (2:21) ; Saint François de Paule marchant sur
les flots (Wilhelm Kempff, piano) (8:46) ; Tristis est
anima mea (Orchestre d'état hongrois ; Antal Dorati,
conductor) (14:35) / Liszt.
Sound Recordings: Statements of Responsibility
Enhanced contents note (505):
• Optional.
• Second Indicator: “0”.
• Designed for greater access to contents
information:
– ‡g: Miscellaneous information.
• Place in the same subfield $g
adjacent miscellaneous information.
– ‡r: Statement of responsibility.
• Place in the same subfield $r
adjacent statements of responsibility.
– ‡t: Title.
• Place in a separate subfield $t each
adjacent title.
The world’s libraries. Connected.
505 00 $t Fei ge = $t
Flying song / $r Tang
Jianping $g (19:04) -- $t
Flute moon / $r Bright
Sheng $g (18:57) -- $t
Bamboo flute concerto /
$r Ma Shui-long $g
(18:23) -- $t The ancient
Chinese beauty / $r
Chen Yi $g (14:58).
DVD-Audio: History
DVD-Audio intended to replace CD-Audio as
the primary carrier of prerecorded music, but
so far has not gained much market share:
– Can contain seven times as much content
as CDs.
– Higher fidelity than CDs.
– Potential for additional channels allowing
spatial sound reproduction (surround).
– Potential for visual features.
Tangible medium for sound recordings:
– Grooveless.
– Laser-read (red laser).
– 4 3/4 inch (12 cm) diameter.
– Look exactly like audio CDs, CD-ROMs,
DVD-Video.
The world’s libraries. Connected.
DVD-Audio: History
Extension of DVD-Video,
developed by Panasonic in
1999, with first commercial
discs on the market in 2000.
•No DVD-Audio can have a
publication date earlier
than 2000.
•Rival of Super Audio CD
(SACD).
The world’s libraries. Connected.
DVD-Audio: Physical Description Versus Extent
AACR2
RDA
300: Physical description
• Option 1, using traditional SMD:
300 1 sound disc : $b digital, 5.1 channels,
stereo. ; $c 4 3/4 in.
500
DVD-Audio.
• Option 2, using “Term in Common Usage”:
300 1 DVD-Audio : $b digital, 5.1 channels,
stereo. ; $c 4 3/4 in.
• Option 3, using traditional SMD with LC
variation:
300 1 sound disc : $b digital, DVD ; $c 4 3/4 in.
LC “New Sound Recording Formats”
(http://loc.gov/catdir/cpso/soundrec.pdf)
The world’s libraries. Connected.
300: Extent
– $a: Number of units and type of
carrier
• audio disc(s)
OR
• “Term in Common Usage”
– $c: Dimensions of Carrier: 4 3/4
in.
344: Sound Characteristics
– $a: Type of Recording:
“analog”/”digital”
– $g: Configuration of Playback
Channels: “mono”/”stereo”
Streaming Media: History
Internet data transfer technique
that allows the user immediately
to hear audio files, and to hear
and see video files, without
lengthy download times before
playback. The host or source
"streams" small packets of
information over the Internet to
the user, who can access the
content as it is received. Those
temporary files are gone once
the playback is complete.
The world’s libraries. Connected.
Streaming Media: History
• Streaming technology developed during the mid-1990s but initially had
extremely limited availability:
– RealPlayer (RealAudio Player) introduced in April 1995 supported
streaming media.
– Predecessor of Windows Media Player first supported streaming
technology in May 1996.
– Apple’s QuickTime 4.0, released in June 1999, was the first version to
support streaming technology.
– iTunes player, released in January 2001, supported streaming technology.
For most practical purposes, what we know today as streaming
media became available to the general market in 1999.
It would be extremely rare for any streaming audio file or streaming
video file to have a publication date earlier than 1999.
The world’s libraries. Connected.
56
Streaming Media: What It’s Not
Streaming files should not be
confused with “steaming
files,” which would be hot to
the touch.
Hence, the practice of “burning”
CDs.
The world’s libraries. Connected.
Streaming Media: What It’s Not
Streaming media will never be on a tangible medium (such as disc, cassette, etc.).
To distinguish different types of remotely-accessed resources, non-streaming files
are generally those downloaded from the Internet to reside on a local hard drive.
Some characteristics of non-streaming media:
• File is downloaded in its entirety.
• Playback cannot begin until complete file is downloaded to local system or
device.
• Playback is not in “real time.”
• Playback does not require a persistent connection to a remote server.
• User has access to downloaded content after its initial playback.
• User will often have ability to manipulate or edit content, “burn” it onto a tangible
medium, etc.
The world’s libraries. Connected.
58
Streaming Media: Following the PCC
AACR2
• Provider-Neutral E-Monograph MARC
Record Guide
– http://www.loc.gov/aba/pcc/bibco/docum
ents/PN-Guide.pdf
• BIBCO Standard Record Metadata
Application Profiles (BSR MAPs)
– http://www.loc.gov/aba/pcc/bibco/bsrmaps.html
• BIBCO Standard Record (BSR)
Supplemental Requirements for Remote &
Direct Access Electronic Monographic
Resources
– http://www.loc.gov/aba/pcc/bibco/docum
ents/BSR_ER_SUPP20110915.pdf
The world’s libraries. Connected.
RDA
• Provider-Neutral E-Resource MARC
Record Guide: P-N/RDA version
– http://www.loc.gov/aba/pcc/scs/docu
ments/PN-RDA-Combined.docx
• PCC RDA BIBCO Standard Record
(BSR) Metadata Application Profile
– http://www.loc.gov/aba/pcc/scs/docu
ments/PCC-RDA-BSR.pdf
• PCC RDA BSR MAP Supplemental
Requirements for the Digital Aspects of
Formats
– Included as part of PCC RDA BSR
MAP document, above
59
Streaming Media: Following the PCC
RDA
AACR2
300
1 online resource (1
sound file) : $b digital,
mono., stereo.
…
856 40 $3 1 streaming
sound file (mono.) $u
http://...
856 40 $3 1 streaming
sound file (stereo.) $u http://
…
The world’s libraries. Connected.
300
1 online resource (1
audio file)
344
digital $g mono $g
stereo $2 rda
…
856 40 $3 1 streaming
audio file (mono) $u http://...
856 40 $3 1 streaming
audio file (stereo) $u http://
…
Streaming Audio: Fixed Field Coding
• Type (Type of Record: Leader/06;
REC 006/00):
– i: Nonmusical Sound Recording
– j: Musical Sound Recording
• Computer File 006:
– 006/00 Form of material (Type):
•
m: Computer file/Electronic resource
– 006/06 Form of item (Form):
• o: Online
– 006/09 Type of computer file (File):
• h : Sound
The world’s libraries. Connected.
Streaming Audio: RDA Content, Media, Carrier
Musical Streaming Audio
336 performed music $b prm $2 rdacontent
337 computer $b c $2 rdamedia
337 audio $b s $2 rdamedia
338 online resource $b cr $2 rdacarrier
Non-Musical Streaming Audio
336 spoken word $b spw $2 rdacontent
OR
336 sounds $b snd $2 rdacontent
337 computer $b c $2 rdamedia
337 audio $b s $2 rdamedia
338 online resource $b cr $2 rdacarrier
The world’s libraries. Connected.
Streaming Audio: Sound Recording 007 Field
007/00 (Subfield $a): Category of material
s = Sound recording
007/01 (subfield $b): Specific material designation
007/06 (Subfield $g): Dimensions
n = Not applicable
007/07 (Subfield $h): Tape width
n = Not applicable
z = Other
007/03 (Subfield $d): Speed
z = Other
007/04 (Subfield $e): Configuration of playback channels
m = Monaural
q = Quadraphonic
s = Stereophonic
007/08 (Subfield $i): Tape Configuration
n = Not applicable
007/12 (subfield $m): Special playback characteristics
e = Digital recording
007/13 (subfield $n): Capture and storage technique
a = Acoustical capture, direct storage
b = Direct storage, not acoustical
d = Digital storage
u = Unknown (not stated)
z = Other
007/05 (Subfield $f): Groove width/groove pitch
n = Not applicable
The world’s libraries. Connected.
e = Analog electrical storage
u = Unknown
z = Other
Streaming Audio: Electronic Resource 007 Field
007/00 (Subfield $a): Category of
material
c = Electronic resource
007/01 (subfield $b): Specific
material designation
r = Remote
007/03 (Subfield $d): Color
n = Not applicable
007/04 (Subfield $e): Dimensions
n = Not applicable
007/05 (Subfield $f): Sound
a = Sound
The world’s libraries. Connected.
Playaways: History
Playaway: “self-playing digital
audio book” containing a preloaded audio file in a
proprietary format called
ACELP.
• Playaway devices were developed in 2005
by Findaway World.
• The device requires one AAA battery and a
set of earphones for playback and listening.
• Most are spoken word recordings, but some
musical content is available.
• These materials include aspects of both
Sound Recordings (AACR2 Chapter 6) and
Electronic Resources (AACR2 Chapter 9).
The world’s libraries. Connected.
Playaways: History
Playaway Cataloging Joint Task Force
– Founded February 2007 jointly by:
• Online Audiovisual Catalogers,
Cataloging Policy Committee.
• Music Library Association, Subcommittee
on Descriptive Cataloging.
Guide to Cataloging Playaway Devices
Based on AACR2 Chapters 6 and 9
(August 2008):
http://olacinc.org/drupal/capc_files/playawaysPDF.pdf
Playaways and RDA: Summary of Relevant
Sections from RDA Chapters 3, 6, and 7
http://olacinc.org/drupal/capc_files/PlayawaysAndRDA.pdf
The world’s libraries. Connected.
Playaways: Coding
Leader/06: Type “i” or “j” as appropriate.
Form (Sound Recording 008/23): “q” for
“direct electronic.”
006: Computer File
– 006/00 Type: “m”.
– 006/06 Form: “q” for “direct electronic.”
– 006/09 File: “h” for “sound.”
007: Electronic Resource
c $b z $d n $e z $f a
007: Sound Recording
s $b z $d z $e u $f n $g z $h n $i n $j n $k
z $l n $m e $n d
The world’s libraries. Connected.
Playaways: AACR2 Versus RDA
AACR2
RDA
300
1 audio media player (1 audio file): $b
digital ; $c 9 x 6 cm
or
245 GMD = $h [electronic
resource]
300 1 sound media
player : $b digital ; $c 3
3/8 x 2 1/8 in.
… $c 3 3/8 x 2 1/8 in.
Non-Musical Playaway (Type “i”)
336 spoken word $b spw $2 rdacontent
Musical Playaway (Type “j”)
336 performed music $b prm $2 rdacontent
All Playaways
337 audio $b s $2 rdamedia
337 computer $b c $2 rdamedia
338 other $b cz $2 rdacarrier
338 other $b sz $2 rdacarrier
The world’s libraries. Connected.
Playaways: Dates
Playaways first commercially available
in 2005:
– No Playaway can have
publication date earlier than
2005.
• Dates coded much like other Sound
Recordings (apply DtSt hierarchy):
– No prior release: DtSt “s”.
– Previously released: DtSt “r”.
– Publication differs from
phonogram copyright: DtSt “t”.
The world’s libraries. Connected.
Playaways: Notes
500 Title from Playaway label.
511 Statement of responsibility
(narrator).
500 Edition/History (previous
releases).
500 Accompanying material (ear
buds, battery).
500 Quoted identifying note for
Playaway.
The world’s libraries. Connected.
Lone Arrangers and Multiple Composers:
Sound Recordings and RDA
Thanks for your
kind attention.
Jay Weitz
(jay_weitz@oclc.org)
The world’s libraries. Connected.