Cataloging Musical Sound
Recordings
Student A
Student B
Melvyn Yabut
Advanced Cataloging and Organization of Information (LIBR 249)
Instructor: Dr. Robert Ellett
School of Library and Information Science
San Jose State University
Objectives
• Identify key issues in cataloguing sound
recordings in general and music sound
recordings in particular.
• Discuss current standards and rules for
cataloging music sound recordings.
• Provide an overview of the cataloging process
for music sound recordings, including descriptive
cataloging, choice of access points and subject
analysis.
Scope
• Chapter 6 of AACR2 covers sound recordings in the following
formats:
–
–
–
–
discs
tapes (open reel-to-reel, cartridges, cassettes)
piano rolls (and other rolls)
sound recordings on film
• AACR2 rules do not cover specifically recordings in other forms
(e.g., wires, cylinders) or in various experimental media, and
suggest using appropriate specifications in the physical description
and special notes to describe such items.
• This presentations focuses mainly on compact discs and sound
cassettes as the two most popular formats.
Tools for Cataloging Music Sound Recordings
• Anglo-American Cataloguing Rules (AACR2),
Second Edition, 2002 Revision
Especially Chapter 6 (Sound Recordings), Chapter 5 (Music) and
Chapter 1 (General Rules).
• Library of Congress Rule Interpretations (LCRIs)
• MARC 21 Format for Bibliographic Data
• OCLC Bibliographic Formats and Standards
Sources of Information
The chief source is the physical item and label.
Type
Disc
Tape cassette
Chief Source
Disc and label
Cassette and label
Area
Prescribed Source of Information
1 Title and Statement of
Responsibility (245 field)
Chief source of information
2 Edition (250 field)
4 Publication, etc.(260 field) Chief source, accompanying textual material, container
6 Series (4XX field)
5 Physical description (300 field)
7 Notes (5XX fields)
8 Standard Number (02X fields)
Any source
Note: Area 3 Material Specific Details does not apply for sound recordings.
Fixed Fields
Type: j ELvl:
Srce:
BLvl: m Form:
Comp:
Desc: a FMus: n LTxt:
Audn:
AccM:
DtSt:
Ctrl:
MRec:
Dates:
Lang:
Ctry:
Type: j for musical sound recordings
Comp: Composition, based on LC subject headings, applies to whole work
co = concertos hy = hymns jz = jazz
mc = musical revues
mp = film music op = operas rc = rock pp = popular music
AccM: Accompanying Material (Add MARC field 300 $e if applicable)
blank = none d = text of verbal contents of a sound recording
Dtst & Dates (Date 1 matches MARC field 260 subfield c)
s = single date of distribution, publication, release, production
p = distribution/release/issue and production/recording years differ
Date 1 date material available, Date 2 date material made
m = multiple dates of publication
Date 1 initial year, Date 2 terminal year
r = reprint/reissue date in the same or different medium
(reproduced or previously released/published; not for new ed.)
Date 1 reprint/reissue date, Date 2 original date
Sound Recording 007 Subfields
/00
/01
/03
/04
/05
/06
/07
/08
/12
/13
$a Category
s = sound recordings
$b Specific material designation s = sound cassette
d = sound disc
$d Speed
l = 1 7/8 ips
f = CD 1.4m/s
$e Playback configuration
m = mono s = stereo u = unknown
$f Grove width (optional)
n = no grooves
$g Dimensions
j = 3 7/8 x 2 ½ in.
g = 4 ¾ in.
$h Tape width
l = 1/8 in. (standard)
n = n. a.
$i Tape configuration
c = 4 tracks
n = n. a.
$m Playback characteristics (opt.) c = Dolby-B encoded
e = digital
$n Capture/storage techniques e = analog
d = digital
Standard cassette 007 $a s $b s $d l $e _ $f n $g j $h l $i c $n e
Standard CD
007 $a s $b d $d f $e _ $f n $g g $h n $i n $m e $n d
Example: Fixed Fields
Sound Recordings Rec Stat c
Entered
Type j
ELvl I
Srce c
BLvl m
Form
Comp mc
Desc a
FMus n
LTxt
007
Replaced
Audn
Ctrl
AccM d
MRec
DtSt s
Dates 1990,
s ‡b d ‡d f ‡e s ‡f n ‡g g ‡h n ‡i n ‡m e ‡n d
℗ 1990
Lang eng
Ctry xxu
Area 1: Title and
Statement of Responsibility
• MARC Field: 245 __ Title proper h [GMD] : b other title
information / c statement of responsibility ; subsequent
statement of responsibility.
Title is on the chief source of information:
Area 1: Title and
Statement of Responsibility (continued)
Title is not on the chief source, but is on prescribed
source (a source note is required):
Area 1 (continued) :
General Material Designation (GMD)
• The GMD for all formats (CD, read-along CD, LP, or
sound cassettes, etc.) is “sound recording”.
• Give immediately following the title proper and enclose in
square brackets.
• Record in subfield h.
Area 1 (continued):
Parallel Titles
• Transcribe parallel titles in the order found in the
chief source of information (AACR2 6.1D.):
Area 1 (continued):
Statement of Responsibility
• Record names of persons or bodies credited with a major role in
creating the intellectual content of the sound recording (composers
of performed music, collectors of field material, producers having
artistic and/or intellectual responsibility), if they appear prominently
in the chief source, accompanying textual materials, or container of
the item (AACR 2 6.1F1).
Area 1 (continued): Performers
• Performers of popular, rock and jazz music, who do more than
perform or interpret a piece of music (e.g., who also compose or
arrange it) are recorded in the statement of responsibility.
• Performers of classical music are usually given in the note area.
Area 2: Edition Statement
•
•
MARC Field: 250 __ Edition statement / b statement of responsibility
relating to the edition.
Edition statement: Record the edition statement according to Rule 6.2B
and 1.2B.
Area 4: Publication, Distribution, Etc.
•
•
MARC Field: 260 __ Place of publication : b Name of publisher, c Date
of publication (AACR 6.4 and 1.4)
Place of publication, distribution, etc:
– If the place of publication is not indicated, supply it in square brackets, adding a
question mark to indicate uncertainty.
– If the actual place of publication is unknown, the country of publication can be
supplied in square brackets.
– If probable country cannot be given, use the abbreviation [S.l.] (sine loco).
Area 4: Publication, Distribution, Etc.
(continued)
•
Name of publisher and distributor (AACR2 6.4D)
– If the publisher’s name on the item label is different from that on the container,
prefer the information on the item label.
– If a company’s name and its subdivision, trade name, or brand name are given,
record the name of the smaller unit per AACR2 6.4D2.
Example: on disc label: Electra Entertainment Group, A division of Warner
Communications, Inc.
cataloging record:
260 Beverly Hills, CA : $b Elektra Entertainment Group, $c p1996.
•
Date of publication:
Dates preceded by “c” are copyright dates of the textual material. Dates
preceded by “p” are the copyright dates of sound data. Current practice is to use
“p” dates as the date of publication. LCRI on 6.4F1 allows using the “c” dates to
estimate the “p” date if the latter is not available.
Area 5: Physical Description
•
MARC Field: 300 __ Number of special material designation (total
playing time) : b other details ; c dimension + e accompanying
material.
•
In the example above, the cataloger transcribed the type and number of
items, the type of recording, the number of sound channel, and the
dimensions of the item.
•
The next example shows a sound recording with accompanying
materials, description of which is recorded on sub field e. Its location and
any other substantial details are recorded in 5XX note.
Area 6: Series
•
•
•
Series statement can be taken from:
1.
chief source of information
2.
accompanying textual material
3.
container (in that order of preference.)
Apply general rule AACR1.6 for series statements.
Use MARC fields 490 and 8xx.
Area 7: Notes Fields
• Notes for sound recordings are usually quite extensive.
• They serve two purposes:
– They provide additional information about a work that
cannot be recorded elsewhere in the record.
– They justify the provision of additional access points.
• Notes are to be recorded in the order specified in
AACR2 6.7B.
Notes Fields (continued)
• Notes that are commonly provided for music sound
recordings (listed in the order prescribed by AACR2):
500 Nature/Form/Medium
546 Language
500 Source of title proper (required if title proper is taken from other than
the chief source of information)
246, 500 Variations in title
511 Performers
508 Production credits
518 Edition and history of recording
500 Physical description
500 Location of accompanying material
505 Contents
For a complete list, see AACR2 6.7.
Variant Titles (AACR2 6.7B4)
• Note any title appearing on the item that differs significantly from the
title proper.
– Field 246 is used if title applies to the whole item, e.g.
•
•
•
•
Portion of title
Subtitle
Parallel title
Title on the container
– Field 500 is used if title applies to part of the item.
Edition and History of Recording
(AACR2 Rule 6.7B7)
• Record information about earlier editions or history of the
item being cataloged in MARC field 518.
• Facts that often included are date, time, and place of
recording or broadcast.
Contents Notes (AACR2 6.7B18)
• Contents notes are very important for musical
sound recordings, most of which are collections.
They often provide the only means of access to
individual works contained on a recording.
• Contents notes may include information about:
– Titles of individual works
– Composers
– Duration of each titled work
– Performers (if not included in MARC field 511)
– Medium of performance
Contents Notes (continued)
• The Contents Notes can be “basic” or “enhanced.” A blank 2nd
indicator indicates a basic level, and 0 indicates an enhanced level.
• If there is a basic level of content, there will only be one subfield a in
a bibliographic record.
• In enhanced notes, numerous subfields may appear, all of which are
repeatable:
– $t - Title
– $g - Miscellaneous information (page numbering, part, timing, volume or other extent
information such as dates.)
– $r - Statement of responsibility
Area 8: Numbering
MARC field
020
022
024
Description
ISBN (10 or 13-digit number)
not commonly found for
musical sound recordings
ISSN (8 digit number)
Other Standard Identifier (often found near barcodes)
024 1 _ $a UPC:12 digits
024 3 _ $a International Article Number (EAN): 13 digits
028 0 _
$a Publisher stock number $b source (label name)
(AACR2 6.7B19)
024 1_ 720642427125
028 02 9 24271-2 ‡b Geffen
260
[S.l.] : ‡b Geffen, ‡c p1990.
Choice of Access Points: One Work
AACR2 21.23A1 :
– Enter recording of one work under heading for that work
– Make added entries for principal performers if three or fewer, or
for the one named first, if more than three.
Choice of Access Points:
Two or More Works by Same Person
AACR2 21.23B1:
- Enter recording of two or more works by
the same person(s) or body/bodies
under heading for those works
- Make added entries for principal
performers if three or fewer, or for the
one named first, if more than three.
100 1_ Beethoven, Ludwig van, $d 1770-1827.
240 10 Sonatas, $m violin, piano
245 00 Sonata no.9 in A major for violin and piano, op. 47 $h [sound recording] : $b kreutzer ; Sonata no. 5 in F
major for violin and piano, op. 24 : spring / $c Beethoven.
246 2_ $i Title on container: $a Violin sonatas
511 0_ Josef Suk, violin; Jan Panenka, piano.
700 1_ Suk, Josef.
700 1_ Panenka, Jan.
700 12 Beethoven, Ludwig van, $d 1770-1827. $t Sonatas, $m violin, piano, $n no. 9, op. 47, $r A major.
700 12 Beethoven, Ludwig van, $d 1770-1827. $t Sonatas, $m violin, piano, $n no. 5, op. 24, $r F major.
title, medium of performance, numerical identifier, key
Choice of Access Points (continued):
Collections with Collective Title
AACR2 21.23C1:
–
–
–
–
If there is one principal performer, enter under that person or body
If there are two or three principal performers, enter under first named
If there are four or more principal performers, enter under title
If there is no principal performer, enter under title
Choice of Access Points (continued):
Collections without Collective Title
AACR2 21.23D1
•
Works where participation of performer not go beyond performance,
execution, interpretation (classical music)
– Enter under heading for first work, with added entries for remaining works
– Added entries for principal performers
•
Works where participation of performer goes beyond performance,
execution, interpretation (popular music, rock, jazz)
– Enter under principal performer
Determining Main Entry
Yes
Does the
sound
recording
contain
only 1
work?
No
Enter under heading for work;
Added entries for principal performers
or for 1st performer only if more than 3.
Enter under a common heading;
added entries for principal
performers if 3 or fewer or
for 1st performer if more than 3
1
2 or 3
0, 4 or more
Enter under 1st performer;
Make added entries for others.
Enter under
title
How many
principal
performers?
Yes
Are all works
by the same
person(s) or
corporate
body
(bodies)?
Enter under that performer
Yes
Yes
No
Is there a
collective
title?
No
Enter under
heading for 1st
work named
1
2 or 3
4 or more
How many
principal
performers?
Do the principal
No Enter under heading for 1st work;
performers go
beyond performance,
add entries for principal performers
execution or
or for 1st performer if more than 3
interpretation?
Subject Access:
LC Headings (MARC Field 650)
• For vocal music, assign headings for:
– Form (Chants; Operas; Oratorios; Requiems)
– Voice range (High voice; Men’s voices)
– Number of parts
– Accompanying medium (Piano)
• For instrumental music, assign headings for:
– Musical form (e.g. Sonatas; Suites)
• If more than 1 form, assign headings for each
650 _0 Concertos (Violoncello with string orchestra).
650 _0 Concertos (Bassoon, violoncello with string orchestra).
– Medium of performance (e.g. Flute music; Piano music)
– Performing group (e.g. Orchestra music; Quintets)
Also: phrase heading pattern “Medium or form, Arranged”
(e.g. Piano music, Arranged)
Special Formats
MP3
245 GMD = [electronic resource]
300 $a reflects characteristics : $b digital, MP3 file ; $c reflects characteristics
Enhanced CD
245 GMD = [sound recording]
500 Enhanced CD.
538 System requirements for CD-ROM multimedia presentation: .
Shaped disc
245 GMD = [sound recording]
300 $a 1 sound disc ; $b digital : $c 4 ¾ in.
500 Compact disc in a shape of .
SACDs
245 GMD = [sound recording]
300 $a 1 sound disc ; $b digital, SACD ; $c 4 ¾ in.
500 Super audio compact disc.
Summary
Areas that require special attention when cataloging music sound
recordings:
Title and statement of responsibility
• Publishers of sound recordings tend to vary in their presentation of information on the
item and its label, which are designated the chief source of information by AACR2R.
• There is a difference between classical and popular music in how performers are
recorded.
Physical Description
• Special formats (enhanced CDs, shaped CDs, etc.) may present additional
challenges.
Notes
• Notes play a very important role, because of the information they can convey to the
user, which would not otherwise appear in the bibliographic record
Access Points
• Decision on access points can present additional challenges because of the number
of people involved in the creation of a sound recording.
References
Library of Congress. (2009). Anglo-American cataloguing rules (2nd ed.,
2002 revision with 2005 update). Retrieved November 11, 2009, from
http://desktop.loc.gov
Hsieh-Yee, I. (2006). Organizing audiovisual and electronic resources for
access : a cataloging guide (2nd ed.). Westport, CT: Libraries Unlimited.
Library of Congress. (2002). Library of Congress rule interpretations.
Retrieved November 11, 2009, from http://desktop.loc.gov
OCLC. (2009). Bibliographic formats and standards (4th ed.). Retrieved
November 11, 2009, from http://www.oclc.org/bibformats/default.htm
Olson, N. B. (2008). Cataloging of audiovisual materials and other special
materials: a manual based on AACR2 and MARC21 (5th ed.). Westport,
CT: Libraries Unlimited.
Scharff, M. (2008, September). Basic Sound Recordings Cataloging
Workshop [PowerPoint slides]. Retrieved November 24, 2009, from
http://www.olacinc.org/drupal/conference/2008/Handouts.html
Simpkins, T. (2001). Cataloging Popular Music Recordings. Cataloging and
Classification Quarterly, 31(2), 1-35.