Apr 1, 2014 — Congress/Program for Cooperative Cataloging Policy Statements .ca/6828/1/RDA_and_music_(IAML)(with_examples)_Oct._2010.pdf.
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Best Practices for Music Cataloging Using RDA and MARC21 Version 1.0 .1 1 1 April 2014 Prepared by the RDA Music Implementation Task Force, Bibliographic Control Committee, Music Library Association 1 Includes minor corrections and incorporates the scheduled April 2014 updates to the RDA Toolkit.
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 2 RDA Music Implementation Task Force Members Casey Mullin, c hair Stanford University Mary Huismann University of Minnesota Damian Iseminger New England Conservatory of Music Nancy Lorimer Stanford University Daniel Paradis Bibliothèque et A rchives nationales du Québec Raymond Schmidt Wellesley College Hermine Vermeij University of California Los Angeles
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 3 Table of Contents Background .. .. .. .. . 4 Purpose and Scope .. .. .. . 4 Use of this Document .. .. .. .. 5 Section 1. Recording Attributes of Manifestation & Item .. 6 Chapter 1. General Guidelines on Recording Attributes of Manifestations and Items .. 6 Chapter 2. Identifying Manifestations and Items .. .. . 8 Chapter 3. Describing Carriers .. .. .. .. 34 Chapter 3, Appendix. Guidelines for Describing and Encoding Attributes of Audio Recording Carriers .. .. .. .. 44 Chapter 4. Providing Acquisition and Access Information .. .. 54 Section 2. Recording Attributes of Work & Expression .. .. 55 Chapter 5. General Guidelines on Recording Att ributes of Works and Expressions . 55 Chapter 6. Identifying Works and Expressions .. .. 56 Chapter 7. Describing Content .. .. .. .. 72 Section 3. Recording Attributes of Person, Family & Corporate Body .. 79 Chapter 11. Identifying Corporate Bodies .. .. . 79 Section 5. Recording Primary Relationships Between Work, Expression, Manifestation, and Item .. .. .. .. .. 80 Chapter 17. General Guidelines on Recording Primary Relationships .. .. 80 Section 6. Recording Relationships to Persons, Families, & Corporate Bodies . 81 Chapter 18. General Guidelines on Recording .. .. 81 Relationships to Persons, Families, and Corporate Bodies Associated with a Resource 81 Chapter 19. Persons, Families, & Corporate Bodies Associated with a Work .. 82 Chapter 20. Persons, Families, & Corporate Bodies Associated with an Expression 84 Section 8. Recording Relationships between Works, Expressions, Manifestations, and Items 85 Chapter 24. General Guidelines on Recording Relationships between Works, Expressions, Manifestations, and Items .. .. .. .. 85 Chapter 25. Related Work .. .. .. .. 86 Chapter 26. Related Expression .. .. .. 88 Chapter 27. Related Manifestation .. .. .. 89 Appendices .. .. .. .. . 90 Appendix D. Record Syntaxes for Descriptive Data .. .. .. 90 Complete MARC Record Examples .. .. . 101
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 4 Background The RDA Music Implementation Task Force was formed in September 2 011. Its charge 2 comprises several tasks , three of which are fulfilled in the present document : 1. C reate music – related best practices documentation to supplement Resource Description and Acce ss ( RDA ) 3 . 2. M ake recommendations regarding the relationship between the MLA music – related best practices document and other official RDA policies such as the Library of Congress /Program for Cooperative Cataloging Policy Statements ( LC – PCC PS ) and other decisions disseminated by PCC . 3. C reate complete examples for scores, audio recording s, musical works, and musical expressions. 4 Purpose and Scope These b est practices guidelines should: Provide sufficient guidance for creating and enhancing both basic d expressions embodied therein. In MARC 21 , these descriptions take the form of bibl iographic and authority records . Be comprehensible and useful to both catalogers transitionin g from an AACR2 environment and newly – trained catalogers . Be usable as the basis for training materials, such as cataloging manuals and workshop curricula. Be amenable for repurposing for use in future data environments 5 . Be amenable for repurposing for use by agencies applying RDA in other languages. 2 Complete text of charge here: http://www.musiclibraryassoc.org/group/rda 3 http://access.rdatoolkit.org . Full text available with subscription. LC – PCC PS and many other Toolkit resources are freely available. 4 To appear in a future draft. 5 http://www.loc.gov/bibframe/
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 5 Use of this Document These best practices guidelines are arranged by RDA instruction number. RDA instruction s are arranged according to the entities embodied in resources, their attributes and their relationships, rather than by carrier fo rmat (as was the case in AACR2); these guidelines are structured accordingly. Situations pertaining to specific formats are d escribed in the con text of the applicable RDA instruction . This document should be consulted in combination with RDA itself, as well as any local and/or cooperative policies, including LC – PCC PS and section Z1 of the Library of Congress Descriptive Catalo ging Manual (DCM Z1 ) 6 . MARC mappings and examples are intended to supplement the RDA to MARC mappings given in the Toolkit, as well as the MARC 21 documentation itself 7 and encoding guidelines specific to the cataloging interface 8 . Cases where LC – PCC PS giv es sufficient guidance, and where these guidelines contravene LC – PCC PS , are indicated as such . These guidelines pres ume no prior knowledge on the part of the reader of the Anglo – American Cataloging Rules, 2 nd Edition, R evised (AACR2) or their accompanying Library of Congress Rule Interpretations (LCRI). However, pertinent comparisons to AACR2 are made in a limited number of cases (i.e., w hen RDA practice differs fundamentally). 9 These guidelines do presume a basic level of training with RDA and LC – PCC PS , however. With a few exceptions, cataloging g uidelines of a general nature, such as for identifying and constructing access points for persons and corporate bodies , are out of scope for this document. apply to ele ments that are not identified as RDA Core (or in some cases C ore – Task Force feels are routinely valuable to transcribe or record for music resources which are diffic ult to ascertain or burdensome to transcribe or record do not fall into the The Task Force also understands that the above criteria will vary from cataloger to cataloger, and from agency to agency. In an i ncreasingly distributed global metadata environment, the burden of completeness need not rest with an individual metadata creator. Thus, these re commendations are equally intended to serve as guidance when enhancing existing metadata for music resources. readily information present on the resource being cataloged, or information encountered during the course of routine authority research. 6 http://desktop.loc.gov ) 7 http://www.loc.gov/marc 8 http://www.oclc.org/bibformats/ ). Note that at the time of writing of these best practices guidelines, the documentation available at this site has not yet been fully harmonized with RDA. 9 For a more thorough comparison of the two codes, see presentation by Adam Schiff, available at http://faculty.washington.edu/aschi ff/WLMA – WALEPresentation.pdf . For a comparison of the two codes as applied to music resources, see presentation by Daniel Paradis, available at ht tp://spectrum.library.concordia.ca/6828/1/RDA_and_music_(IAML)(with_examples)_Oct._2010.pdf .
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 6 Section 1. Recording Attributes of Manifestation & Item Chapter 1. General Guidelines on Recording Attributes of Manifestations and Items 1.4. Language and Script MLA recommendation: Follow LC – PCC PS . If feasible, follow LC – PCC PS also for the first alternative (LC and/or PCC practices, as applicable) and the option al addition , t hat is, transcribe both the original script and a transliterated form for the elements listed. Otherwise, transcribe only the transliterated form. 1.5. Type of Description MLA recommendation: for large multi – volume sets and series of notated music ( i.e . , those that are typically classed in M2 – M3.1), generally create separate descriptions for the set/series as a whole and for each volume in the series, regardless of whether the set is classed together or not. Relate separately catal oged volumes to the main work following the guidelines in Chapter 25 (Related W orks). 1.5.2. Comprehensive Description MLA recommendation: Follow LC – PCC PS . 1.5.3. Analytical Description MLA recommendation: Follow LC – PCC PS . 1.5.4. Hierarchical Description MLA recommendation: Generally f ollow LC – PCC PS , except when applying the recommendation given under 1.5 .
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 8 Chapter 2. Identifying Manifestations and Items 2.1.2.3. Resource Issued in More Than One Part This instruction applies to many kinds of music resources, including multi – disc audio recording s, scores issued with parts, sets of parts, etc. The following are guidelines for choosing a preferred source of information in several common cases. Multi – part audio recording s : 1) Generally a pply b ) if parts are numbered and title information is repeated on each part. If title information is not repeated, treat the individ ual parts as a collective source . 2) Generally a pply a ) if parts are not numbered and title information is repeated on each part. If title information is not repeated, treat the individual parts as a coll ective source. Scores issued with parts : Generally a pply a ) and treat the score (along with a cover or wrapper if present) as a source o f information identifying the resource as a whole. Sets of parts with no score : Generally a pply a ) if there is a cover or wrapper, and treat it as a source of information identifying the resource as a whole. If there is no cover or wrapper, apply d) and s elect one of the parts as the main part. Use judgment in making this selection , giving pr eference to parts that would generally appear first in score order (e.g. , violin I in a string quartet, flute in a wind quintet). In both cases, apply 2.20.2.3 and mak e a note on the source of the title. Books or scores issued with audio/video carriers: Generally a pply a ) or d) as follows: 1) If the audio/video carrier is affixed to the cover or endpapers of the book/score, apply a ) and treat the book/score as the source of information identifying the resource as a whole. Apply 2.2.2.2. 2) If the book/score and audio/video carrier is housed together in a single container (e.g. , a box containing a CD jewel case and a book ) or the book/score is inserted into the container (e.g. , a booklet in a jewel case) , or the book /score is the same size as the audio/video carrier, apply d) and treat the audio/video carrier as the main part . Note that a booklet cover which is visible through the front of a container forms part of that contain er. Apply 2.2.2.3 or 2.2.2.4 as appropriate. 3) In cases of doubt, base the decision on the perceived intent of the publisher and/or the relative importance of each component to the cataloging agency.
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 9 2.2.2.2. Preferred Source of Information — Resources Consisting of One or More Pages, Leaves, Sheets, or Cards (or Images of One or More Pages, Leaves, Sheets, or Cards ) Note: for printed music, cover is preferred over caption. 10 Use cataloger’s judgment in determining whether or not the resource has a cov er. Generally consider a cover to be made of substantially different material (e.g., heavier or different colored paper) than the paper on which the music is printed. 2.2.2.4 . Preferred Source of Information — Other Resources This instruction applies to a ll audio carriers. 2.3.1.7. Title Proper — Titles of Parts, Sections, and Supplements MLA recommendation: Follow LC – PCC PS . EXAMPLE S : 245 10 Choraleworks. $n Set II , $ p T en chorale preludes for organ 245 10 Ouvertures per il teatro di Shakespeare. $n N. 5, $p Il racconto d’inverno : $b per orchestra 245 10 Bolivian Baroque. $n Vol. 2, $p Music from the missions and La Plata 245 00 Billboard #1s. $p The ’70s 245 04 The Dick Cavett show. $p Ray Charles collection 245 00 Musical theatre for classical singers. $p Soprano The compilations with this title for other voice ranges contain different songs. but 245 10 Songs of separation / $c William Grant Still. 250 Tenor. This piece is published in tenor and baritone versions. 10 Under AACR2, caption was preferred over cover.
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 10 2.3.2.8.1. Other Elements Recorded as Part of the Title Proper — Type of Composition, Medium of Performance, Key, Etc. MLA recommendation: Consult the alphabetical list at Types of Composition for Use in Authorized Access Points for Music to determine whether the title in question meets the condition of the instruction . Do not consider such titles as “Double concerto, ” “Tripelkonzert” , etc. to be names of types of compositions. When a composer uses a word which is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the tit le to be the name of a type of composition. A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title. 2.3.2.9. Title Proper — Resources Lacking a Collective Title MLA recommendation: Follow LC – PCC PS , that is, generally do not apply the a lternative. Apply the a lternative in cases of archival or other large collection s . Note that since resources of this type do not normally carry title information, the exception at 2.2.4 applies and no square brackets are necessary. EXAMPLE S : 245 00 Collection of 18th ce ntury English songs and ballads . 245 04 The Vivian Perlis Collection of Schmitz, Ornstein, Copland, and Kirkpatrick . 2.3.2.11. Title Proper — Recording Devised Titles MLA recommendation: Follow LC – PCC PS for the a lternative.
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Best Practices for Music Cataloging version 1.0.1, 4 / 1 /14 11 2.3.3. Parallel Title Proper MLA recommendation: If feasible , record all parallel titles proper appearing on the preferred source. Optionally, record parallel titles appearing elsewhere in the item. Parallel titles from any source in the item may be transcribed in 245 $b o r $c, without square brackets. P arallel ti tles should also be encoded in 246 31, to ensure proper indexing. EXAMPLE : 100 1_ De Pastel, Karen, $d 1949 – 245 10 Un s : $b öten = In the gardens of Bolhá s : 9 pieces based on Hungar ian folksongs for 2 flutes / $ c Karen De Pastel. 246 31 In the gardens of Bolhás When a parallel title is taken from outside the preferred source and recorded in 246 ( in addition to 245 $b or $c ) , apply 2.20.2.3 (Not e on Title Source) by encoding either a 500 note or an introductory phrase in 246 $i . EXAMPLE: 245 04 Das dunkle Reich = $b Dark kingdom 246 31 Dark kingdom 500 English title from caption. Or 245 04 Das dunkle Reich = $b Dark kingdom 246 1_ $i English title from caption: $a Dark kingdom A lternatively, parallel titles from outside the preferred source may be given only in 246 1_ with an introductory phrase in $i. This approach may be preferable when multiple parallel titles appear in different sources , and therefore the second pa ragraph at 2.3.3.3 is difficult to apply. EXAMPLE: 245 10 = $b Heroisches Lied = A hero’s song = Le chant héroïque : op. 111 / $c Antonín . 246 1 _ $i Parallel title on cover: $a Heldenlied 246 31 Heroisches Lied 246 31 song 246 31 Chant hé roïque
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