SOUND RECORDINGS IN
AACR2
Nancy Lorimer, Stanford University
Scope

Recorded music
 AACR2
Chapter 6 & parts of Chapter 21
 Only music recordings covered, not spoken word
 Only 4 ¾ in. discs (CDs, SACDs, DVD-audio), with some
mention of other types


Again, a focus on aspects that are important to
music cataloging
MARC fields
Fixed fields

008 in the sound recordings workform:

Important fields (not covered in scores):
Type (Type of Record)
 Part (Music Parts)
 TrAr (Transposition and Arrangement)
 FMus (Form of Music)
 LTxt (Literary Text for Sound Recordings)

Fixed fields for sound recordings

Type (Type of Record)
Code “j” for musical sound recordings
 Code “i” for non-musical sound recordings



Includes recordings of sounds (including bird calls & sound effects), as
well as spoken-word recordings
Comp (Form of Composition)
Code if known (drop down list)
 For multiple forms, either use “mu” & 047 OR “uu” (LC
default)

Fixed fields for Sound Recordings

Part (Music Parts) & TrAr (Transposition and
Arrangement
Both should be coded “n” for “Not applicable” (not notated
music)
 Default in current workform for sound recordings
 In older records, coding may not be present, and will
prevent record validation


FMus

Code “n” for “Not applicable” (not notated music)
007 field—Subfields
$a Category of material
$i Kind of disc, cylinder or tape
$b Specific material designation
$k Kind of material
$d Speed
$l Kind of cutting
$e Configuration of playback channels
$m Special playback characteristics
$f Groove width/pitch
$n Capture & storage techniques
$g Dimensions
$h Tape width
$i Tape configuration
007 field
$a s = sound recording
$i n = Not applicable (Tapes only)
$b d = disc
$j m = mass/commercially produced
$d f = 1.4 m per sec.
$k m = Plastic with metal
$e u = unknown channels
$ l n = Not applicable (vinyl only)
$f n = Not applicable (vinyl only)
$m e = Digital recording
$g g = 4 3/4 in. (12 cm)
$n d = Digital storage
$h n = Not applicable (Tapes only)
Digital recording vs Digital Storage

Digital recording (007 $m e)


The item requires digital playback equipment. Do not use
when there is an indication that digital equipment was used
during recording, but that analog playback equipment may
be used. Do not use for any commercial recordings prior to
1982 and no analog disc or tape recordings.
Digital storage (007 $n d)

The item is a sound recording which was captured
electrically and stored using digital techniques. Such
recordings are normally identified as "digitally recorded."
Do not confuse with digital playback techniques.
007—CD, SACD, DVD-audio
CD: digitally recorded, stereo. (new CD)
s $b d $d f $e s $f n $g g $h n $i n $j m $k m $l n $m e $n d
CD: analog recording, stereo. (CD originally an LP)
s $b d $d f $e s $f n $g g $h n $i n $j m $k m $l n $m e $n e
CD: analog recording, mono. (CD originally a mono. LP)
s $b d $d f $e m $f n $g g $h n $i n $j m $k m $l n $m e $n d
SACD/DVD-audio: digital recording, multi-channel
s $b d $d f $e z $f n $g g $h n $i n $j m $k m $l n $m e $n d
Title—Chief source


Preferred chief source = LABEL (meaning the face of
the disc)
If no title on label, then:
Container (which includes any insert seen through container)
 Internal text of insert


Exception: If no collective title on the label, a collective title
from another source on the disc may be used instead.
Title

First choice for title is the label
 245
10 $a Glenelg
Performing group as Title


Only title is the name of the performer/group
Particularly common with popular music
 245
14 The Flying Bulgar
Klezmer Band
Title: CD specific issues

Often no collective title available
 245
 245
14 The rite of spring ; $b The firebird suite
10 Carnival of the animals / $c Saint-Saëns. 5
histoires / Ibert. Babar the elephant / Poulenc.
GMD (general material designation)


ALWAYS $h [sound recording]
Generally comes after the $a; after a $n, $p, or $v if
present





245 00 Glenelg $h [sound recording]
245 14 The Flying Bulgar Klezmer Band $h [sound recording]
245 14 The rite of spring $h [sound recording] ; $b The firebird suite :
selections
245 10 Carnival of the animals $h [sound recording] / $c Saint-Saëns. 5
histoires / Ibert. Babar the elephant / Poulenc.
245 10 Maps and legends. $n 1 $h [sound recording]
Other title information

Very common in sound recordings, but may not be in
same place as the title proper
Container (front, spine, back)
 Insert


Only those on chief source go in the 245; if
considered useful for access, add a 246 field; other
title information from outside the chief source can also
can be entered the 246 with a $i giving source
Other Title Information
 245
10 Glenelg $h [sound recording] : $b variations in
light and shade
 246 30 Variations in light and shade
Statement of responsibility



Composers, lyricists, arrangers may be included
Performers are not usually included unless their participation
"goes beyond that of performance, execution, or interpretation
of a work (as is commonly the case with “popular,” rock, and
jazz music)”. (AACR2 6.1F1). Otherwise, this goes in a note.
LCRI 6.1F1 states: “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.”
Statement of Responsibility
245 10 Glenelg $h [sound
recording] : $b variations in light
and shade.
[No statement of responsibility]
Statement of responsibility


245 14 The rite of spring $h [sound recording] ; $b
The firebird suite : selections / $c Stravinsky
Carnival of the animals / $c Saint-Saëns. 5 histoires
/ Ibert. Babar the elephant / Poulenc.
Publication information




Can be very difficult with sound recordings
Place of publication often missing entirely
May find multiple possible publishers or none
May find manufacturers/distributors in lieu of
publishers
Publication information: rules of thumb

Look first for a publisher and always use a label
name rather than a large company name
the label name will often be given as a logo or in
decorative text
 The label name will usually be on the actual disc; company
names will also be on the disc on the back of the container
 There may be multiple label names; choose the most
predominant or choose all

Publication information: rules of thumb

Once your label is established, consider the place of
publication
Only use “S.l.” as a last resort; try to surmise the place, even
if just a country
 In surmising place of publication for a label, look at any
distribution or manufacturing information on the disc; if that
doesn’t help, use outside sources as time permits:



Other bib records with the same label name
Web site for the label or its distributor
Publication information
Disc
Back

260 Glenelg, MD : $b Habbit Tracks

260 Tory, N.Y. : $b Dorian Discovery
Dates






Publication date: Date PUBLISHED
Phonogram date ℗ : Copyright date of RECORDING
Copyright date © : Copyright date of TEXTUAL
MATERIAL (i.e. booklet, graphics)
Distribution date
Manufacturing date
Former copyright/phonogram dates
Dates






Take first the publication date, if one is there
Then prefer the phonogram date
If there is also a copyright date, and it is much newer than the
phonogram date, use that a surmised publication date
If the publication date differs from the p date, record both
Use other dates to surmise a publication date
If phonogram date is older than the format, surmise a
publication date
Dates—Examples
260 $c
2010, ℗ 1999
$c 2010, ℗ 1999
℗2010
$c p2010
℗ & © 2010
$c ℗ 2010
© 2010, ℗ 1999
$c [2010], ℗ 1999.
℗ 1976
$c [2010?], ℗ 1976
007 DtSt, Date 1, Date 2
Dates—Examples

260 Glenelg, MD : $b Habbit Tracks, $c p2001.

260 Troy, N.Y. :$b Dorian Discovery, $c p1993.
Other dates

Recording date (recorded in the 518 & 033)
260 Tokyo : $b King Records, $c p1994.
518 Recorded at Studio no. 2, King Records, Tokyo, Apr.
1993.

Reissue date (recorded in a 500 note)
260 [U.S.] : $b Get Back, $c p2007.
500 Previously issued as an LP in 1960 by Unique Records.
Physical description
1 sound disc : $b digital,
stereo. ; $c 4 3/4 in.
1 sound disc : $b digital,
DVD audio ; $c 4 3/4 in.
1 sound disc : $b digital,
SACD ; $c 4 3/4 in.
1 sound disc : $b digital,
Blu Ray audio ; $c 4 3/4
in.
Duration

300 field


306 field


Only if there is a single work on the recording
300 1 sound disc (127 min.) …
For up to 6 entries; may be entire disc or separate works on disc
306 020700
505 field (more later)

Following each work
505 0 One for Helen / Bill Evans (5:51)
Notes

Nature or artistic form and medium of performance
(6.7B1)
500 Opera in 4 acts.
500 For clarinet and piano.

Form is also recorded in the 008 Comp field and/or 047
field
op

Medium of performance may also be recorded in the 048
field
048 wc01 $a ka01
Notes

Language (6.7B2)
Give language of sung/spoken content only in the 546
field, not any accompanying material; should be the same
as the 008 Language code, unless multiple languages (mul)
 Language of accompanying material goes in 500 note
 Details of language go in 041(can be complex)




041 $d Language code of sung or spoken text
041 $e Language code of librettos
041 $g Language code of accompanying material other than
librettos
Notes

Variations in Title (6.7B4); Parallel titles and other
title information (6.7B5)

Give in 246, if variation on the collective title or 1st work in
245; be generous; will usually require a $i
246 1# $i Title from container :$a
246 1# $i Subtitle from back of container: $a
246 1# $i Parallel title from container spine: $a
Notes

Statements of Responsibility (6.7B6)
 Non-performers
from statements other than in the chief
source
 Add




as deemed necessary (MARC field 500)
500 ## Music arranged by Elke Baker.
500 ## All compositions traditional, arranged by the Flying
Bulgar Klezmer Band.
500 ## Compiled by Ken Hunt.
500 ## Libretto after the homonymous drama by Yvan Goll by
Claus H. Henneberg.
Notes

Statements of Responsibility (6.7B6)
 Performers
 Give





(MARC field 511)
performers and medium in which they perform
511 0# Elke Baker, fiddle and viola
511 0# Emma Lou Diemer, piano ; Philip Ficsar, violin.
511 0# Bill Evans Trio (Bill Evans, piano ; Chuck Israels, bass ;
Arnold Wise, drums).
511 0# Budapest Festival Orchestra ; Ivan Fischer, conductor.
511 0# Marlene Mild (Melusine) ; Teresa Erbe (Pythia) …
Notes

Physical Description (6.7B10)
 Most
common note is the type of disc:
 500
## Compact disc(s).
 500 ## Super audio compact disc(s).
 500 ## DVD audio disc(s).
 500 ## Enhanced compact disc(s).
 500 ## Hybrid super audio compact disc(s).
Notes

System requirements (not in Chapter 6)
 Use
only when not obvious and if written on container
 538
## Hybrid super audio compact disc. This recording
may be played on all CD players.
Notes

Edition and history (6.7B7)

Recording location/date (MARC field 518)
518 ## Recorded Apr. 1990 at Inception Sound, Toronto, Ont.
 518 ## Recorded February 21, 1966 at Town Hall, New York.
 518 ## Recorded live Staatstheater Nurnberg, May 12, 2007.
Also recorded in the 033 field:
033 00 20070512 $b 6299 $c N8


Reissue/previous release information (MARC field 500)
500 ## Previously released in 1966 as Blue Note 6587.
 500 ## Reissue of : Music Heritage Society MHS 22950.

Accompanying materials

Accompanying material (6.7B11)
 For
program notes, librettos, etc.
 500
## Lyrics inserted in container.
 500 ## German libretto with English translation and
program notes in German and English inserted in container.
 500 ## Program notes in Japanese and English inserted in
container, with illustrations of some of the instruments used.
Notes

Contents (6.7B18)
Important for discs are containing several works and having
a collective title
 May also contain duration and performer information for
single works

505 00 Third suite for cello, op. 87 / Benjamin Britten (Colin Carr,
piano) (26:13) -- Adagio for piano in B minor, K. 540 (6:59) ; Gigue for
piano in G major, K. 574 (1:35) ; Fantasy for piano in D minor, K. 397
(6:06) / Wolfgang Amadeus Mozart (Jeffrey Kahane, piano) --
Publisher’s numbers



Usually on disc label, but may also be anywhere on the
container
In multi-disc sets, there may be a publisher number for each
disc, and one for the set
Variant publisher numbers are very common
028 02 RGNET1134CD $b World Music Network
028 00 WER 6719 2 $b Wergo
028 00 WER 6720 2 $b Wergo
500 ## Wergo: 6719 2--WER 6720 2.
Publisher’s numbers

If your disc is a reissue, include the publisher number
of the previous release, if known; explain
relationship in a note
 028
00 831 271-2 $b Verve
028 00 V/8683 $b Verve
500 ## First 5 tracks originally released on lp as
Verve V/8683.
Standard numbers

Sound recordings may have an ISBN (?!)
UPC 10-12 digit code (MARC 024 1)

EAN 13-digit code (MARC 024 3)


Numbers can be very important in identifying sound
recordings; record all that you can
Uncontrolled access points

246 field (variant title field):




Use for variant collective titles/subtitles parallel titles
Use for variant titles of 1st named work in a non-collective title
Do NOT use for other titles in a non-collective title
740 02 (Uncontrolled analytic entry)


Use for titles following the first title in a non-collective title if useful
Optionally, use for names of popular songs without authority records
Access points:1 composer (LCRI 21.23)
1 work
Main entry
by work
Added
entries for
principal
performers.
2 or more
works
Main entry by
work (1st work
for 2 works;
collective u.t.
for 3+ works.
Added entries
for up to 3
principal
performers
Access Points: 1 composer

1 composer; 1 work

1 composer; 2 works
Access points:
2 or more composers; collective title
1 principal
performer
Main entry
by principal
performer.
No added
entries for
works.
2-3
principal
performers
Main entry
by 1st
principal
performer.
Added
entries for
other
performers.
No added
entries for
works.
4+
principal
performers
Main entry
by collective
title.
Principal Performer

1 principal performer

4+ principal performers
Access points:
2 or more composers; no collective title
Participation of
performers beyond
performance,
execution,
interpretation?
NO
YES
1-3
principal
performers
Main entry by (1st) principal
performer.
Added entries for performers.
No added entries for works.
YES
4+
principal
performers
Main entry by 1st work.
Added entries for performers.
No added entries for works.
Main entry by 1st work.
Added entries for performers.
Added entries for other works
Analytical access points (LCRI 21.7B)

Make up to 15 entries for 25 or fewer musical works on a disc





1 heading represented by 1 work/work excerpt = 1 entry
1 heading representing 2+ consecutively numbered excerpts = 1 entry
1 heading representing 3+ unnumbered or non-consecutively numbered
excerpts = 1 entry
1 name heading + 2 works = 2 entries
1 name heading + 3 or more works = 1 entry (e.g. Selections)
Analytical access points (LCRI 21.7B)

Do NOT make analytical entries for the following:
Collections containing 25 or fewer works, requiring more
than 15 analytical headings
 Pop, folk, ethnic, or jazz music
 Recitals with orientation towards performer rather than
works
 Incomplete multi-part items

Carnival of the animals, contd.