|last updated Tue Aug-24-2004 09:57|
Label, except for collections, in which the accompanying textual matter of the container is preferred if it provides a collective title and the label or labels do not. For CDs and cassettes, consider information that can be read through the closed container, on the container.
If the title is generic, include medium of performance, opus number, key, etc. in the title proper. To make that determination, strip away statements of medium of performance, enumeration, key, and date of composition. If what remains is a type of composition (see http:⁄⁄www.library.yale.edu⁄cataloging⁄music⁄types.htm), the title is generic. The addition of an adjectival modifier to a type of composition makes the title distinctive.
Statement of responsibility
Rule 1.1F14: Transcribe a statement of responsibility even if no person or body is named in that statement. Statements indicating an arrangement or version of the musical work are statements of responsibility because they imply the work of a person who has altered the musical content of the work for the publication. (e.g., vocal score, piano reduction, etc.)
The trade name (i.e., label) is the one to record. Sometimes the label appears in conjunction with the serial number, logo, or insignia. Consult Phonolog or Schwann or allmusic.com to see how a publisher is listed. Sometimes the label can be confused with a series name (e.g., Columbia masterworks or Immortal performances).
LCRI 6.4D1 instructs us to apply the option and transcribe also the name of a distributor.
The trick here is to identify the date of release of the sound contained in the recording (aka copyright of the sound). Since 1971, the phonograph copyright date (p-date) has been used to indicate the copyright date of recorded sound. When no p-date appears on the item, a © date before 1971 should be transcribed as the date of copyright. If no copyright date is present, you can assume that a recent recording was released within one year of the date it was recorded. A clickthrough to help identify date is located here.
According to RIs and MCDs, give a statement of extent only for recordings that contain only one work. (Sue gives total time if it's printed on the item.)
300 tag subfield ‡b refers to the playback equipment required.
Give stereo. only if it appears on the item; for CDs, LC uses “s” in the 007 (regardless of what's in 300) unless the recording is known not to be stereo.
Order of notes is as follows:
Manufacturer's number (label name and number)
- RI: if both set number and individual item numbers, give only set number; IU gives all numbers
- MCD: if number appears in various forms, transcribe only the form on the recording itself; IU records all of them in separate 028 tags
Nature or artistic form and medium of performance
Text (language of sung or spoken text in 546 tag); all other language notes in 500 tag
- code also in 008 fixed field and⁄or 041 tag
Source of title proper
Variations in title (246 tag)
Parallel titles and other title information (246 tag)
Statements of responsibility (511 tag)
- Use prescribed punctuation as in SOR area. Do not give a performer note for a multi-performer collection with a collective title; in this case give the performers' names in a contents note in parentheses following title and SOR for each work performed.
Recording sessions, edition and history
- Always include 518 tag for date and place of recording
Publication, distribution, etc.
Physical description (including the note “Compact disc” (UHM: 500 tag) and durations, if not given in a contents note).
Duration: [hr:min:sec]; [hr:min:sec].
- LC limits to 6;
- IU lists all.
- (MCD: only if content is important;
- IU: always make note)
Dissertation note (502 tag)
Other formats available
Summary (spoken word recordings only; 520 tag)
Copy being described, library's holdings, and restrictions on use (UHM: put in MFHD)
Choice and Form of Entry
See RI 21.23C on principal performers.
- LC limits analytical added entries for collections as described in RI 21.7B and 21.7C;
- IU makes analytical entries for all titles.
Parts of the ScaM that deal with music are:
- H250 Music heading authority records
- H1160 Musical compositions
- H1161 Musical instruments
- H1438 Composers and works about music of individual composers
- H1595 Facsimiles
- H1916.3 Music: general
- H1916.5 Music: jazz and popular
- H1917 Music of ethnic, national and religious groups
- H1917.5 Music form⁄genre headings: medium of performance
- H1160 List 1 of free-floating subdivisions under musical compositions now applies to “Performed version,” as well as written or printed format of music.
- H1917.5 gives instructions about order of solo instruments. According to MCB v. 35 no. 7 Celesta is now included as a keyboard instrument; it used to be in the “percussion, electronic and other instruments” category.
The number of instruments that constitute an “ensemble” depends on the instruments:
- For individual works, the word “ensemble(s)” stands for 10 or more instruments
- Three or more keyboard instruments constitute an ensemble.
- Percussion ensemble(s) stands for two or more performers, each playing one or more instruments
- When two or more instruments (excepting keyboards and percussion) are used as accompaniment, the term ensemble is used in both instrumental and vocal music headings
- For large ensembles of the same instrument:
- Ensemble: 1 performer⁄part
- Choir: more than 1 performer⁄part